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tt2023587 | Mama | A man kills several of his business partners and his estranged ex-wife, then runs away with his children: a young Victoria and baby Lilly. After speeding on a remote, snowy road, he crashes into the woods and takes the children to an abandoned cabin he wanders upon nearby. Realizing the mistakes he has made, he prepares to commit murder suicide but at the last moment is killed by a strange figure in the cabin. Victoria looks at the figure but only sees a blur as her glasses were broken in the crash.Five years later, their Uncle Lucas (Nikolaj Coster-Waldau) and his girlfriend Annabel (Jessica Chastain) have been madly searching for his brother and nieces using the inheritance of his brother. The searchers stumble upon the crashed car and find the two children in the cabin. In this time, they have become completely like animals, with Victoria physically shielding Lilly in a defensive stance to the intruders. They are put under the care of a psychiatrist, Dr. Dreyfuss. There is a legal dispute over custody of the children between Lucas and a rich aunt on the childrens' mother's side, while the court questions the ability of Lucas and Annabel to raise the children in a small apartment with little income given their special needs. Dr. Dreyfuss agrees to recommend Lucas and Annabel as the childrens' legal guardians as long as they agree to move into a special home used to perform case studies, knowing that he would not be able to monitor their progress if their aunt, who lives on the other side of the country, were to obtain custody.It quickly becomes apparent that the strange figure, who the children repeatedly refer to as "Mama", is in the new home with the children. Her history is given throughout the movie through a combination of dreams Anabelle has (induced by Mama), research by Dr. Dreyfuss, and conversations with Victoria. "Mama" was a former patient at a mental asylum in the 1800's; her appearance and simple actions imply she had Down Syndrome, though this is never officially stated. She breaks out of the asylum and stabs a nun who had taken Mama's baby (also named Lily) into her care then steals the baby back. Chased by the authorities, she ends up at the edge of a cliff overlooking the lake; seeing no other path, she jumps and hits a tree branch on the way down. While Mama fell into the lake, the baby (killed by the impact) was stuck to the tree trunk and was recovered by the pursuers. Mama becomes a ghost, twisted by the sad emotions of not knowing where her child is (she is unaware of why the baby was not in the lake with her). This causes her to take a form of physically being twisted, with body parts askew and many joints bending the wrong way. She searched the woods for centuries trying to find her baby, until she stumbled upon Victoria and Lily about to be killed in the cabin, and began taking care of the children as her own.Mama's presence is generally signaled by black butterflies and electrical problems. She plays with the children but hides from sight of anyone else; Victoria always takes off her glasses when she looks at Mama and tells Dr. Dreyfuss she won't come where she can be seen. Early in the movie, Lucas is pushed down the stairs by Mama and ends up in a coma. This forces Annabel, who does not want the children, to take care of them. Over time, Victoria becomes more like a normal child, but Lilly retains her animalistic nature; this is attributed to the fact that Victoria was older and thus had socially developed before their abandonment in the woods. Over time, Annabel becomes attached to the children, and later, Victoria begins to prefer her over Mama, but Lilly still remains completely loyal to Mama. Annabel becomes aware there is something wrong and that Mama may indeed be real. Victoria worries for her safety, saying Mama gets very jealous.Dr. Dreyfuss begins to believe the stories of Mama, first because Victoria is able to tell stories with information she shouldn't be able to know, and later because he actually sees Mama. In the course of the investigation, he obtains custody of the corpse of Mama's baby. Dr. Dreyfuss comes to believe that Mama is located in the cabin in the woods and goes to investigate but is killed by Mama there. The aunt believes Annabel is abusing the children (due to bruises Lilly has from her animalistic tendencies) and begins to spy on the house for proof. Lucas has a dream induced by his dead brother while in a coma, asking him to save his children and pointing him to a location in the woods. Annabel visits Dr. Dreyfuss's office after another supernatural night at the house but finds out he is missing; she steals his objects related to the case. At this point, she learns of the aspects of the case which the doctor had found out about and finds the baby's corpse. At the same time, Mama becomes angry and attacks the children and Annabel; Victoria tries hard to defend Annabel and pleads for Mama to stop, but Lilly is still clearly loyal to Mama. Annabel is knocked out, but at the last moment the aunt breaks into the house and has her body possessed by Mama. Mama uses this body to take the children to the cabin.Annabel wakes up, grabs the baby's corpse, and drives to the lake, finding Lucas along the way, who has left the hospital and gone to the site his brother told him about in his coma dream. They arrive at the cabin, finding the aunt's corpse but neither Lilly nor Victoria. Annabel sees the cliff that Mama had originally jumped from; remembering the warning that ghosts are twisted souls doomed to repeat their mistakes, she realizes Mama's intentions to jump off the cliff with the children. Lucas and Annabel arrive in time to stop the children from jumping, but Mama attacks them. The assault is stopped when Mama finds her baby's corpse, begins crying, and prepares to jump off the cliff with it, her twisted appearance reverting to a more human one. However, as they are leaving, Lilly shouts to Mama and she regains her twisted appearance and attacks again, knocking out Lucas. She grabs the kids and walks to the edge of the cliff. Annabel tries desparately to stop Mama, eventually beaten to the point that she can only hold onto Victoria. Once at the edge of the cliff, Victoria tries to convince Lilly not to go, and Lilly cries that Lilly, Victoria, and Mama should all be together. Mama jumps off the cliff with just Lilly, and upon hitting the branch, Mama and Lilly turn into a shower of butterflies. The movie ends with Victoria realizing that one of the butterflies watching over her is in fact Lilly, perhaps referencing a ghostly regret of Victoria not going with her. | paranormal, suspenseful, horror, haunting | train | imdb | Years later the girls are discovered in the cabin, completely feral and when any sense can finally be made out of them, they talk of being looked after by someone they call Mama; And it seems Mama has come back with them to civilisation
Based on his own 2008 Argentinian short of the same name, Andres Muschietti expands the idea out to a full length feature film.
We already know there is a spirit involved as we half glimpsed "Mama" during the pre-credits sequence, what we need now is a good story and a healthy quota of frights and peril for Waldau and Chastain as they become surrogate parents to the troubled youngsters; And again, Mama mostly delivers all that is required of it for a good night in by the fire whilst perched on the edge of your seat.Chastain is excellent as the punk rock chick reluctantly mothering two children before her time, the two girls, Charpentier and Nelisse, are also top draw, exuding the sadness and confusion that children of that age would obviously be feeling under these circumstances.
Muschietti's direction is very stylish, not only does he marshal his principal cast members with great skill, he shows some ingenuity in scene staging with one sequence particularly brilliant as Chastain does housework and the younger of the girls plays with Mama in the bedroom, we know it, even though we can only see the wee bairn.
Argentinean director, Andres Muschietti, made over 70 million dollars in the box office and received decent reviews for this horror/suspense film based on a short 3 minute movie he directed in 2008.
I enjoyed most of the movie, and loved Jessica Chastain's performance, but the ending just ruined the entire film for me.
I feel like most of the endings in this genre are pretty unsatisfying and ruin the entire suspense the film has been building throughout the story.
Mama was close to achieving that similar success in my opinion, but the ending really hurt it.The film centers around two girls named Lilly (Isabelle Nelisse) and Victoria (Megan Charpentier) who are abandoned in a cabin in the middle of the woods after their father murdered their mother and was attacked by some presence inside the cabin.
Several suspenseful and horrifying events begin to take place while the girls continue to talk to shadows in the walls and call out for Mama.The film has several thrills and suspenseful moments with a great performance from Jessica Chastain.
The movie also has its weaknesses like pretty much all horror films do considering the protagonists always seem to make stupid decisions, but that is what makes the genre so entertaining at times.
Psychological thrillers usually have this impact: they begin with a lot of promise but end up on the wrong note, and that is exactly how I felt about Mama along with Sinister, a similar movie I got to see a few months ago.
The film is above average thanks to Jessica Chastain, and Guillermo Del Toro's influence in the production of the movie, but that is about it.
What makes MAMA special and different is it's Story and Acting.Not many horror movies has it now a days but MAMA has it all..a beautiful and emotional film with great horror elements to back it.The performance from Jessica Chastain is mind blowing.when the movie starts I didn't seem to connect with her character but as soon as the movie progressed she just blown my mind with her screen presence and screen fit performance.few places r just brilliant like the one where she finds lily outside of the house and she brings her in but Lily tries to escape but the she holds he tight and make her feel that she loves her from within and Lily starts looking at her with innocence and Jessica hold her hands blow air on them and ask Lily that "dose she liked it"..it moved me and i was just speechless watching it.Just little more detailing would have turned it into a classic for life.but never then less its one of the finest horror film I watched in decades.Highly recommended.Loved it!.
The title may be tacky, but this Canadian-Spanish co-production, with Guillermo del Toro lending his name as producer, is one of the better horror films to have come out from the West in recent years, despite being filled with the usual clichés, actually contain a proper story, and delivered really well in terms of chills, thrills and everything that's necessary to creep you out and make you jump at your seat.
Co-written and directed by Andres Muschietti, Mama shows how it boils down to story, building upon his short film of the same name some 5 years ago, and a solid cast to gloss over the expected bag of tricks.Many of the clichés were put to good effect, which in some ways you'd come to expect certain things to happen in a certain way, and they did.
All ingredients that you've seen utilized to the death in various horror film productions, but coming together really well in Mama, playing to the strengths of these elements while fiercely ignoring the negativity associated with lazier filmmakers who just slap these elements together, expecting them to work.
It's not a special effects extravaganza when it's not required, and Mama showed just how its story and characters were allowed to lead, rather than to have strangely illogical moments, even for a horror film, fall coincidentally into place.Jessica Chastain may be the latest IT girl in Hollywood, and it's encouraging to note she's really going all out to take on various roles in different genres, despite her more recent art house leanings of late.
Battling for custody, it is with reluctance that the couple take the children under their wing, probably because Annabel knows she'll eventually be dumped with the kids, which did happen.And the entire middle act is when the fun begins, for fans of horror films forking out good money to be entertained with the roller coaster ride of scares.
Believe me, that's saying something.Not one scared by stories themselves, but solely by moments that utilize the element of surprise, I have never jumped out of my skin more times during a single film than I did for "Mama." That pretty much makes it the scariest movie that I have ever seen.
By the time you finish it, you will most likely feel both happy and sad, and will not know where your emotions should be.I highly recommend "Mama" to anyone, because it is not your stereotypical horror movie.
"MAMA", a film executively produced by Del Toro follows the story of two little girls that are found in the wilderness for five years.
Overall, Mama was a terrifying horror movie with a beautiful story and wonderful camera work.
Mama is something else however it still has those horror movie clichés, like those easy loud jump scares and some ghostly pathos, but there is a fascinating concept behind the scares that leaves the audience a beautiful story than just a cheap horror shock.
It could have been much genuine in being scary than simply loud but Mama is still one of the great horror films we got in a while.Unlike most modern horror films, this movie's ambition is to tell a compelling story.
Personally, it's kind of more interesting when it simply tells the story of the two kids and the Mama ghost even though it features a horror cliché of ghosts telling their past to the central character.
They still used some other ways of scaring the audience, like mimicking the clever horror trick of "The Orphanage" and letting the character be alone exploring the creepiness going on.
Mama is the kind of horror film that abandons the gruesome acts and rather shows its dark aspects in a quite endearing way..
The debut feature from Spanish director Andres Muschietti has some plot hole, but still delivers the goods in a scary, almost poignant way.In Mama, there are similarities to the American version of The Ring in the way some of the scenes are shot in that grainy, static, antiquated, black and white style.
Maybe the presence of Barbara Muschietti (sister of the director) as one of the producers and writers of the film had some influence on having women as the driving force.In addition, Mama might feel and look like the style of Guillermo del Toro film.
Still, MAMA is a pretty strong horror film that's not perfect but it's certainly good enough to watch..
Her face throughout the 2nd half was priceless :P i think some of the other reviewers are being overly critical, yes the end wasn't amazing but it think it did a much better job than a lot of other films like this, and seeing this gives me hope that there's still very scary things that can be done in this genre of horror.
Mama's appearance was inspired by painting by Modigliani, owned by the same director Andrés Muschietti .Writers Andrés Muschietti , Barbara Muschietti and Neil Cross stated that when they wrote the film he had a list of horror movie clichés posted above him, so he could avoid using them ; they said the first one was to make sure the family moved into a new house once the haunting started .
This Universal's surprise hit horror movie was well directed by Andres Muschietti , he formerly realized a three-minute short is what helped get his 2013 film made .
"Mama" is a creepy and scary horror movie, with a frightening story.
Lucas raises them with his rock singer girlfriend Annabel (Jessica Chastain.) When Lucas is hospitalised after an accident, Annabel reluctantly looks after the kids but Mama has been visiting the girls.The film is produced by Guillermo Del Toro and has elements of a dark twisted gothic fairy tale where things certainly go bump in the night.
The acting was all good, especially the kids, there were not that much stupid horror movie decisions, but all of that fell in the water when the ending came.
Still, I especially enjoyed a certain scene where a flash camera is used instead of a flashlight, very much like the Horror game Outlast.As for the acting, I always find myself impressed with young actors and actresses, and Mama has a few of these.
Playing such a different role in such a professional and successful manner really shows a lot of hard work combined with some God given talent, always a pleasure!I also must be fair and admit that the character of Mama (played by Javier Botete, yes, a male actor, how impressive/weird/awesome/messed up is that?) was one of the scarier that I've seen so far.
That's because Mama is today's modern CGI ghost that isn't bashful to show her retched face to the characters in the film (and us).The brief storyline is that two girls have survived out in the wild after their father murders his wife, takes the girls and crashes his car off a cliff in the middle of nowhere.
After being found by the father's brother, the girls are re-acclimated to society after 5 years in the woods raised by, you guessed it, Mama.There is a back story to mama that gets woven into the mix, which is the reason why good horror films are successful.
Mama is yet another jump-scare, cgi ridden, laughable cheese-fest just like so many other myriad "horror" pictures that have come out in recent years.
Please folks, don't waste your hard-earned money on sub-par horror movies like this.If you want a ghost story that is actually well-made and scary, watch the Spanish film The Orphanage.
Originally seeing the trailer I thought this was a great concept and an interesting idea, I was really excited for this but when I actually saw it in theatres I was a little less than pleased.The children are by far the best actor's in the film, playing the role of animalistic kids fairly well but this also leads to a lot of laughable moments as they appear more like Gollum than anything truly scary.
The movie is very laughable sadly, the appearances of Mama with her head half out of the floorboard looks like somebody put a wig on a roomba and let it scoot around.The film goes really down hill during that dream sequence, as it appears to be a video game cut scene out of a FPS Rail shooter, the over use of CGI in a terribly contrived ending makes the movie feel like it's running 20 minutes too long.Also, having a jump scare a minute and twenty seconds in doesn't help your case.
Dangling plot threads, meaningless character development, unintelligible story line.I was starting to feel some relief as the movie ended, but true to form, even that was undecipherable.I watched this film based on del Toro's reputation.
In the movie "Mama," Del Toro, unlike many other modern horror directors, effectively generates fear and suspense while also inducing true empathy.
So here's the thing about Mama: you can have all the outstanding performances, spot-on camera work and decent special effects you like, when you lack atmosphere, all is lost in the horror genre, and let that be what this film's weakest point is.
There is a storyline here concerning two creepy little girls who are found seemingly alone in the woods (but in fact are being watched over by a jealous ghost named Mama) and are taken in by their estranged uncle and his hard rock, tattooed girlfriend (played by Jessica Chastain) but truthfully the more you pay attention to the quite sappy and overcomplicated plot, the more distracted (much like in last year's "The Woman in Black") you will be from the real star of "Mama", the scares themselves.
Which is to say, she's not bad, nor is she good; she is more so wasted in a rocker chick role which will undoubtedly be forgotten in the years to come.Final Thought: All in all, if you are looking to see a horror (or date) movie that does deliver in the visual scares department and are willing to ignore the annoyingly distracting storyline, then "Mama" may be the movie for you.
They both brought a real believability to their characters with convincing performances showing two girls who, for five years, had to fend for themselves and then have to try and adjust to living in modern society.Like I said earlier, this is an excellent film and I think it's the best horror/chiller I've seen since Sinister.
Guillermo del Toro reached out and had Andy Muschietti direct MAMA and it pays off big in an excellent Art house horror film.
Megan Charpentier and Isabelle Nélisse's performance throughout the movie is gripping and professional, a lot of people will recognise Nikolaj Coster-Waldau as dastardly Jamie from Game of Thrones but he is out-acted here (but he is good in his role as well as Jessica Chastain.The story is fairly slow for a lot of audiences and there aren't any particular 'jump scares' that are thrown at the audience, there are lots of subtle hints in there and important parts that build up to what I thought a good finale.
There is something very beautiful and poignant about the story-telling too, underneath the horror was something more than that with at first characters one could connect with and a vulnerable edge that comes over movingly.On the most part, 'Mama' looks good.
The direction from Andy Muschietti shows successful attempts at taking risks rather than over-blowing things or taking it too safe, there is a lot of visual panache and a seeming appreciation for film not just of the horror genre but in general (some of it actually almost thriller-like).Always look out for a good music score in film, being a musician and growing up in a musical family music is of great importance to me when watching film, television etc.
Marred by our own familiarity with the genre yet managing to be quite effective when the occasion calls for it, Andrés Muschietti's feature-length adaptation of his short film of the same name is consistent in its delivery of old-school scares, and brilliantly keeps its eerie vibe alive for the major portion of its runtime but what brings it down is its overly sentimental & underwhelming ending.The story of Mama concerns two young girls who were abandoned in a forest cabin and are found 5 years after their disappearance by a rescue party, that was sponsored by their uncle.
we don't get scared anymore, the plot gets a little silly, the characters reveal they're a hand full of nothing, and even the end is not as catastrophic as it could be.if you want to see a scary film about sisters, go ahead and see "a tale of two sisters" instead.
After a promising start, "Mama" descends into just another ghost story.For the first half off the movie, the film looks like its going to be an interesting mixture of what you'd probably expect.
The same goes with the little girls who actually do a very good job and show a lot of promise.The problem lies with the fact that this film is just a sequence of set-pieces, none of which are really scary but more 'jumpy' and at times laughable.
Mama isn't a bad horror film but, it just isn't a very scary one.
The problems with Mama aren't from it's story, it's that despite giving the film a nicely spooky visual style, director Andres Muschietti doesn't build much tension, suspense or scares.
I am a big fan of horror but recently i cant remember a movie which i enjoyed to my heart but then i saw MAMA and it was like a fresh air which u asked from a long long time.
I am a big fan of horror but recently i cant remember a movie which i enjoyed to my heart but then i saw MAMA and it was like a fresh air which u asked from a long long time. |
tt1837642 | Revenge | Emily Thorne (Emily Van Camp) is the newest arrival in the Hamptons. By all appearances, she's a friendly and sophisticated "girl next door," but with a dark family history, Emily is anything but what she seems. Seventeen years ago, her father was framed for a crime by neighbors he trusted, and sentenced to life. Emily never saw her father again, and spent her childhood consumed by rage, loss and betrayal. Now she's returning under an assumed identity with one goal - REVENGE -- every social overture a carefully planned chip at the foundation of her sworn enemies. Victoria Grayson (Madeleine Stowe) is the glamorous matriarch of the Grayson family and reigning Queen of the Hamptons who holds a dark secret -- her culpability in the events that destroyed Emily's life. Conrad Grayson (Henry Czerny) is the head of the Grayson family, a man willing to do whatever it takes to slither out of scandalous situations. Daniel Grayson (Josh Bowman) is the Graysons' son who finds himself unable to resist Emily. Charlotte Grayson (Christa B. Allen), their daughter, fits right in with the "mean girls" of the Hamptons, but is also drawn to boys from the "wrong side of the tracks." Nolan Ross (Gabrielle Mann) shares a link to Emily's past, her present and her secret. Jack Porter (Nick Wechsler) has spent his life helping his father manage the Stowaway Tavern, and when fate brings Emily into his life, he's unable to shake a deja vu-like connection to her. Declan Porter (Connor Paolo), Jack's kid brother, is intrigued by the wealthy world of these elite vacationers and finds a target in Charlotte Grayson. Emily's closest friend, Ashley Davenport (Ashley Madekwe), is the go-to event planner who hopes to gain entry into Victoria's good graces and solidify her status among the Hamptonites.OFFICIAL SYNOPSIS | revenge | train | imdb | The only thing I am not sure of is how long this show can go, does it have a set end date because a show like this reminds me of an extended mini series since it will have to finish at some point.
There is mystery, love story, money, angry evil lady, and a lot of good looking people.
But then again I'll not be watching, once a show becomes a train wreck it's quite difficult to rescue it and I'm not waiting around for it to happen.What once promised to be a great show, is now a soap opera in meltdown.I gave it a rating of 5 - 10 for Season 1, 0 for Season 2..
When I watched the pilot episode, I found the series promising and I really loved it.
I can't wait to see how Emily/Amanda gets her revenge on each and every one of the people who destroyed her and her father's lives.
You never know what will happen next, and it's just pure bliss to watch.My favorite new TV show in a long time, and I can't wait to see Emily Thorn every Wednesday.
If you love shows like "Desperate housewives", "Dallas", and your revenge a dish best served lukewarm, then maybe this is the show for you.
The story line is gone and even the new "cast" member look and sound like they walk straight from the set of "as the world turns".There are 4 episodes left in this season.
Oh the old phrase "revenge is a dish best served cold" is never far from the truth as the plot of this series provides.
It's one of the trashiest, most poorly written shows on television, and it has some of the biggest plot holes and storyline issues of any series I've ever watched.
Revenge is a unique show in that it always gives you enough to keep loving and rooting for your favorite characters but at the same time leaves you wanting more.
Emily Thorne as the main character seems to be clever, smart, competent and amazingly diligent when it comes to revenging her father.
The show has gone from something slick and smart to a half dead story that is just straight out ridiculous.I would not recommend anyone to start watching the show since they will be disappointed how it turns out..
**This review may contain spoilers** I started watching this show after a lot of good reviews for it (they were all dated 2011 by the way) The story was good, the characters were interesting, there were a few plot contrivances but nothing too jarring and it was only season 1, some shows take a while to find their feet.
The end of season 1 wraps up quite well until the last ten minutes where the writers threw stuff in to set up season 2 and boy has it gone downhill from there.Season 2 is an absolute mess, quite reminiscent of Prison Break where the original story is good but how long can you drag out a simple concept, in this case revenge.
I didn't even bother watching till the end of the season.My many gripes include: How lazy are the writers when nearly every scene has someone listening in at the door to aid plot development.
I could go on but anyone who has watched into season 2 will know I could be here for hours so I'll leave it at that.This show would have been ideal as a 1 season affair, the story could have been kept tight all the way through with a nice satisfying resolution, instead as is common with TV these days the golden goose had to be squeezed until not a single golden egg was left.Do yourself a favour, stop watching at the end of season 1 when it seems everything has wrapped up nicely, skip the last bit of the final episode and you will end up enjoying a well made and decent show..
Don't get me started on Jack and Declan, who walked right off the set of Melrose Place.Two characters make the show worth watching: Madeleine Stowe as the eeeeeeevil Victoria and Gabriel Mann as the delightful Nolan, who has the complex character Emily lacks.
Emily Thorne is the main character of the show and she is trying to plot revenge on the family that framed her father for a terrorist attack.
The main character Emily returns to the Hamptons to take revenge on those who framed her father.
The best thing about the writing is how it makes you care for most of the characters good or bad and when they are doing bad things you want them to get away.
Henry Czerny looks suitably sinister as the evil CEO Grayson and Amber Valetta is quite good as a Hamptons wife/mistress.In the end a good story is what makes a television series work and Revenge has it.
I think this show could have been great as a mini-series if you added more brutality/violence and more sinister actions from the main character.The actors are not doing a bad job, but the more I watch this show, the more I feel like I'm not in the target group.
It's too much of a soap opera for my taste, and it feels like this show will go on forever, just add more characters that hurt Emily/Amandas father and you're all set.The show simply doesn't live up to its name, there isn't much revenge happening.
I don't empathize much with Emily/Amanda and I don't get that feeling of retribution taking place in front of my eyes when finally a character dies.The most recent movie I watched was "The girl with the Dragon Tattoo", watch it and see a rapist get what's coming to him, that's revenge..
She tackles a big character very well and I look forward to seeing where it develops.So if you're in the UK and are looking for a series that will both entertain and make you think then look no further than Revenge..
Then again after reading some reviews and when I had nothing to watch, I thought I'll give it a try.Boy was I right, this series sucks big time.
If you love shows like "Desperate housewives" and If you want to make a little teenage girl, that is hidden somewhere inside you happy, then this is the show for you.
Unless people stop watching crap like this, TV is never going to improve it's standard and so are the idiotic writers that write stories like these.Even after reading this warning if you watch this show, then I'm sure just after watching 2 episodes you'll be plotting your own revenge against the writers and creator of this show...
We do not want Emily to take down a person involved in the incident in each episode but it would be better if the revenge actually had a logical path.
I have a bad habit of sticking to shows that lose their touch like vampire diaries and supernatural but i don't think i will continue revenge if season 4 turns out to be disappointing.
However as per ratings of each episode i must stay that season 3 has some good ones towards the end so i have my fingers crossed...
Amanda (Vancamp) whose life was destroyed when she was a little girl by a conspiracy of evil rich creeps in Southampton, New York returns 15 years later to exact a bold and elaborate revenge plot with a long list of people she intends to get even with.She comes in the guise of Emily Thorne, wealthy débutante with all the right connections and personal holdings which rival those of her enemies none of whom suspect who she really is and why she is there.Adopting disguises and employing illegal methods of stealth she undermines each and everyone she believes has wronged her.But she is also haunted by personal feelings of the life she might have if she could just forget what was done to her and her father.
It started with a real good idea about an attractive girl getting revenge on the people that wronged her father.
Season 1 is watchable, you learn about the story and characters and it keeps you interested to know more, well that lasts for about 10 episodes, just goes straight downhill after that..
The 1st season was good, 2nd fair, by the 3rd I'm getting sick of it by the 4th I'm watching just in hopes of seeing some of the lies get out but ready to throw my TV threw a window...I like watching a show to relax and unwind, this show is frustrating and annoying as hell!!
I seriously can't understand even though having all proofs the protagonist is delaying her revenge and even stopping others to do so.Like the takeover of Nolcorp was totally unnecessary also when Amanda died and Emily threw the laptop containing all proofs against the Graysons and said that now her head is clear and she is deemed to destroy Conrad and Victoria and that she deviated from her path and now she does not require any proofs implying that she is going to kill them but doesn't.
And if you think that the series will be short because there aren't many characters to get revenge on, I disagree because they have plenty of good material and new characters are added.
Loved it from the start, just watched episode 3 and totally hooked.
Only time will tell if they finish on a highish note or let it plummet to it's demise like many other started out good, ended bad shows..
Revenge is so so so so good and I've only watched the first episode!
Revenge has a good story line to it and there is always something happening.
This was one show which i actually started watching all of a sudden may be from Season 1 episode 4 or 5, nonetheless a mere two minute conversation between Victoria(Madeline Stowe) and Emily(Emily Van Camp) inside the beautiful Grayson mansion was such promising that i stuck on.
Revenge has an excellent story line, cast, decor and very nicely decorated and executed adding to which is a very interesting plot which lets you think, imagine and predict and then makes you happy by satisfying to a certain extent and when it doesn't match with your expectation it most of the time supersedes.
The show keeps on going and if you have a copy of it with you and got some time after work you might end watching back to back even 4 or 5 episodes.
I have watched many other series which are good and better than Revenge in certain aspects but honestly speaking if you want a show which is all round and complete do watch for this, and from the beginning.
I admit I love Madeline Stowe and her manipulative ways as Victoria Grayson and it is for *only* that reason will I continue to try and watch.
Omg it's 2019 I came across the show in November and after the first episode binged the entire series I 😍 Emily & Victoria but when I say Trust Me every Character brought something to the table standing Ovation to everyone connected to the project Great Job...
Season 1:It begins well with the first 4 or 5 episodes but then it gets more entangled within the characters themselves.
Sometimes the writers make it convenient for the characters to realize something or do something.When it comes to acting, everyone's good especially Madeleine (playing Victoria Grayson).
I didn't continue from the beginning of the season, but I happened upon the show by accident on its new night Sunday; it looked like they (the writers) got their heads out of their collective a**es and put out an excellent show again.
Heck, even Helen Hunt directed a couple of episodes (yes, that Helen Hunt).And, as likable (and/or) distasteful, as each actor commits to their individual roll (wholeheartedly), the writing for Revenge conjures up the age old question of what came first here, the chicken or the egg?This was a TV show that my wife and daughter began watching months ago on Netflix & it held very little interest or intrigue personally, but we all ended up pleasantly surprised..
All in all, Revenge is addictive soap opera and a lot of fun to watch.BEST Season 1 Season 4 Season 3 Season 2 WORST.
It's really rather sad because the thing is, I really enjoyed the first 2 Seasons and I wanted to keep liking it, but when a show becomes unbearable to watch then it's time to move on.
Hi, this show is my favorite TV show of all time.I am not used to watch English speaking shows but after watching revenge I changed my whole idea.I know a lot of fans of it here in Arabic world.Emily Vancamp & Madeline Stowwe are doing a very great job.All girls and guys are chosen carefully, all good looking with good acting.I really will miss it after its ending.I will keep following Emily van camp and Madeline Stowe in their new shows and movies.Thanks for all people who made this masterpiece.I hope to see the same cast do something with same quality in the future..
The ongoing plot for Revenge by Amanda (Emily)is a treat to watch.
Just like a soap, sometimes you want to warn some of the main characters of what is about to happen which makes it just the more fun.
2nd, 3rd and 4th season had the same plots, same lies, same mistakes by the characters, same story.
There are times that the level of outrageous acts that some of the characters got away with simply by being rich was offensive as nobody owns everyone, they still kept it interesting enough to make it a good show that probably should have only been 3 seasons leaving out a few segments I literally slept through.
While I like this show, I must say it has turned into a night time soap.The first season was amazing!
Too many loose ends, and plot holes.If you marathon shows (like I do) on Netflix, it's easy to pick out the inconsistencies in this one.Season 3 was better, and I will continue to watch this show - but I am not nearly as excited about it as I had hoped.
Please, and thank you.Also, Tyler is getting more annoying with every episode - I find his storyline is too frustrating to watch and it irks me every time he comes on and puts me off the show.And maybe for fun, just throw in a bit of Nolan/Amanda romance in the mix?
If you are looking for a new kind of drama with a strong female main character, brilliantly played by Emily VanCamp, then Revenge is definitely your show.Yes, it has its's lows in writing, and there is without a doubt a lack in realism and consistency to some degree that you have to overlook, but the show was originally classified as a Soap after all (although it's not a classic Soap or Telenovela at all, so don't be mistaken).S1 was absolutely one of the greatest drama seasons I have ever seen, and yes, the show touches some soap clichés and "anything-goes"-writing to some degree in S 2-4, but the overall experience is great, if you once start watching, you will stick with it.Cons:Inconsistency in storytelling to some degreeSome unnecessary introduction of side characters and side story lines that lead nowhereSometimes sloppy writing in S 2-4, where it seems they it was all too comfortable to explain some things away, because it's soapy alreadyPros:Characters you can care about, or to root for A general premise that immediately allows you to connect with the main character and leaves you wanting to see one rich bastard after the other fall yourself, loosely based on the Count of Monte ChristoBrilliant acting by Emily VanCamp (Emily Thorne/Amanda Clarke), Madeleine Stowe(as vicious Queen Victoria Grayson), Henry Czerny (as ruthless patriarch Conrad Grayson) and Nolan Ross (as Emily's sidekick Nolan Ross)One of the most bad-ass female characters in television: Emily Thorne Emotional story lines, scenes and episodes, that will make you laugh and cryTwists and turns that will shock you, and leave you breathless (although some might argue that they jumped the shark with one particular twist at the end of S3, and they may be right)Very powerful final episodes in every season, and even better season finales that will leave you wanting moreOne of the best scores and soundtracks in drama television in last couple of years in my opinion, that really generates the perfect atmosphere and fits the emotional scenes perfectly The show has an actual ending, an ending you can agree or disagree with, but at least a conclusion, not like other shows that drive you crazy with shitty endings.
I only started watching the 1st Season when I had 13 episodes recorded.
Personally, I'm a little excited to see how this story plays out and the impediments that the main character will have to face in carrying out her revenge.
Personally, I'm a little excited to see how this story plays out and the impediments that the main character will have to face in carrying out her revenge.
I feel like the real revenge did not come to the story yes, maybe using the same song at the same time might make a peak in the series' public ratings ...The acting in the series is really good of all characters!10/10.
This is a good serious series, and the plot too is absorbing, but at times the story is too much of political plotting which for a person like me may be a bit annoying.
At times very watchable soap-opera (this refers to season 1, stopped watching a few episodes into season 2 and didn't care to return) with the great Madeleine Stowe camping it up superbly (must see of this actress more often, please casting directors). |
tt0454941 | The Sensei | A Woman Warrior returns home. A Boy struggles to become a Man. Two destinies entertwine. The Master will give the final lesson. And the entire town will be changed by...The Sensei."You have a right to defend yourself against hatred"The story centers around McClain, a homosexual teenager who recently lost his lover to a lynch mob in a small, rural town in Colorado. Afraid for his life, he frequently tries to enlist in martial arts classes at a local dojo, only to have his applications mysteriously (read: deliberately) vanish. To further matters, the local minister turns the sermon at an Easter mass from the passion and resurrection of Christ to matters of Sodom and Gomorrah at the very sight of McClain and his mother entering the church to join in the ceremony. In the dojo's defense, they turn young McClain away not directly because of his sexual orientation, but because they fear losing their students over the matter. In fact, the family that runs the dojo has had some acceptance issues of their own to deal with, not just because of being Asian, but actually because of being multi-ethnic, with Irish, Asian, and even Filipino members and relatives. They're also of mixed faiths, with the grandparents devout Buddhists and one of their sons a Christian actively involved with the local church. The family has a very proud tradition of teaching the martial arts throughout the generations, a tradition that sadly is not open to the women of the family, as we learn when we are introduced to Karen O'Neil (played by the film's director D. Lee Inosanto), a black sheep of the family who returns to town to settle a small matter which is revealed later on in the film. McClain is cornered in the locker room after gym class and savagely beaten by the school bully, recently suspended from the football team (a move that lost him his scholarship, and the respect of his ex-convict brother). Desperate, McClain's mother approaches Karen and asks him to teach her son some fighting moves, in the hope he might have a fighting chance at defending himself. Karen is reluctant at first, but agrees to private lessons (emphasis on private, as Karen was denied her black belt thanks to the family's proud traditions), wherein she forms a strong and lasting bond with McClain. The lessons are put to the test when a fight breaks out in the school cafeteria, instigated by the bully (out on bail and awaiting a court hearing). McClain is able to subdue the attack, only to earn the scorn of the bully's older brother, who blames McClain for his brother's now-repeated incarceration. Things go south for Karen when her family finds out she's been teaching McClain, with her older brother the most (and, it turns out, only) disapproving, and she considers leaving town. McClain is devastated by her decision, and his attempts to outrun the pain sets him in the sights of the bully's intoxicated brother and his motley crew of hicks and hillbillies. Karen manages to come to the rescue in time, and the two just barely manage to hold their own against the brutes. As a result, everyone is hospitalized, but a small misunderstanding about bleeding wounds drives a wedge between McClain and Karen, leading him to think she's just as homophobic as everyone else. Karen's family arrives (even her disapproving older brother, now mellowed a bit) and Karen reveals the reason she came back has to do with her husband's death. She tells McClain that her husband, a boxer she'd previously said died of cancer, in reality had AIDS and passed it on to her (hence her concern over getting too close to McClain after she's severely wounded in the fight). What follows is how all these revelations are reconciled by the families, friends, and community at large. | good versus evil | train | imdb | Great Film.
I highly recommend The Sensei.
I was afraid at first that it would be a cheesy Karate Kid with a gay kid as the lead, but it was so much more than that.
The movie dealt with many levels of prejudice, including sexual orientation, race, gender, religion, and HIV.
It was touching while sending a powerful message.
The depiction of the victimization endured by the lead character was realistic and horrific.
Some parts of the film weren't quite as polished and smooth as a major production movie, but it is an independent film.
For anyone who has dealt with any sort of prejudice or hatred, this is a movie that will make you feel strong and hopeful.
For anyone who doesn't understand what GLBT youth have endured, be it 20 years ago or today, this is a movie that will open your eyes..
Finally -- A relevant martial arts film I can show to my students.
I am a martial arts instructor in Boston, MA.
I just watched this movie with a group of my adult students.
I was very pleased with the film, it's ambition, and Ms. Innosanto's vision to make a martial arts movie that represented the best the martial arts have to offer.
The film gracefully takes on some very tough subjects: racism, social phobias, bullying, the challenges of family dynamics, and more.
Well written and beautifully shot, this is a great film for anyone looking for a martial-arts-themed movie that goes beyond its genre of "punching and kicking" to get at the "battles" of real life.
I loved this movie, and strongly recommend it to anyone interested in martial arts, community activism, and social change.
Remarkable effort -- I would strongly recommend this film be used as a tool for teaching respect and tolerance in martial arts clubs, religious organizations, social groups, and even schools!.
Highly recommend.
This was a great movie, it really depicted the way things were in the 80's.
The story was a amazing it is so easy to get lost in the script.
The ending really does bring the movie together.
It movie gets better every minute, you spend the whole time wanting to know the characters and what is going to happen to them.
It is an amazing movie, I can't wait until the movie is out on DVD so I can have my own copy that I can watch whenever I want.
It is truly an amazing film, it is defiantly one of the bet movies that I have seen in a long time.
I would love for this movie to be show in the theaters in a wide release or at least in a limited release..
Moving film.
Both my husband and I saw "The Sensei" in Seattle, WA on 10/24/08.
We were touched by the emotion in the film and think the casting was excellent.
We appreciated that there were parts of the story that were NOT shown and left to the viewers imagination - that doesn't happen very often anymore.
We are bombarded with gore and detail - not in this film.
The ending was beautifully done and could have even been a bit longer.We also enjoyed the art in the film - especially "Karen's" art.
The only downside to this film was that there were several parts that were just too dark to be able to really see what was going on.
Some of the outdoor night scenes were especially tough to decipher.Congratulations for a job well done.
We will watch for it on DVD..
Incredible movie.
This movie was remarkable...
it made me go through such a wide range of emotions.
I loved the entire movie, because the emotion was palpable and Diana was a shining star.You should really consider this film for you next movie night, because it will give you everything that you want out of a movie.
This wasn't your typical "Gay" movie, because it went further than most movies do, it goes into the real story about what went down during this period in our history as LGBT people.
This was a sad story that has the possibility of inspiring everyone that gives it the chance.
Make sure that you think twice before moving past this one..
definitely worth watching.
I found this movie surprisingly good,Some unexpected twists, rich story line, good acting.
This is not a martial art movie, this is a good movie set in a martial art background.
Its difficult to decide which is better diana lee's acting or her martial arts both are top grade.
Louis Mandylor is quite touching with his role.
Generally good acting from everyone.
The fight scenes are the most realistic i have seen in a very long time.
None of the one person beating up 20 people that has become tiresome this days in martial art movies.It also shows the rich character and morale fiber which is what the martial arts is about not just hammering people to a pulp like MMA tries to portray..
a strong message.
this martial arts film is also a film about about prejudice,hypocrisy,intolerance and violence.those are some weighty issues.and the film doesn't shy away from them.in fact,it wades right into them head-on.there is one scenes that depicts someone being savagely beaten.the worst of it isn't shown,but is is implied and you do hear it off camera.this is no fluff piece bu any stretch of the imagination.it's well done and doesn't sugar coat anything.but you get to see some touching moments as well.it would be wrong to compare this to The Karate Kid.they do both have similarities but this one has a much stronger message whereas in my opinion The karate Kid was more focused on the entertainment aspect.when you go into his film,expect to be jarred.for me,The Sensei is an 8/10.
Hard hitting in more ways than one.
This film doesn't pull any punches when it comes to calling its characters out on their prejudices.
It's title applies to many concepts beyond the simple idea of a martial art mentor as in Karate Kid. The cast is strong and clearly committed to this project that had its challenges in getting completed because if its tenacious story.
I have seen this movie at film festivals in New York and Dallas and saw many men and women be entertained, amused and deeply moved to tears as I was.
It is sometimes hard to watch the truth on screen and I wouldn't bring a youngster to see it though teenagers are exactly the age that does need to be exposed to this subject.
I also really enjoyed the extra features on the DVD because the cast speaks so honestly about why they did this project, about what it meant to them.
Their feelings about the subject seem to have inspired their acting which required many of them to play ugly characters, when the interviews reveal they are the opposite in real life..
An amazing story that should be heard by all..
I just finished watching The Sensei starring Mike O'Laskey.
It's a great movie with an amazing story!
It tugged at all my heartstrings.
Growing up in a super religious family, I related to so many emotions the character Mic portrayed.
The montage at the end hit me the most.
It's the part of the movie that I think Mic felt happiest.
He has amazing personality traits I feel we share in common: nurturer, protector, kindred, and accepting.
I used to work at a kids summer camp as camp counselor.
I loved interacting with them and tried to be the best role model possible..
Flashbacks are a tool, not a weapon.
I appreciate the thoughts behind this film.
It makes points, if you can find them, that need to be seen and said and realized and remembered.Following the story takes strong dedication as the numerous flashbacks injure the story and misdirect the message.Diana Lee Inosanto and Michael O'Laskey II are good but not exactly convincing and they should be.
Their fighting is more convincing than their acting.Sab Shimono and Emily Kuroda delivered realistic performances but they were mostly in the background.McClain's female friend needs acting lessons.I admire the take on hate, ignorance, and discrimination.This is definitely the opposite of a Hollywood movie, but that shouldn't kill it.
Regardless of the flaws, it's worth watching two or three times to see what's happening.
The ideas were worth making into a movie..
Questions?.
I was a extra in the movie as one of the young martial arts kids in the movie.
I was with the crew a lot of the movie and i saw a lot of the things that happened.
It was also a lot of work.
One day i was there we had to retake on scene like 6 times.
It was a lot of fun to meet all the characters in real life and to be with people that are in other films such as Michael O'Laskey who has been in 3 other movies and has been a character in Power Rangers, Star Trek, Otward Bound, and The Mr.Show.
All in all he was a very interesting guy.
If you have any question on the movie or anything you would like to know that you have not found on this website give me a call or text at 970-520-9107..
A very moving tale, well written..
This was one of the best movies of the decade as a drama.
Well told, well written, beautifully acted, nice twist.
An inspiring tale for many audiences and worth any persons time every second of the movie.
The transformation of characters engages the audience as the script progresses.
The martial arts in the scenes are well filmed and appear to be very realistic.
Seeing a female Martial Arts Teacher is inspiring for women of all ages and breaking stereo-types on many levels of race, sex, and sexual orientation.
The strength of the movie comes through on so many levels and is heartfelt.
It is the type of movie that I would recommend to young and old alike..
I had expectations for this film, as I went to see it with members of my dojo, including my Sensei.
It explored and broke boundaries in film and in the martial arts.
Dealing with AIDS not in a metropolitan area but in a small town, racial barriers, genders in the martial arts (an issue that is still very prevalent), and sexuality are all here.
Though the film takes place in the 80's, it has a timeliness to what is happening in the US today.
Problems aren't completely solved here.
But The Sensei gives us an idea of where we can start to go without turning into a Lifetime movie.
And it does look great.
Made by people who give a damn about what they're doing, instead of worrying about the paycheck..
A Movie that reaches out to my soul and shakes it to pieces..
Once in your life you come across a movie that you feel that was made just for you and no one else!
That movie reaches out and grabs your soul and shakes it to its core.
The Sensei is that movie for me.
I have never experienced a movie that touches more chords in my life at one time than this movie.
I too am an HIV+, openly gay, martial artist who struggles to attain his black belt and more importantly to find his way in not only the martial arts community but through life to find the happiness and peace the martial arts is supposed to help the practitioner attain.
Even writing this review I become choked up thinking about the all that both characters have gone through with their families, communities, and themselves.
I may be a bit prejudiced in favor of this movie but I believe that EVERY martial arts instructor should show this movie to their students.
The martial arts action is also quite real in its movement and outcome as the main fight scene indicates.
But it is not the physical battles that make this movie worth watching; it is the use of the martial arts to help the characters deal with and overcome their mental and spiritual struggles.
One of the best movies ever written. |
tt1024943 | Om Shanti Om | Set in the 1970's, Om Prakash Makhija (Shah Rukh Khan) is a junior artist in the film industry. He and his friend Pappu (Shreyas Talpade) are trying to become big heroes one day. Om's mother, Bela Makhija (Kirron Kher), inspires and encourages her son to become a hero. Om's whole family consists of junior artists. Om's love interest is the country's heart throb and the star of the film, Dreamy Girl, Shantipriya (Deepika Padukone).During the Dreamy Girl premiere, the pallu (scarf) of Shanti's sari gets entangled with Om's hand. Pappu steals an exclusive pass that belongs to Mr. Manoj Kumar to watch the premiere, but have to run out when the real Manoj Kumar appears. While being dragged out of the theater Om manages to get Shanti's attention and he swoons under her gaze.(He does this alot).During the shooting of film in which Shanti stars and Om is an extra, the set catches fire in an uncontrolled manner. Shanti is trapped inside the set and Om rescues her, hurting himself. After the incident, Shanti comes to thank him personally, and incidentally she overhears Om's love for her. They become good friends. Pappu says to Shanti that Om is a big superstar of south India film industry, and even calls her to watch him during a shoot. A hilarious scene of Om fighting the bad guys & a stuffed tiger in true South Indian style being shot by a fake crew occurs. However, the truth is revealed to Shanti that he is really a junior artist and not a big star. She tells him that she thinks that he is a star to her, and he can ask her to do anything he wants, except jump into a fire. He asks her to spend one evening together.Shanti comes to meet Om hidden in a muslim woman's burkha. Om asks Shanti to bring out her hand and ask for love to anyone she loves. After that day they often meet each other. Next day Om manages to pass security and tries to meet Shanti in her dressing room. He overhears that Shanti is already married to the producer Mukesh Mehra (Arjun Rampal). Mukesh first says that he wants to keep their marriage under wraps as a married heroine is not accepted in tinsel town. Mukesh also tells Shanti that he cannot officially accept this because a rich businessman is financing his upcoming film Om Shanti Om for which he requires 40 lakhs rupees. The truth is he is getting married to the daughter of the businessman. Shanti then reveals that she's pregnant & Mukesh is overwhelmed. Om gets heartbroken and tries to avoid Shanti.One night as Om is sitting near a set of Om Shanti Om he finds Mukesh and Shanti driving in to the set. Unknown to them, Om creeps into the set and sees Mukesh telling Shanti that he has decided to cancel the film and he is going to reveal his marriage with her to the public. He also tells Shanti that he will destroy the set after they have a marriage ceremony on it. Om hears all of this and leaves, unable to hear anymore.After Om is gone, Mukesh changes his behavior and he holds Shanti responsible for his financial loss and sets fire in the set of the film. Om sees Mukesh going away in his car & Shanti trapped inside, crying out for help. He tries to help her, but Mukesh's security guards beat him up. Even after the beating, Om tries to save Shanti by going into the set, but in vain. A blast occurs Om is thrown outside and he sees the set explode, killing Shanti. As he runs for help, he is hit by a car owned by Rakesh Kapoor (Javed Sheikh), a well known actor who was rushing his pregnant wife to a hospital. Rakesh takes him to the hospital, but Om dies.The film moves 30 years on after the incident. Om is reincarnated as Om Kapoor, son of Rakesh Kapoor, who was born right after Om Makhija dies and has a burn mark like the Om sign on his wrist (where Om had a tattoo). He is seen as a rising star, a star's kid, and a rich brat, who is also known as "OK". During the shooting, Om freaks out because of the special effects fire eruptions & it is revealed that he is terrified of fire.Om Kapur sees Om Makhija's mother running along side his car. He does not recognize her yet but she recognizes him. Deciding to move onto a new film project, he has his assistant set up a shoot for the next day. They choose the same burnt studio and set of the old Om Shanti Om. As soon as he sees it, Om gets the feeling that he has been there before. As Om visits the burnt set, he remembers everything about his past life. The Filmfare Award ceremony follows, in which Om wins best actor. During the party that follows, he meets Mukesh now Mikey, who has been a popular Hollywood producer for the past 25 years.Om goes to meet Pappu and Bela, Om's mother. He decides to remake the film Om Shanti Om with Mukesh as a way to trap him into confessing for his crime. During the audition for the role of Shanti, the crew meets Sandy or Sandhya, a look-a-like of Shantipriya who swoons the same way he used to swoon whenever he saw Shanti.Sandy is then trained to walk & talk like Shantipriya. Om lashes out at her when she starts laughing while she's reciting a serious dialogue. He then reveals is story to her & Sandy then says that she would've believed him anyway because she loves him.Om then takes Mukesh to the burnt film set (where he killed Shantipryia) to announce the beginning of the film. Here, Om tries to re-enact the whole murder with the help of the new cast of Om Shanti Om with a young actress who Mukesh often looks at with lecherous intentions. Sandy often appears to make Mukesh believe that Shanti has turned into a ghost & he begins to believe that he's going crazy.Later on at the launch of it's music release, Om does a song & dance number where he reveals the whole story. Suddenly a chandelier hits Mukesh's head, making him unconscious. After he wakes up, he finds there is no one in the set except him and Om. Om faces Mukesh and they started fighting. Mukesh reveals that he knows about the plan & his fake Shanti. Sandy appears and starts to speak lines which were not part of their plan, lines that nobody knew about. She reveals that Mukesh came back after burning the set to take care of her body and buried her underneath the set's floor even though she was still alive. Om realizes that she is actually Shanti's ghost when Sandy & his friends burst through the front door. The ghost Shanti kills Mukesh by making a chandelier fall on him. At the end, Om sees the ghost of Shanti tearfully bid him good-bye. She and runs up the stairs and disappears. It is implied that Om and Sandy (who was never the reincarnation of Shantipriya) get together in the end. | revenge, romantic, melodrama | train | imdb | It's not a better film than Main Hoon Na, but still a good job.In 2007, 3 months before OSO released; SRK unleashed the actor in him and kept the star away in a movie called Chak De India.
Shah Rukh Khan is on his own today, with perhaps Denzel Washington, as a leading man with infinite appeal and effortless charm, intelligence, humor and presence; a movie star at home with the all-time greats.Deepika Padukone is both a stunning beauty and a complete actress, incredibly, managing to match her brilliant co-star in comedic and dramatic range.Farah Khan is a director of extraordinary technical and artistic skill and the vision she exerts in Om Shanti Om is breath-taking.Leave your preconceptions about Bollywood aside and embrace a true classic..
Having just seen the heart rending Khuda Ke Liye, OSO was a reminder that life can be fun, filled with colour, love and laughter- and that even if you don't believe in punar janam, Bollywood movies thrive on the topic.SRK shows why he is the Shahenshah of bollywood, and ALL his friends show up-- there were more cameos in this movie than I could have expected.One must give credit to the stars who laughed at themselves with such good humour......even those who are supposedly currently at outs with SRK.Live, Love, Laugh!!
probably one of the most hilarious movies and I guess the best spoof ever made in Bollywood....Farah is not scared of showing Manoj Kumar, Dev Anand and Sooraj Bharjatya in bad light....this is what the new age bollywood movies should be...bollywood is slowly adapting Hollywood style of spoofing characters and movies (check scary movie series or epic movie)...but this movie is far better than the western counterpart....coming to performances SRK has delivered another master performance...
though not in the likes of Swades, Kabhi Haan Kabhi Naa and Chak de, it still would rank amongst his better performances...Deepika is camera friendly and looks sexy...she has also acted well considering that this is her first Hindi film..she is pretty confident in front of the camera..Kiron kher is excellent as over the top filmy mother...Shreyas is a revelation and is improving a lot...Arjun too has come up with a good performance...the movie could have been better in terms of direction/editing (second half) but the performances and spoofs make up for it....
Characters are a bit sketchy, plots get a bit contrived, and clichés abound everywhere, yet this movie passes the litmus test-because it is all about the timing too.Its a perfect package for Diwali - an entertainer and Srk-the country's' biggest brand(arguably)-the combo wont fail.I am not exactly delving into the story, for most people know what is needed.
I just wished the buildup was stronger, the meat in the climax was missing.Finally- The movie does fit the bill of a good entertainer- Paisa Vasool, will be liked by young and old, I wont be surprised if this does turn out to be the BO winner of the year.
India (Offbeat) and on other hand Om Shanti Om where he is playing to the gallery which came easily only to Shah Rukh Khan.Deepika has all it takes to be a top star the personality, the looks and yes, she's supremely talented too.
If you loved the unintentional hamming of the mothers of the 70s who would make the temple bells sway with their prayers,if u adored the sidekick cute buddies of the 80s who would always die in the end,if u loved the bell-bottoms of the past,if you enjoyed the over the top villains of the past and if you ever loved true blue Indian cinema in general,then this lampoon called OSO is made for you..And if you didn't like any of the above mentioned characteristics of the old Bollywood,then also OSO is for you...Khan is brilliant in the first half..Actually everything in the first half is fantabulous..Second half is okay and Shahrukh is so so compared to the first half..Second half picks up pace with the adrenalin rushing dastaan-e-oso song which is reminiscent to Karz' Ek Haseena Thi...Also the Madhumati inspired climax is a masterstroke....Deepika is great looking but doesn't have much to do..Shreyas has managed to match Shahrukh step by step..Kirron Kher is splendid as the Nautanki-prone momma...I will cut my views short and all I wanna say is Om shanti Om is Eccentric Cinema at its ultimate best
DO NOT MISS IT..THIS IS GOING TO BE SRK'S BIGGEST HIT.
The actual songs from the movie are not bad, and the costumes that the main actress wears are nice but that's the only good thing I can say about this film.
Mukesh runs to Hollywood and get's married there a multi-millionaire's daughter.But destiny has a total different story to tell
Om is reborn again after 30 years as a Super Star Om Kapoor (Shah Rukh Khan) and the destiny makes om meets Sandy (Deepika Podukone) who is a look alike of Shanti Priya.
The story and direction by Farah Khan is very good.Performance wise the film belongs to King Khan Shah Rukh Khan all the way.
Srk takes audience for granted and Farah will keep making such worthless tributes of 70's films and people will keep going to watch such stuff Sadly this is no MAIN HOON NAA either which was at least time passThis film is boring, boring and boringThe spoofs are dull, barring a few scenes most are so badly handled that you cringeThe first half is lifeless and can put you to sleep There is no story and no continuity in the film, the tempo keeps slowing down The interval point is also childish,While the second half seems a watered down version of KARZ and falls flat The sudden revelation to SRK after the song DEEWANGEE looks too sudden and the climax is too stupidFarah Khan handles the film too badly Music is good, some songs are goodPerformances SHAHRUKH is unbearable here, oh i agree it's a spoof so you have to overact, but he overacts so badly in both the halves that he gets to your nerves especially in the drunken scene where he looks gay, He overacts worse in the 2nd half, dual roles are not his cup of tea Deepika shows some sparks in first half but is bad in 2nd half Arjun Rampal is good in parts Shreyas is great Kirron Kher is bad, while Javed Sheikh and the rest are OK.
But when it comes to the happy ending of their saga, life takes a twist and an unfortunate event takes life of both Om and Shanti (I don't want to spoil the suspense plot here).While the second half starts with the current time, Om Kapoor who is raining superstar now is a star son of seventies superstar Rajesh Kapoor who was in a way involved in the story of first part.
That's the end of story.Kudos to Farah Khan that she was so right in making this film by including all the ingredients in the movie; be it comedy, romance, emotion, drama or suspense.
I liked her as Shantipriya (she looks great in the traditional Indian outfits than the Western stuff) but as Sandy she didn't impress me much (she didn't have much to do anyway).Farah Khan and Shahrukh Khan probably had a lot of fun in the making and they've certainly made something for all of us to enjoy.
well it was only Media's Bias a total biased Indian media made this movie look like a hit while its not even average so i request to media please try and be fair we have our own mind to think but we try to read reviews before going to theaters and waste money and time.
In this time of highly competitive bollywood, producing a movie like "Om Shanti Om" is nothing but a terrible mistake that affected reputation of many in the team.Copying the western style of humour, mocking legendary artists in an unfunny way (not that I'm against imitating artists) and filling up a song with tens of famous film stars could only create the hype for this movie but the conclusion was very disappointing.Farah Khan should take the hint and try to improve her direction skills and completely quit writing.
I went to this movie with my family after Diwali.This was my second movie which i went on November the first was "Jab We Met"(By the way me and my mother went for that).OSO is average.To me this should have been a Flop.To me this should not have been the no 1 movie that position should have been taken by"Jab We Met"that movie was really brilliant.The problem with this is that it is a style over substance movie.It does not have enough of substance.Story is not bad.The first half is set up in the Late 70s.It tells about Om who lives with his widowed mother.He is an aspiring.He has a friend named Papu.He falls in love with Shanti a film star.One day both are killed.Second half is set up in 2007.Both are reborn.Srk is Okay,Deepika is okay but i think the beautiful Sonam Kapoor should have won the best female debut instead of her.The script is bad.Cinematography is excellent no single mistake there.Sadly Srk becomes more commercial with this crap.But it is a good effort.The music is wonderful.The best sequence was the"Deewangi Deewangi"song.That what gets it a 4/10 i would have gave it a 3 otherwise.
First of all there is many haters for this movie But i loved the movie It have good songs and have an excellent story bi Farah khan.The movie shows the pain and returns of Love.Om Prakash Makheeja the early 70's junior loves the super star and dream girl Shanti Priya,After that he realizes the truth and he so only get murdered.The climax was good and we will love it.End credits was also a different one.The movies plot was written by Farah khan which we early seen as the choreographer.But in the movie we see her as a director.Movie is such as a fantasy story.But she can make it as a awesome colorful,musical,romantic movie every one will love to watch this movie.
what a disgusting movie.why do people waste so much money in making such a trash and again why do people waste so much money in watching such a trash!!!!!!!!!!!!!!mindless cheap entertainment.3hrs of who knows what!!!!all spices blended into one recipe.even the advent of a disgusting ghost at the concluded scene.whats anybody going to gain from such a crab?a money loving auspiciously incapable actor/producer only searching for even more money and some insensible uncultured fans flocking for some few hours of cheap entertainment and self-realization.the only good point of the movie.it highlights the success formula in present world.MARKETING AND MORE MARKETING.it can make u rich even without any substance..
In the end, we always count on the actor, sometimes not taking much account of the direction.Therefore, I would not recommend anyone to watch this movie if you're looking for some intense performances or a good story.
I must give credit to Farah Khan for making a movie on the film industry but it was a let down to me since Main Hoon Na was an much better masala flick yet it had a sound script..
I never knew that this movie would end as a horror stuff now..Some positive aspects about the film- Deepika looks good and Arjun Rampal has proved a point.
The cameos of prominent stars throughout the movie adds to the fun factor of the movie.The movie offers light-hearted entertainment, several enjoyable songs, and some good performances; especially from Shahrukh Khan and the débutante Deepika.
I think the film is OK, as said had the potential to be 10 stars.There is good acting from most of the cast, but the story did drag on a little...the first half of the film was excellent, good performances, every second of the first half was good, no scene was wasted it was full of emotion, lots of laughter, and overall seeming to be a very enjoyable movie!
Moreover, while I have watched movies starring Bollywood King Shah Rukh Khan, I have yet to see him in action on the big screen, so this provided the best opportunity to do so.And he's not called The King for nothing.
Om Makhija's fantasy sequences with many beautiful costume changes during his scenes of courtship is memorable, but even audacious was Om Kapoor's superstar-like performance with entourage of scantily clad blondes (yes, you read that right) in Dard-E-Disco, where you'll get jealous watching Shah Rukh's well toned abs, and remind yourself to hit the gym more diligently.But what made Om Shanti Om truly enjoyable and stand out, is its almost self-deprecating jokes that it cracks on the industry, the movie it makes and the studio system, but then, it's really a celebration of their cinema and how far they have come.
There were the obvious self-indulgent moments like the post- awards ceremony party, where you'll realize why the opening credits had a huge Thank You list to the Who's Who in Bollywood - having appearances by the stars in one 10 minute segment, is a real treat and a good introduction to rookies like me, who become interested in trying to figure out who they are, besides the recognizable few from movies I've watched before.
on the very first Friday,this one's sure is living up to what it was anticipated to be.Very much a Shahrukh Khan potboiler.Farah Khan proves yet again that she is better off in the choreography arena only.The movie lacks a script altogether.But having Shahrukh Khan as an ambassador can do wonders for any waste product,which he surely has done to this flick.Deepika Padukone looks stunning in this one.A nice launchpad for a Badminton champ's daughter,who's bowling over some of the cricket champs in India(not quite literally).Shahrukh Khan may be the most bankable star still,but this movie is no Swades,and so no Oscar rumours this year(and don't I thank all the Gods for that!).An entertainer throughout,go watch Om Shanti Om for fun in the evening,but don't forget to leave your brains at home!.
However Arjun Rampal does a great job performing in his negative role, Shreyas Talpade did a good supporting actor role, not impressive but good enough, Shahrukh Khan pulls off a near or slightly above average performance (mainly due to some solid acting in some emotional scenes), while the new actress, Deepika Padukone, starts off her career in mediocre acting, but much can be expected out of her in future.This movie, If I'm to conclude, was pure 'Masala' (for those who would just love to watch this move for the sake of cheesy and attention seeking songs with loads of guest appearances by celebrities and spiced-up special appearances).
I just went yesterday to watch this movie yesterday with my family expecting it to be a good entertaining movie....it turned out to be anything but that....yes there 2-3 scenes which stand out such as the Manoj Kumar scene...also when SRK pretends to be a big South Indian star and Akshay Kumar special appearance at the award ceremony is amusing....Shah Rukh khan gives a good performance in this typical mas ala movie....
newcomer Deepika Padukone gives a decent performance....and looks the part....Farah khan like her last movie main ho on Na tries to put everything into the movie which makes it look a bit rushed...the movie borrows from movies as Karz ( the 'Om Shanti Om ' track is included in the movie ) also karan arjun...the director tries too hard...all in all it was disappointing ...go only if you are a die hard SRK fan an i know there are many!!!
Great movie to watch if you don't expect any stories and if u like real-nonsense fun .
Farah Khan's 'Om Shanti Om' is easily one of the most entertaining films in recent times.
This is the second movie with Shah Rukh "King" Khan that has been a tremendous hit, the other being "Chak De India." "Om Shanti Om," the title based on the early 1980's song from Subash Ghai's "Karz," has Om, a junior artist in the 1970's Bollywood who has dreams of becoming a star.
The movie stars Shah Rukh Khan, Deepika, Kirron Kher, Arjun Rampal and Shreyas Talwade and the Pakistani actor / Director, Javed Sheikh and Bindu.Directed by Farah Khan, the opening sequence, consists of the song "Om Shanti Om" from the movie "Karz" and a very young Rishi Kapoor can be seen in the song along with the Director of the movie, Subash Ghai.
Shah Rukh is just fantastic in his role as "Om." Deepika, considering that this is her first Hindi movie, has also performed well, as have Kirron Kher, Shreyas Talwade and Arjun Rampal.
OSO is a mediocre film.The film got lots of surprises to choke you..The film starts well with good scenes and simulation to Old period.The first half of the film is decent with good comedy scenes and the Director really created exceptional images of the 70s and 80 s.The film features everyone.Everyone know the song "Deewangi" features 30 stars but other than that,the film also features Amitabh,Hrithik,Abhishek,Akshay and in fact every star in the Bollywood fraternity.This mas-ala is the saving grace for the film.The first half ends with an extraordinary twist.And in the second half,we see the 6 pack Khan.From Jeetendra to Hrithik,Shahrukh was present in everybody's character.Second half is entirely different.It is in fact out f reach.No one could ever think that OSO have a second half like this.Deepika Padukone is really a star,She is definitely the next superstar.She got the looks and she performed well.Arjun Rampal did well in negative role.The climax must have been dealt better.Music is very fine.And,the Background score by Sandeep Chowtha is fine.Well,Om Shanti Om works only because of the hype and mas-ala that is part of SRK films.I was surprised by the ratings given to this film.The script is weak.Yet,the film provides entertainment.It is a time pass film.And,all the mas-ala and jinx kept this film in the hit category.But the film doesn't deserve to be a huge hit.. |
tt0469021 | Alan Partridge: Alpha Papa | Norwich radio station North Norfolk Digital is bought out by a multinational conglomerate, with staff members facing redundancies. DJ Alan Partridge is not concerned, but fellow DJ Pat Farrell convinces him to gatecrash a board meeting to persuade the new owners not to fire Pat. When Alan discovers that either he or Pat must go, he urges them to fire Pat, and writes "JUST SACK PAT" on the room's flip chart.
During a company party, Pat enters the station with a shotgun and holds the staff hostage, demanding his job back. The police enlist Alan as a negotiator, and he builds an uneasy rapport with Pat; with Alan's co-presenter Sidekick Simon, the three host a radio show during the siege. Alan daydreams of ending the siege heroically, but cannot bring himself to grab Pat's gun. As the siege becomes national news, Alan's assistant Lynn is persuaded to ditch her frumpy style for a TV interview, Alan's ego swells because of his pivotal role, and he shares a kiss with his colleague Angela.
Alan accidentally locks himself out of the building and loses his trousers trying to get back in through a window. The police realise he is an ineffective negotiator and send in an undercover officer disguised as a pizza delivery man. Alan interrupts and takes the pizzas in himself. When Pat discovers a taser in one of the boxes, an argument erupts between the hostages and the police burst in. Pat escapes in the station's tour bus, taking Alan and security guard Michael.
On the bus, Alan regains Pat's trust and they continue to host the radio show. However, Pat sees Alan's "JUST SACK PAT" message in a photo and deduces that Alan was behind his redundancy. Alan hides in the bus toilet compartment and escapes in the septic tank.
On Cromer Pier, Pat faces off with Alan and the police. Michael tries to distract Pat by throwing himself off the pier; he is never seen again. Pat tells Alan that he is depressed due to the death of his wife and prepares to shoot himself. Unable to pull the trigger, he gives his shotgun to Alan, who throws it aside. The gun goes off, shooting Alan in the leg; he is then shot again by a police sniper reacting to gunfire. Lynn arrives and thinks Alan is dead, but a paramedic assures him that he will be fine.
Alan returns to North Norfolk Digital with Sidekick Simon and Pat calls the show from jail. Alan goes on holiday with Angela and her sons. | revenge, comedy, satire, suicidal | train | wikipedia | The film contains all the best characters from the TV Series and Steve Coogan's brilliance as Alan just made the film so funny.
Everyone in the cinema was laughing out loud throughout the full 90 minutes.There is also a great sound track and lots of familiar tunes and the scene during the credits will have you laughing throughout.Excellent film go and see it even if you are not a Alan Partridge/Steve Coogan fan because it is a generally funny film..
So, overall it's pretty funny but like all cinematic versions of British TV series, a little frustrating overall; although in fairness, it's one of the better attempts but probably only due to the genius of the Partridge character..
When I first discovered the premise of Alan Partridge: Alpha Papa, which is a siege of the North Norfolk Digital building by a disgruntled former employee, I was concerned that, like many big screen adaptations, Alan Partridge was departing from its humble, unspectacular roots.By half way into the film, my concerns had unfortunately been confirmed.
Cinema was packed at the 21:30 showing (full of men with a few women that had been dragged along - i bet they actually loved it really) and everyone was laughing out loud and tittering every couple of minutes.The plot worked - initially i thought it wouldn't be able to maintain itself for the films length but it was like an awesomely long episode of Alan.
In the series, i always thought the supporting cast were quite funny, especially Michael, but in this adaption, Alan was the only one getting laughs.But, this film is definitely a solid 8 for me.
It's almost constant; one liners, funny voices,crazy faces, witty remarks, smart references.It is an enjoyable story which shows how something as simple as a dj's grievance over losing his job can create a barrage of laughs.Yes, it isn't Coogan's best work, but was good to see Alan Partridge in a motion picture.
So, unlike many viewers, this is my first time and I cannot compare the movie with the show.The film begins with some corporate folks coming to the radio station where Alan (Coogan) works.
In fact, as the film progresses, you really see that this is Partridge's #1 goal.This movie is a very funny and EXTREMELY dark comedy.
There is a long and far from noble history of British television comedy shows 'spinning-off' into cinema release feature films.It was an extremely popular exercise in the early to mid 1970s when On the Buses, Till Death Us Do Part, Are You Being Served?, Bless This House and a host of other popular television shows were given the big screen treatment.Invariably, the transitions were pretty cringe worthy.
The result was an over-extended but far from execrable film which proved commercially successful and paved the way for more to follow.It is on this background that Steve Coogan has resurrected his egregious creation, the broadcaster Alan Partridge.Originally a character created on BBC radio, Alan Partridge came to greater public attention in the ground-breaking 1994 television comedy series, The Day Today.
When Steve Coogan took an unnecessary swipe at the David Brent character in the media, it was difficult not to be drawn to the conclusion that there was professional jealousy at its root.Twenty years on, Alan Partridge: Alpha Papa, finds him working for North Norfolk Digital Radio.
But if you want to see him at his best, I suggest you get the box sets of The Day Today and Knowing Me, Knowing You. Alan Partridge: Alpha Papa is a pale shadow of these classic comedies..
Reviews of Alpha Papa by long-time Partridge fans seem to be fairly mixed, which is surprising to me as I think it easily ranks alongside some of his best stuff since he first appeared back in The Day Today.
There have been a couple of misfires along the way (the documentary Welcome To The Places Of My Life being probably the 'worst' Partridge thing ever in my opinion, and I also thought the book tried a bit too hard to be funny) but Alpha Papa is more or less a joy from start to finish.
This was very surprising as Steve Coogan/Alan Partridge has done such a fantastic job down the years of limiting his output & thus placing any new stuff at a huge premium for avid fans like myself.
Every component working at maximum efficiency, with very few bumps along the way that the British precision engineering couldn't withstand and steer back on track.With Alan at the steering wheel, hands clad in functional leather driving gloves and sporting the attire of a top gear presenter circa 5-10 years ago, he is in control of his vehicle (like said top gear presenter) and delivers almost all of the movies best lines, which are all very quotable additions to the ever growing compendium of partridge-isms.
Anyway, you have to be a fan of the series to enjoy the film.Round-Up: Steve Coogan has been on the big screen quite a lot lately, and this movie was made from popular demand, so there is a market for it.
I myself am a big fan of the character and Steve Coogan in general and in my opinion this is one of the best film's he's ever been a part of.
The silliness of this story is so big, it overshadows the few jokes and since almost everything happens at just one place, it really drags.I don't get it: why not make a good movie using the successful concept of the original TV series, which made Alan Partridge and Steve Coogan so famous, with Alan as a TV host, interpolated with some moments of his private life?
I am a big fan of the TV shows and have seen and own the 'Knowing me Knowing you', and 'I'm Alan Partridge' series multiple times, as well as appreciating the Brass eye days.
Tim Key, Montagu and others all provide good support, but Coogan is the whole deal and all is well when the focus is on him.Alpha Papa isn't as great as it could have been and it certainly will not challenge the TV shows for quality, but it is a solid film version, albeit one that is best when it shuns the film narrative and gets close to the human monster of Alan Partridge..
Nothing to report home about other than a ranting middle-aged man working on a radio station who cares about getting a promotion and is confused whether to be real with himself and, in the film's scenario, protect the hostages or fight against a psychopathic recently fired radio presenter.What made Alan Partridge great was the uncanny dialogue and wit about him and this film offers a lot of his bizarre sense of humour but it cannot suffice for very long once the film wears thin and shifts gear into a Quentin Tarantino-esque and slightly frustrating film of long- winded dialogue and bizarre stop-start moments.
However, Magicians is its own product not based off a TV series but Mitchell & Webb are known to be on Peep Show which I do like and I hardly watch Harry Hill's TV Burp to say the least and an open mind might help make it good (like it was for Alien Autopsy, Mr. Bean's Holiday, Hot Fuzz, The World's End, and Kevin & Perry too, films with TV-based actors in them) I do have a sense of humour and Alpha Papa delivers in its first 15 minutes (with some knock- out jokes mocking film snobs and a nationalist party) but when the film shifts gears and becomes generic, so does Coogan's performance as the entertaining, idiosyncratic character himself.While the film may appeal to loyal fans, it did not appeal for me and I am sorry but Alpha Papa, with the anticipation it had and the weak, strange delivery it provided, I cannot recommend it and for those who have never seen Alan Partridge before, this will surely disappoint and provide a few chuckles to the uninitiated.One key difference though that made Men in Black 3 worse than Alpha Papa was because I have seen the MiB films since childhood, I was only a fan of Alan Partridge and Steve Coogan since around 2010.
Two decades ago, Coogan was still in his 20s when he was inspired by the likes of Alan Titchmarsh to create Partridge.In Alpha Papa, Partridge works for a Norwich based radio station which has been taken over by a new corporate that intends to fire some of the fuddy duddy presenters.One of the sacked radio presenter is so aggrieved, he ends up going to the radio station with a shotgun and takes hostages.
It's never sat well with me and I like to disregard anything after I'm Alan Partridge Series.In fact it seems that Coogan himself has lost track of the character's history as much of this film is completely out of whack with previously established AP.
However, much of his fame came from spoof radio DJ Alan Partridge, so a film about the man from Norwich is a safe bet.I have to say I didn't think much of the opening and was wondering what I had let myself in for, but, if you give it about half an hour, the jokes start flowing freely and you'll find yourself laughing out loud more often than not.If you've never seen Alan Partridge, you should be warned that it's an odd type of humour and maybe you should dip your toe into the various Partridge TV series if you're not too sure whether you'll like it.
Alan Partridge is just a movie simple fun to watch, I didn't expect nothing more than that, and otherwise was more than I expected, I have a really nice time watching it, very good laughs with not complicated plot but nothing stupid neither (You know in the moronic style), I appreciate Steve Coogan give a twist on the same old clichés on this kind of movies, You expect something but the movie deliver other stuff, mostly with good results, it was in some way "refreshing", Coogan shows he respect us as an a clever audience, and the good writer he is, very keen and sharp, and his performance was on the same style, he fit perfect the character, the cynicism of Alan Partridge give us some of the most funny parts of the film.I'am not going to tell details of the movie, I'm just going to tell you, if You like British comedy, and want to pass a good time, this movie can give you that, it doesn't matter that You don't' know Alan Partridge's TV series, You could watch it the same, I did.
I must start this to say I do really like Alan partridge the series but this movie just seemed like an unneeded money making film.
I think the problem is the character, who is just too stupid, you cannot empathise at all with him...Steve Coogan is a one dimensional actor, see The Look of Love, it's Alan Partridge again playing Paul Raymond.
Or maybe Steve Coogan just forgot how to make us laugh.Whatever the cause, the result is Alan Partridge: Alpha Papa isn't funny.The premise is reasonable and has potential, but the execution is lacking.
Farrell adjusts to life on the outside very badly and resorts to an armed siege of the radio station taking most of the staff hostage with Partridge becoming the go-between for the police.Good idea, set-up for great comedy and completely squandered opportunity.My guess is Alan Partridge: Alpha Papa isn't selling well.
I suspect though that this film would have seemed funnier in the company of an audience at a cinema rather than watching it, as I did, on TV in my living room and I think I laughed more at some of the half hour TV episodes rather than this 90 minute feature.Nevertheless, it did still further cement the Parttridge character as one of the most memorable of British comedic creations and if he comes round again, I'll certainly look in on the old guy and his misadventures..
It's nothing outstanding, but it definitely brings in several big laughs, Steve Coogan is the highlight of the movie, as he seems completely dedicated and still very happy playing Alan Partridge, a character he has been portraying for several years now.
It's a very average comedy that is worth a watch if you have some time to kill, but you certainly shouldn't be going out of your way to see Alan Partridge: Alpha Papa.
I thought it would be a moderately enjoyable piece of cinema but it has turned out to be the best comedy film I have ever seen and I cannot remember many films that I have enjoyed much more than this one.It was a good choice of plot and was often laugh out loud funny.
Credit to all those involved in the film including the actor Steve Coogan (Alan Partridge) who was excellent in his role.
So I have to say i'm alan partridge & saxondale are up there with the best I hated smack the pony but liked the parole officer i have open minds to all movies & humor but steve coogan does it so well & I think he should be awarded something to show that he has still gt it!Hail to the king...
Sorry but I didn't laugh once.I like Alan Partridge the TV series but I cannot see why so many seem to find this film funny.
From the first minute to the last, the film is entertaining, funny, and packed with the things that made I'm Alan Partridge as a TV series great.The recurring characters of Michael and Lynn are back, and Colm Meaney's performance as Pat Farrell is excellent.
It ticks all the right boxes in terms of laughs per scene but really it's all on Steve Coogan's head to make a silly set up work.I can see the fascination with the character and the film, but for me I didn't find it that funny or indeed that engaging.
Whether or not this will please fans of Partridge is one thing that is important about this, I believe it will but of course there is only one way to find out, go watch it.Now Steve Coogan not only plays classic old Alan with his legendary remarks and basically the same old stuff we expect(but funnier maybe), he also helps write the script.
It gave this a whole new sense of realistic comedy because you don't always know the actor involved and even if you do not so well so it seems much more original and shows that with the right people behind the helm, any cast can be good.Now a lot of credit goes to Armando Iannucci who comes in again to write this(among others including Coogan) to create that air tight script and bring Partridge to the big screen in a very well done way.
Now to be honest the world of DJ's is hardly the most exciting of worlds to explore, but that is what makes this so good, it rips off the cliché way in which radio DJ's do it and then adds a plot like this and mixes it together and makes it just plain funny.Another key to watching this is to hear Partridge out, or even hear Coogan out as sometimes he talks just a little too fast and the voice he puts on is not always the easiest to hear, but if you focus a lot on him, you will laugh your head off.
And so now comes one of the great British comedy characters: Alan Partridge.
There is a particular dig at Radio One, Nick Grimshaw style radio shows that pander to the youth market.Alan Partridge: Alpha Papa is a solid British comedy that has its moments and it will please fans of the character.
That doesn't mean that it isn't very good far from it in fact, at times this was very funny, but you have to remember that Alan Partridge was created by Steve Coogan firstly to make cameo appearances on a radio 4 spoof news show, his appeal was such though that this quickly escalated to him getting his own spoof chat show on BBC 2.
Pat takes this especially hard and ends up taking everyone hostage and will only communicate to the police through Partridge, and that is when the comedy/mayhem ensues, and like I said a couple of paragraphs ago there are some extremely funny laugh out loud moments in this film, and when it works it really works, whether it's when they find Michael who has spent the last 3 days living in a cupboard only for Partridge to proclaim "you're just like a big Geordie Anne Frank" or when he slaps a someone with his glove in the style of a Nazi officer but I just can't help thinking that I would have laughed more by watching 90 mins worth of the original I'm Alan Partridge TV show and considering you are expected to pay over £10 per ticket to go to the cinema nowadays it probably would have been the cheaper option.www.whatwouldwhippetdo.com.
Steve Coogan is great as Partridge; a character who is fun to watch even if he isn't exactly easy to like.
Alan has to mediate between Pat and the Police.I'm a big fan of the TV series, it's always a worry how well a TV comedy translates to a film.
Coogan is a fantastic actor, and Alan Partridge has been a big part of comedy culture for many a year.
Directed by Declan Lowney, "Alpha Papa" stars Steve Coogan as Alan Partridge, a mean-spirited radio presenter.
As a have never seen any of his TV shows I was expecting Alan Partridge: Alpha Papa to be another rubbish TV to film spin off like The Sweeney last year. |
tt0238463 | Timequest | On the morning of November 22, 1963, a seventy-something man (Ralph Waite) who wears spacesuit-type clothing materializes in the hotel suite occupied by Jackie Kennedy (Caprice Benedetti). The Time Traveler shows Jackie future television footage of the assassination and funeral of John F. Kennedy (Victor Slezak). Shortly thereafter, the Time Traveler speaks to the president and to Attorney General Bobby Kennedy (Vince Grant), giving them details of their respective assassinations and of the public revelations of JFK's sex scandals. The Time Traveler, knowing Bobby's ways, won't state his name or his birthplace, but does mention that he was born on this day. The Time Traveler asks Jackie to dance with him; she does. (The Time Traveller is obsessed with Jackie Kennedy.) The Time Traveler and the three Kennedys drink a toast in the hotel suite just before 12:30 pm, which is the time that history is definitely changed (JFK is shot-JFK is not shot). At 12:30 the Time Traveler turns into nothingness, and the lead-crystal glass that he was holding, drops to the floor and shatters. Bobby finds a piece of glass with the Time Traveler's fingerprint on it. Lee Harvey Oswald (Jeffery Steiger) is captured, taken to Washington, and gives much info to the Warren Commission; as a result, the CIA is disbanded. Meanwhile, Bobby Kennedy is determined to uncover the Time Traveler's identity, but Jackie exacts an iron promise from Bobby that the Time Traveler-wouldbe will never be harmed. As it turns out, the Time Traveler-wouldbe is Raymond Mead (Joseph Murphy). At sixteen he commits a burglary, is arrested and put on a prison bus; his fingerprinting enables President Bobby Kennedy to know the Time Traveler's name. President Bobby has the teenager pulled off the bus, he talks to the kid, and he gives Mead a full pardon. Years later, when Mead has become an artist, an elderly Jackie buys many of his paintings. In 2001, after JFK dies of old age (and Jackie is already dead), youngest son James Robert Kennedy (Rick Gianasi) explains to Mead why the Kennedy family has been so generous to him. | alternate history | train | imdb | null |
tt0033627 | 49th Parallel | U-37, the first German submarine to reach Canada, sinks a merchant ship in the Gulf of St. Lawrence, then runs for cover in Hudson Bay. Captain Bernsdorff sends men ashore to capture a trading post - just before U-37 is destroyed by an RCAF bomber. Lieutenant Ernst Hirth, eager but inexperienced leader of the shore party, (comprising his resentful deputy Lieutenant Kuhnecke and the sailors Vogel, Kranz, Lohrmann and Jahner), follows his orders regardless. In the trading post, the Factor is updating French-Canadian trapper Johnnie Barras (just back from eleven months in the wild) on the outbreak of war when Hirth and his men burst in, injuring the Eskimo servant, Nick. After an edgy night, a radio ham from Grand Rapids, Michigan, calls up for his regular chess game with the Factor and Johnnie shouts an alarm into the microphone. Jahner shoots him, and he later dies. Knowing that a seaplane will come to the post to investigate, the Nazis plan to hijack it and fly to the neutral U.S.A. They take the plane (with much loss of life), but Jahner is shot by an Eskimo marksman as it takes off. Kuhnecke misjudges the plane's fuel reserves and dies when it crashes into a lake, still well north of the 49th parallel. The four survivors come upon a Hutterite community of émigré Germans, led by Peter. The gentle Vogel befriends the fifteen-year-old Anna and, impressed by the community's spirit, volunteers to bake its bread. Hirth takes the Hutterites for secret Nazi sympathisers and openly appeals for their help at a general meeting, where Peter angrily refuses him. While Hirth, Kranz and Lohrmann prepare to move on, Peter persuades Vogel to stay on as the baker. But Hirth returns and summarily executes him for desertion. The three Nazis reach Winnipeg, and learn that the Mounties are on their trail. They set off for Vancouver, intending to take a Japanese boat to Russia. Mounties suspect their presence at the Indian Day celebrations in Banff, and Kranz is arrested when he panics and reveals his identity. Hirth and Lohrmann proceed on foot across the Rockies and stumble into the camp of Philip Armstrong Scott, an English aesthete and academic researching the history and culture of the Blackfoot Sioux. They respond to his hospitality by burning his paintings, books and research notes and tying him up, but he breaks free and captures Lohrmann. The wounded Hirth hops the freight car of a train heading for the U.S. border and overpowers fellow stowaway Andy Brock, an AWOL Canadian soldier. The train halts at Niagara Falls and Hirth identifies himself to the U.S. customs officers, demanding to be taken to the German embassy. But Brock persuades them to classify himself and Hirth as "improperly manifested freight" and to return his carriage to Canada. Now disarmed, Hirth is no match for Brock's fists... | murder | train | imdb | After a short while their plight becomes known and the whole world is watching to see which nation, Canada or Germany, can manage to win the metaphorical battle.The most interesting thing - considering the movie as propaganda - is that Powell's intended audience was the United States: he wanted to get that country involved in the war, or at least get the people of that country to support the war.
For American audiences, it's disturbing to visually search for the international actors like Laurence Olivier, Leslie Howard and Raymond Massey scattered throughout the film.
As the film starts with the magnificent mountain scenery and Eric Portman's fantastic introductory speech ("shook hands on it and kept it ever since...", "the 49th parallel, the only undefended border in the world...") you seem to be immediately transported into the spirit and persuasion of this exercise in trying to convince all Americans, not just Canadians, that they should join the fight, their place is with all the others, Europeans, British, French, all peoples under the Nazi yoke..
These aren't cold, immoral monsters, but ordinary people, swept up in euphoric Nazi ideology and pining for the simpler life they can barely remember.When a German submarine is destroyed in Hudson Bay, Canada, the surviving Nazi soldiers led by the fiercely patriotic Kommandant Bernsdorff (Richard George) must navigate their way across the country into the then-neutral United States of America.
But these Canadians, as placid as they first seem, can surely recognise fascism when they see it, and each of the soldiers is picked off one by one, like the characters from a war-themed version of Agatha Christie's "And Then There Were None." Among the unwitting local patriots is French-Canadian trapper Laurence Olivier a caricature but an entertaining one anthropologist/author Leslie Howard, and grinning deserter Raymond Massey, each of whom shows the Nazis that they're dealing with an enemy whose sheer spirit overshadows all of Hitler's armies combined.The film was apparently intended as a tribute to Canada's involvement in the war, and perhaps as was Hitchcock's 'Foreign Correspondent (1940)' a call-to-arms for the then-isolationist United States, who would hold back until the Japanese attack on Pearl Harbour in December 1941.
In Powell's view, the war is not just about democracy against dictatorship, but also liberalism against authoritarianism, individualism against conformity and, above all, pragmatism against idealism.The way the conflict is illustrated through the German sailors' encounters with diverse Canadians is subtle, intelligent and highly effective.
By bringing the production to Canada, Mr. Powell achieved a coup by shooting the film in locations that show the majesty of the country.In a way, "49th Parallel" shows the difference in ideology from the stranded Nazis with the friendliness and openness of Canada.
Michael Powell and Emeric Pressberger's artistic collaboration at the start of WWII benefits from a powerhouse cast.Clearly propaganda, the cast and crew apparently came from all parts of the world to lend their talents for a "mutual cause." With strains of Ralph Vaughn Williams's score woven into the cinematic fabric, Pressberger's elaborate story is expansive and involved.The Oscar nominated film is worth watching, and it's interesting to see Raymond Massey's speech as a G.I. so very Yank-oriented, without a trace of the mannered style he later acquired.
Although the Hutterite leader (nicely played by Anton Walbrook) is made to give some sententious speeches about freedom, the whole episode is very sensitively played and really makes us feel we have set foot inside a Hutterite commune.Walbrook and Glynis Johns (as a young Hutterite girl) give the best performances, along with Raymond Massey as a Canadian AWOL soldier who discovers his conscience when it is really needed.The Germans seem like stage-brutes, but it would be unreasonable to expect the subtlety of "Das Boot" in 1941.
William Wyler's "Mrs Minniver"(1942),Fritz Lang's "man hunt" (1941) and "hangmen also die"(1943),Alfred Hitchcock's "foreign correspondent"(1940) and "lifeboat" (1943),Frank Borzague's "mortal storm"(1940),Howard Hawks's "sergeant York"(1941)in America,Michael Powell ,but also Alexander Korda("that lady Hamilton"(1941)) in England ,no to mention Russia (SM Eisenstein)or France (Marcel Lherbier's "entente cordiale" (1939)).To be precise,one should add that Powell's masterpiece " a matter of life and death"(1946) (stairway to heaven) was also a commissioned work "to sweeten the US/England relationship".When a movie brings something to heart and mind,it transcends propaganda and can become a work of art.Leave the term to Leni Von Riefenstahl's "Triumph des Willens".Powell's movie is absorbing,it literally grows on you: during the first fifteen minutes you say to yourself:"another war movie" but further acquaintance shows this:Michael Powell is an auteur,a pacifist ,and he knows cinema can be a powerful tool because of its popularity.Barely realist,it sometimes becomes some kind of fable road movie.Violence is thoroughly absent except for the beginning and the execution .The movie is full of extraordinary scenes:Sir Laurence Olivier dying,clutching his rosary;the German Christian community -influenced by Frank Capra's "lost horizon"(1937) but the atmosphere of which predates Peter Weir's "witness" by forty years-the long dialogue about democracy:here,Powell puts a question over the notion of "native country" no less;this recurrent picture of kneading trough which epitomizes not only the daily bread but also the new values the children who escaped from crumbling Europe can share;the gigantic gathering of white and red men where a mounties man asks everybody to scrutinize his neighbor's face,in order to find the enemies,a sequence to rival the best of Hitchcock;Leslie Howard,the educated man,who loves Matisse,Picasso and Thomas Mann,whose works he proudly keeps under his teepee;the finale at Niagara falls on the trainor how to find a pacifist solution.Besides,the movie completely avoids pathos and grandiloquence by a very mundane last line which Billy Wilder would not disown.A movie where the stars do the supporting cast job:Sir Laurence Olivier only appears a dozen of minutes (love his "alouette,gentille alouette" tune);anyway,before he shaves ,you hardly know him;and ditto Leslie Howard,but his character is so endearing you'll remember him even if it's a ten -minute part.One ceaselessly rediscovers Powell (not forgetting his first-class scenarist Pressburger)and it's only the beginning.Most of his works are crying to be seen.If propaganda means conveying a message of love,peace and understanding,you can call most of his movies so..
Six German officers are stranded on Canadian soil after their sub is sunk in the Hudson Bay. As they travel across Canada trying to make their way to neutral US territory, they interact with a wide variety of people, many of whom fled Europe during the first world war and paid dearly for their freedom.
The title refers to the border between the U.S. and Canada, which is immediately identified by the narrator as "the only undefended frontier in the world".Enter a German U-boat, which gets sunk in Canadian waters, while six Nazi soldiers look for food and supplies on land.
Olivier's cameo is particularly shameless with an overripe accent that portends the hamminess of his twilight career roles, while Howard's has a touch of ironic poignancy given his death from a German fighter attack soon after production was completed.The most interesting passage occurs when the soldiers happen upon a Hutterite farming community in Manitoba, an Amish-like oasis of pacifist civility that must have served as the inspiration for Peter Weir's "Witness".
There is evidence of Powell's and Pressburger's compelling cinematic style in various shots (like the plane crash sequence), and revered British composer Ralph Vaughan Williams composed the atmospheric score that beautifully underlines much of the action.For all its good intentions, however, the film is compromised by a narrative that rarely inspires and other than the Nazi portrayals, characters that often seem cardboard-thin.
The movie's piece de resistance is the scene when the escaping U-Boat's crew have stumbled across a community of Canadian/German immigrants, and wrongly assume that they are supporter's of the Nazi regime that they have in fact fled from.
This is a marvelous, atmospheric film about Nazis who escape a downed submarine in Canada and seek to make their way to the U.S. On their way, they cause a lot of damage and suffering, stealing and killing to get whatever they want.The name actors who appeared in this took pay cuts - Laurence Olivier, Leslie Howard, Anton Walbrook, and Raymond Massey.
Along the way, they come across situation after situation that challenges the Nazi premise and causes the crew to gradually unravel.The film is really a series of vignettes, each featuring a well-known star at its center -- including Laurence Olivier (hilarious as a French-Canadian trapper), Leslie Howard and Raymond Massey.
In Michael Powell's war thriller, "The 49th Parallel," a small squad of Nazi soldiers is stranded on Canadian soil after their ship is destroyed, so they decide to trek south in order to seek political asylum in the United States (which has not yet entered the war).
In supporting roles, Leslie Howard appears as an art-lover/outdoorsman; a teen-aged Glynis Johns impersonates a Hutterite girl; Niall MacGinnis is the German soldier who falls in love with her; and Raymond Massey has a significant cameo toward the end as a Canadian Army deserter who redeems himself by acting as his country's final representative-catalyst.
Glynnis Johns, Leslie Howard, and Raymond Massey leap out at you when they appear.It would not have been hard to cast the Nazis in an unfavorable light by showing something true and important about them, but the bad behavior the movie portrays - kicking an Eskimo, spouting propaganda at inopportune times, smashing a Picasso painting improbably kept in a teepee, acting the ungrateful guest - seem contrived and trivial compared with the real reasons for going to war.
It has been said about it, that it has such an original end, that you always forget how it was after some years and therefore have to see it again, just to recall that end twist of the tale, which indeed is worth watching the whole film for - it is more than two hours.It's not just Laurence Olivier (a sporty French Canadian here) and Leslie Howard (a camping writer of Indian books, both shot and wounded but probably surviving,) but also Eric Portman in one of his most revolting roles ever (although he made quite a number of dubious characters and murderers), deadly consistent as the leading Nazi officer, Anton Walbrook as his antithesis, delivering one of his eloquent speeches, Glynis Johns as quite young and adorable, Finlay Currie in a typical character of his, Raymond Massey as the only real Canadian in this very Canadian classic of a film, and for once in a rather amusing role, among many other interesting characters.The main asset though is the masterful script by Emeric Pressburger and the impressing music by Ralph Vaughan Williams.
A German submarine steals its way into St. Lawrence and continues up to Hudson Bay, where it gets caught, and some of the crew have to try to escape across Canada to get over into US, still neutral at the time.
To avoid internment, they must make their way to the border and get into the still-neutral United States.Said Michael Powell, "I hoped it might scare the pants off the Americans." Screenwriter Emeric Pressburger remarked, "Goebbels considered himself an expert on propaganda, but I thought I'd show him a thing or two." After persuading the British and Canadian governments, Powell started location filming in 1940.Now, how effective the film was in getting America into the war, I don't know.
THE 49th PARALLEL is a rather tedious British war drama involving a Nazi U-boat crew invading Canada after their boat is sunk and encountering various Canadians who are unaware of their real identities.
Among them--LAURENCE OLIVIER (extravagant bit of overacting with a bad French accent), FINLAY CURRIE, ANTON WALBROOK, LESLIE HOWARD and RAYMOND MASSEY.It's the kind of anti-fascism anti-Nazi war propaganda that was churned out so often during World War II and always found an appreciative audience among the allies.
ERIC PORTMAN, ANTON WALBROOK and NIALL MacGINNIS contribute the strongest performances and there's a nice bit by GLYNIS JOHNS as a teen-age girl who turns against the men she initially helps when she realizes they're Nazis out of uniform.Summing up: Nowhere as effective as other British war films of this period, including Noel Coward's IN WHICH WE SERVE..
SYNOPSIS: A shipwrecked U-boat crew hikes across Canada during 1941 in an attempt to make it back to the Fatherland.CONCEPT IN RELATION TO THE VIEWER Differences in ideology and lifestyle are contrasted by a band of Nazis and the down-home plains-folk they encounter as the Germans try and escape across North America.
At the end of the film, the remaining Nazis try to escape into the United States (which had not yet entered the war).
There are more and more points that become apparent after repeated watchings, some story-line, some obviously colonial impressions or expectations from the time, and a lot of propaganda, and all for good reason.Basically the film has 2 roles, first the obvious 'It could happen here' aspect, but also the connotations that illustrate the futility of the entire Nazi effort.
In this film, Leslie Howard, Laurence Oliver and Raymond Massey, took a cut in salary for the War Effort at the time and were proud to be a part of this great film which clearly showed how very sick the Nazi's were and the so called leader of the master race, Adolph Hitler.
Therefore the propaganda is fairly heavy-handed in places and the female characters are not as fully developed as they would be later in their oeuvre.49th Parallel tells the story of 6 Nazis trying to make their way through Canada, and the people and communities they meet during their journey (including French-Canadian rebel Laurence Olivier, with a curious accent; Anton Walbrook and his group of German workers; and Leslie Howard, a cultured pacifist).
One of the more interesting World War II propaganda films, due to outstanding writing (by Emeric Pressburger), direction (by Michael Powell), and performances.
The story involves six Nazis making their way from Hudson Bay (in northeastern Canada) to cross the "49th Parallel" (the United States/Canadian border), after their U-boat (submarine warship) is damaged.
The film is too episodic for its own good - one story, with more focus on Portman's crew, would have sufficed.****** 49th Parallel (10/8/41) Michael Powell ~ Eric Portman, Leslie Howard, Laurence Olivier.
***SPOILERS*** Truly bizarre British war propaganda movie that has a bunch of German sailors stuck in Canada when their U-Boat, U-37, was sunk by the Canadian Air Force in Hudson's Bay. These bumbling "Nazi Supermen" as they like to be called then embark on a mission to cross the length and breath of Canada to Vancover which takes almost the entire length of the movie only to end up in Niagria Falls some 2,200 miles east of Vancover when they were headed for!
This in a country that's in a life and death struggle with Germany and that even saying good things about the Nazi regime can put them,if they were Canadian citizens, behind bars for at least five years or until the end of the war!
Finding a girlfriend Anna, Glynis Jones, and a job as the community baker didn't set well with Vogel's commanding officer Let. Hirth, who had the poor and love sick slub shot at sunrise for his defying his orders.***SPOILERS*** The last 15 or so minutes of the film really starts to get utterly ridicules with the two surviving Nazis Let. Hirth & Lorhmann, John Chawdos, ending up in the Great Pacific North-West in this Indian colony with English Indian expert Philip Armstrong Scott played by a wimpy and effeminate sounding Leslie Howard.
The film is a stinging commentary on Nazism set against a back drop of the ordinary and human endeavours of people in Canada.The story opens with a German U-Boat off Canadian waters.
Their journey to reach the USA, which was still neutral in WW2 at this point, is the main focus of the film and is told in 4 chapters: the pillaging at Hudson Bay; a sojourn at a German Christian community, the Hutterites; on foot going west where they encounter a writer researching the native Amerindians; and finally, a confrontation with a Canadian soldier on board a freight train travelling across Niagara Falls from Canada into the USA.
The 49th Parallel was filmed in the darkest days of World War 2 and intended to be just another propaganda movie that would hopefully influence the (still neutral) USA.
Canada was on Britain's side after all, all Portman had to do was to say something like, " 'ey up lad, I'm not a Nazi but an English gardenin' enthusiast" and I reckon the Canadian authorities themselves would have personally arranged his passage to America with a packed lunch and some pocket money thrown in.Glynis Johns, Lawrence Olivier and Leslie Howard all play great cameo roles as Canadians who's lifestyles have been unaffected by the war, but soon convert to the fight when they realize just what level of scum they are being confronted with and each has a moving speech to drive home to the audience just how horrid they are.The final scene is the most powerful in my opinion.
Powell and Pressburger deliberately made it as a propaganda film, partly to highlight the Canadian contribution to the war effort but also to influence public opinion in the then neutral United States.In 1940 a German U-boat is attacking shipping off the Canadian coast.
The film's plot is how, in trying to get out of the thousands of miles of Canadian territory to the then neutral United States, the Nazis are slowly whittled down one by one in a variety of ways, until the last one (the officer in charge - Eric Portman) is captured at the end.
Powell and Pressburger had wanted to make the film as a propaganda piece about the threat of the Nazis to America, and it is well established for such purpose.
Powell's film follows a group of Nazis (led by the particularly brutal Eric Portman)who find themselves on the run in Canada after an Allied Forces plane destroys their U-Boat.It's propaganda, yet it's a cut above the rest. |
tt0099422 | Dick Tracy | During the film's opening credits, radio news broadcasts and newspaper headlines proclaim various gangland atrocities. As the action begins, a young street urchin (Charlie Korsmo), who calls himself "Kid," is seen eating out of a garbage can and hiding from the cops. The Kid witnesses an illegal poker game between five thugs at the 7th Street Garage. Suddenly, a car bursts through the brick wall of the building and guns down all the card players. The massacre is executed by Flattop (William Forsythe), one of Alphonse Big Boy Caprice's gun-happy hoods. Flattop leaves a calling card: he shoots a message into the brick wall with his tommy gun that reads "Eat Lead Tracy." Big Boy (Al Pacino) is expanding his crime syndicate by taking over new territory and exterminating anyone who stands in his way.Dick Tracy (Warren Beatty) and his girlfriend, Tess Trueheart (Glenne Headly), are at an opera performance when his wrist radio alerts him of the killings. He excuses himself and quickly heads for the 7th Street Garage. When Tracy, in his yellow overcoat and matching hat, arrives at the crime scene, he surmises immediately that Big Boy is responsible. Tracy returns to the opera and Tess. After the performance, he answers questions from various news reporters.The camera shows a cartoon-influenced-view of the city and zooms in to the Club Ritz as a female singer, Breathless Mahoney (Madonna), croons "Sooner or Later (I Always Get My Man)." Inside the club, Breathless continues her performance, accompanied on the piano by 88 Keys (Mandy Patinkin). As the club's owner, Lips Manlis (Paul Sorvino), slurps down a plate of oysters, one of his hoods reports that several of his men were bumped off and the others are getting very nervous. When Breathless joins Lips at his table after her performance, he compliments her singing, but she seems oblivious. (She's obviously his woman, but isn't thrilled with the arrangement). Soon the police arrive to arrest Lips for operating a gambling establishment; they also arrest Breathless. However, it is soon revealed that these are not real cops; they are Caprice's men.As Tracy and Tess walk down the street, Tess tries to convince her detective boyfriend to settle down to a less dangerous job, maybe a desk job. Of course, Tracy isn't interested in playing it safe.As they enter a diner, they are almost knocked down by the Kid as he flees the scene of his theft of a watch. Tracy chases after the kid, but seemingly loses him. The Kid takes the watch to a shantytown where he presents it to his ruthless guardian. Just after the man hits the boy, Tracy intervenes.The scene changes to Big Boy's hideout where he demands that Lips sign over the Club Ritz to him. Once Lips reluctantly signs, Caprice orders his hoods to give Lips a cement bath (a gruesome death of being completely covered in cement and dumped into the bay). Caprice takes Lips's girlfriend, Miss Mahoney, as his own.After rescuing the Kid from his abusive guardian, Tracy takes him back to the diner where the boy enjoys a wonderful meal. With the help of Tess, Tracy temporarily adopts the Kid. During their meal, Tracy gets a message on his wrist radio to come to the Southside Warehouse. Once he arrives, Tracy finds remnants of walnuts, Big Boy's favorite nuts.At the Club Ritz, Big Boy choreographs Breathless and a chorus line of girls in a rehearsal of "More." During the rehearsal, the film flashes back and forth from the song rehearsal to Tracy questioning Mumbles (Dustin Hoffman), one of Caprice's hoods.After questioning Mumbles, Tracy and the police head for the club to arrest Big Boy for Lips's murder. After the cops take Big Boy away, Tracy stays behind. He follows Breathless into her dressing room and asks her to testify against Caprice. Breathless attempts to seduce Tracy and he comes close to giving in to her feminine charms. She says, "You don't know whether you want to hit me or kiss me. I get a lot of that." When Tracy rejects her advances, she refuses to testify against Big Boy. Since she is the only witness, there isn't enough evidence against Caprice, so he is released.When Tracy returns to his apartment early the next morning, Tess is asleep in the living room while the Kid is sleeping in Tracy's bed. Tess seems very uncomfortable to be in a man's apartment, so she hurries back to her greenhouse. She claims she is expecting a shipment of delphiniums.Tracy and Tess get the Kid new clothes, and feed him all day. When they return to Tess's apartment, there is an attempted hit on Tracy, but it is unsuccessful.Miss Mahoney shows up at Tracy's office. (Apparently Tracy had telephoned her.) She is weainng a sexy dress. She says, "Thanks for calling. I was wondering what a girl had to do to get arrested." , Tracy responds, "Wearing that dress is a step in the right direction." Breathless agrees to testify against Big Boy, but only if Tracy gives in to her sexual advances. Even though he is obviously attracted to her, Tracy resists.At the Club Ritz, Big Boy brings together several local crime bosses, including Spud Spaldoni (James Caan), Pruneface (R.G. Armstrong), Ribs Mocca (Robert Beecher), Mumbles, Itchy (Ed O'Ross), and Numbers (James Tolkan). Tracy has secretly followed Breathless there and informs Pat and Sam. Big Boy proposes forming an organization with him as the Chairman of the Board and them as the Board of Directors. Spaldoni refuses and leaves the meeting. When he gets into his car, it explodes.Itchy and Flattop grab Tracy and bring him to a boiler room, where Big Boy is waiting. The Kid has stowed away on the car's back bumper. Big Boy offers Tracy a bribe. When Tracy refuses to cooperate, Big Boy instructs his hoods to kill him but make it seem like an accident. They cause the boiler to overheat. Just before it explodes, the Kid climbs through a small window and cuts Tracy loose.The Police Chief (Charles Durning) presents the Kid with an Honorary Detective Certificate with a badge for action in the face of grave danger. However, it is only a temporary certificate because the Kid needs to choose a real name. During the ceremony, the Kid presents Tracy with a policeman's badge he had found in the trash; it belonged to D.A. Fletcher (Dick Van Dyke).In a graveyard, Big Boy tells the D.A. in no uncertain terms that he owns him. Later, the D.A. tells Tracy that he has fourteen witnesses that will testify that Big Boy was at dance lessons at the time of Lips Manlis's killing.Breathless shows up at Tracy's apartment. Dressed in another slinky outfit, she asks, "Aren't you going to frisk me?" She's worried that if she testifies Big Boy will kill her. Just as she plants a kiss on Tracy's lips, Tess and the Kid arrive from a trip to the grocery store. When Miss Mahoney leaves, Tess cries in the kitchen.A person with no face, The Blank, offers 88 Keys $5,000 to give a letter to Big Boy that guarantees him protection for ten percent of his business. 88 Keys unsuccessfully tries to convince Big Boy that he has nothing to lose and should accept the offer.While Breathless sings a reprise of "Sooner or Later (I Always Get My Man)," Tracy leads a seemingly unsuccessful raid on Club Ritz, but it is only a cover. During the raid, one of Tracy's men plants a listening device in a back room of the club so Bug Bailey (Michael J. Pollard) can listen in on Big Boy's plans. As Breathless's song continues, a montage shows the police foiling numerous crimes due to information gathered from the bug. When Big Boy discovers the listening device, he uses it to lure Tracy. Tracy meets Tess at the diner where she tells him she is leaving town. During their meeting, Tracy gets a call that something big is going down at the Southside Warehouse. Of course, Tracy leaves Tess and rushes to the warehouse. Caprice has captured Bug Bailey and is bathing him in cement just like he did Lips. Tracy manages to save Bug. Just as Pruneface is about to kill Tracy, The Blank steps out of the shadows and shoots Pruneface. Big Boy now agrees to the proposal that 88 Keys had offered, but only if it includes killing Tracy.Heartbroken, Tess goes to her mother's house. While there, she has a change of heart and plans to return to Tracy, but before she can tell him, The Blank kidnaps her. Alone at the club, 88 Keys and Breathless sing "What Can You Lose?," a rueful song about unrequited love. 88 Keys is obviously in love with Breathless, but she has fallen for Tracy.Tracy and Breathless meet again at the docks and once again he asks her to testify. She demands that he admit he wants her. He finally admits that he thinks about her, but he won't say he wants her because it would hurt the one he loves.After receiving a phone call from The Blank, 88 Keys has a guy forge a letter from Tracy to the corrupt D.A. to meet him at a hotel with $10,000 because he has the goods on him. Then Tracy receives a message to come to Tess' greenhouse, but when he arrives, The Blank drugs him with hidden gas lines and he collapses. Then The Blank, in Tracy's yellow coat and matching hat, runs into the hotel and up the stairs to a room. He shoots the D.A. with a silenced gun, then 88 keys moves Tracy's drugged body into the room to frame him for the D.A.'s murder. 88 Keys screams threats that are overheard by the hotel manager, who telephones the police. Hotel residents and the manager then hear gunshots. Before The Blank exits by the window, he wakes Tracy with some ammonia. Tracy is arrested for blackmail and murder.Meanwhile, a lady from the orphanage comes to take the Kid. During a few scenes of him at the orphanage, he is miserable.Big Boy is back in business and thrilled. Against a montage of various gambling scenes and Big Boy raking in the dough, we hear "Back in Business" (performed by a girls' trio: Janis Siegel, Cheryl Bentyne and Lorraine Feather).From the orphanage, the Kid calls the Chief and tells him he knows Tracy didn't kill the D.A. The Chief picks the Kid up from the orphanage on New Year's Eve to visit Tracy in jail. The Kid tells Tracy he now has a permanent certificate because he has chosen a name: Dick Tracy, Jr.Sprung from jail by his colleagues on New Years Eve, Tracy sets out to rescue his girlfriend. The Blank calls the police and frames Big Boy for kidnapping Tess. Tracy gets Mumbles to tell him who set him up for the D.A.'s murder. Mumbles clearly states without mumbling that Big Boy paid 88 Keys to get Tracy out of the way. At a shootout outside the Club Ritz, the police and Tracy gun down most of Big Boy's men.Big Boy finds Tess in a vault. He takes her hostage and ties her to a drawbridge mechanism when he finds the drawbridge is up and can't escape. With some help from Breathless, Tracy trails Big Boy and Tess and confronts Caprice in the gear room of the bridge. After they fight, as Tracy is untying Tess, The Blank fires a warning shot at Big Boy. The Blank tells Tracy to pick up a pipe and kill Big Boy, but he doesn't. The Blank prepares to shoot Tracy, but the Kid tackles him. Caprice shoots The Blank. Tracy then socks Big Boy, which sends him falling to his death in the bridge's gears. Tracy rescues Tess. Beneath The Blank's mask, Tracy is shocked to find Breathless Mahoney. She tells him that he was her only mistake, and wonders if anything could have happened between them. She kisses him just before she dies. When Tracy finds Tess waiting outside, they embrace.Later at the diner, Tracy, Tess and the Kid share a meal. Tracy gives the Kid a wrist radio. Then he stumbles through a marriage proposal to Tess, but Pat interrupts on his wrist radio about a robbery in progress. As Tracy and the Kid leave to investigate, Tracy tosses Tess a ring and says, "You're one in a million."Madonna sings a reprise of "More" during the closing credits. | neo noir, murder, violence, alternate reality, good versus evil, romantic | train | imdb | It's not supposed to be "To Kill A Mockingbird" -- it's a fun experience.Stephen Sondhemim's songs are stellar: "Back in Business" is energetic, "Sooner or Later" is just right, "What Can You Lose" is haunting -- even tunes like "Live Alone and Like It" add to the storyGot to love the giddily over-the-top performances of Al Pacino, Dustin Hoffman, Glenn Headly, Charlie Korsmo, Mandy Patinkin, James Caan, Dick Van Dyke, supporting villains...
The famous actors who played them here must have a had a lot of fun on the set playing "Flatop," "Pruneface," "Lips," "Mumbles," etc.Meanwhile, Warren Beatty and Gleanne Hedley are good as Dick Tracey and girlfriend Tess Truehart, and she's as sweet and soft as her name.
Giving a new sense to the concept of color in a movie, we are offered an unique experience throughout a comic-strip world, and it's one of the few movies which succeeded in doing so, thanks to a serious script, good direction, great performances (Al Pacino is astonishing) and most importantly a powerful mix of cinematography, art direction and costume design.
Labor of love for star and director Warren Beatty, Dick Tracy was a film I hated when it first came out.
Happily, I feel much differently about the film now that I'm older.Dick Tracy is a live-action cartoon, with eye-popping visuals decked out in bright primary colors.
The movie moves along well, it has of course another solid performance from Warren Beatty, but the real standouts of the film are Al Pacino and Madonna.
If you go in with the attitude of wanting to watch a fun, smart movie with great acting and a solid script then give Dick Tracy a try.
Beatty is great as Dick Tracy and behind the camera manages to capture the atmosphere of a film noir comic book better than any other film, possibly, I have ever seen.
The lighting, velvet overtones and smog/smoke combine to create a great effect.There are some really funny cameos including one by Dustin Hoffman as "Mumbles," and I don't think there are any flaws at all in terms of acting - even the mandatory kid-character is far better than expected.Overall, a really fine movie that has become misunderstood over the years since its release and is incredibly underrated with only 5.7/10 average on IMDb. The critics' reviews are very positive (check out RottenTomatoes.com) and after seeing the film once again it's not hard to see why - this is a perfect example of capturing the essence of a comic book, from style to eccentricity.Highly recommended.
I've lost track of how many times I've watched "Tracy" and I still catch something new every time I do.The others are all top notch, starting with Pacino's Big Boy Caprice (a reminder that he can do comedy with the best of them), even Madonna's Breathless Mahoney is a relevation in that under the right environment, she can act (GASP!).
While this is a much more family friendly movie than Sin City, the similarities between the two in terms of graphics are definitely there.Besides the amazingly bright colors that make up the city and the costumes, the singing done by Breathless Mahoney (Madonna), when she isn't too busy trying to seduce Tracy, really captures the camera.
There are the parts that will make the parents smile, and the content is suitable for most ages, as well as the theme of good versus evil in a dazzling colored world, and you will finish the movie wishing you had one of the famous Dick Tracy two-way watches..
Tim Burton's Batman was released a year earlier and nearly a quarter of a century later, his take on the Dark Knight is looking its age.Dick Tracy on the other hand with its comic strip look and a colour palette of seven colours with a focus on primary colours looks fresh and dazzling even today.Warren Beatty was never an actor who chased populist vehicles.
Here as star and director Beatty deliberately went for a unique approach to the Chester Gould comic strip character.Only Ang Lee with his approach to the Hulk has shown that kind of originality.What Dick Tracy also has is a wealth of stars, many of them under heavy makeup.
I believe the film was shot in only six (or maybe seven) colours and the sets of the city are totally faithful to the original Dick Tracy comic strips.Obviously, this film tried to emulate Batman but immitation is the sincerest form of flattery.
The comic strip detective (Warren Beatty) finds his life vastly complicated when Breathless Mahoney (Madonna) makes advances towards him while he is trying to battle Big Boy Caprice's united mob.After almost twenty-five years, this film is still entertaining, well-acted and just good fun.
I liked that a lot, even if no person would ever have such a misshapen body structure.Starring is Warren Beatty, an acclaimed actor, best known for his role in Bonnie and Clyde (1967), directs his third film with this comic strip icon - Detective Dick Tracy.
Dick Tracy (1990) ** 1/2 (out of 4) At times brilliant, at times downright boring, Warren Beatty's adaption of the Chester Gould comic strip is a very frustrating film that has so much going for it but the end result really doesn't reflect that.
Warren Beatty successfully bringing the comic strip to life , the renowned police detective Dick Tracy who this time tries to solve a case involving Big Boy , the public enemy nº 1 .
Dick Tracy is the only man tough enough to take on ranting mobster boss Big Boy Caprice (Al Pacino) and his band of menacing mobsters (William Forsythe and Dustin Hoffman who made a small character as Mumbles as a favor for Warren Beatty) .
Good though excessive performances from Al Pacino who is perfectly cast as the gangster Big Boy looking like a caricaturist impression of a cartoon and splendid Dustin Hoffman as his hoodlum named Mumbles .
Other films about this classic comic book character are the followings : ¨Dick Tracy¨ (1947) 15 chapters starred by Ralph Byrd and directed by John English and Ray Taylor ; ¨Dick Tracy Detective¨ (1945) the first feature movie directed by William Berke with Morgan Conway and Jane Greer ; ¨Tracy returns¨ 15 chapter serial directed by William Witney with Ralph Byrd ; ¨Tracy meets gruesome ¨(1947) with Ralph Byrd and Boris Karloff ; ¨Tracy vs Crime Inc¨; ¨Tracy vs Cueball¨(1946) by Gordon Douglas with Morgan Conway and Anne Jeffreys ; ¨Tracy's dilemma¨ by John Rawlins with Ralph Byrd and Jack Lambert , among others ..
At the end of the decade Warren Beatty created another kind of epic in Dick Tracy that makes no pretense to being anything other than entertainment with a whole bunch of the best actors around just having a great old time hamming it up under tons of makeup.That both Reds and Dick Tracy could come from the same individual speaks volumes about the range this man has as a player.
In this film Beatty managed to get all the famous cartoon characters from the strip and put them in one original screenplay.The city's top mobster Big Boy Caprice is making a move to really eliminate competition.
When people like Al Pacino, Dustin Hoffman, Paul Sorvino, William Forsythe, R.G. Armstrong get themselves outrageously made-up to look like the cartoon creations of strip author Chester Gould and then indulge in an exercise of carving the biggest slice of ham, you've got to love this film.Al Pacino got a nomination for Best Supporting Actor, but any of these guys could have, it's only that Pacino as Big Boy Caprice gets the most screen time.
As for Madonna, the Material Girl does more than hold her own with all these acting heavyweights as club torch singer Breathless Mahoney.Before this film, Dick Tracy movies were consigned to the B pictures and worse as Saturday afternoon serials.
They make the movie look just like a living comic book strip, which is what Dick Tracy is and always was all about.
Bringing comic books to the screen is a rather recent trend in cinema but it looks like it is definitely here to stay and one of the best offerings of this genre was the 1990 version of DICK TRACY, Warren Beatty's colorful and smart re-thinking of the square-jawed comic book character.
Beatty has also wisely chosen to underplay and let his huge, all-star cast shine in their various roles and above them all is Al Pacino, who walks away with the film effortlessly with his completely over the top but totally watchable performance as Big Boy Caprice, I don't think Pacino has ever been funnier on film and even received an Oscar nomination for Best Supporting Actor for his efforts.
Warren Beatty's "Dick Tracy" is not just a tribute to the famous comic strip, it is an homage to the great film tradition of the past."Dick Tracy" benefits from three vital components: Beautiful, smart cinematography, a terrific Danny Elfman score, and strong acting performances.
Warren Beatty serves Tracy in good stead, Madonna is sufficiently steamy as Breathless Mahoney, and Glen Headly shines in perhaps the best performance of the movie.
With his sights primarily set on Big Boy Caprice (Al Pacino), Dick Tracy (Warren Beatty) tries to round up a number of gangsters.
At the same time, he informally adopts a street kid (Charlie Korsmo), encounters problems with girlfriend Tess Trueheart (Glenne Headly), and flirts with Breathless Mahoney (Madonna).If I were to rate Dick Tracy only on production design--sets, matte paintings, costumes, special make-up, color schemes, and so on--I wouldn't hesitate to give it a 10.
It's what people go to the movies FOR: to be taken to a whole 'nother world and way of looking at things.I used to read the Dick Tracy comic, but I never imagined that it could be translated to film in such a spectacular and highly enjoyable way.
DICK TRACY begins with Big Boy Caprice (played by Al Pacino with a great deal of abandon and fun) starting to gather together all the city's gangsters for one unified deal.
They are two films very different in substance, however their ability to create a unique world so powerfully is unmatched by other comic adaptations.One of DICK TRACY's most entertaining qualities is the cast it has gathered together.
And Charlie Korsmo as the kid offers one of the most brashly confident child performances captured on film in recent years.To top it off, DICK TRACY also features some incredible original music from Stephen Sondheim.
Pros: Cinematography, Costumes, Al Pacino, The Kid, Madonna, Elfman's score Cons: Breathless Mahoney lacks character and so does TracyDebuting in 1990 as a big budjet movie directed by Warren Beatty, Dick Tracy is a brilliant comic style film-noir and Warren Beatty shows sumptuous style in directing this fine cast and also starring the role of tracy himself.
They wanted a fun blockbuster but got a self-serious museum of noir-on-acid tropes.Twenty-five years later, without the noise of Universal's promotional moshing and the combination of the star power of Madonna and Warren Beatty, Dick Tracy isn't just an underrated blockbuster — it is also an artistic triumph, so completely intransigent in its determination to mimic the look and tone of its source that it finishes thrilling in its disregard for conformity.
As Big Boy Caprice, Pacino is loud, melodramatic, and fittingly moody; Madonna, in an impressive Marilyn impression, whispers her way through a role that requires her to do what she does best: sing and take on a compelling persona.In terms of style, Dick Tracy is a work of complete originality.
This film features a great soundtrack by Danny Elfman and equally great original songs from Steven Sondheim, my favorite being "Back in Business".Warren Beatty delivers an interesting performance as Dick Tracy.
Beatty's choice of color and light, style, and awesome casting all come together with a compelling mob script to make one heck of a movie.This was a real surprise, as I had personally never thrilled in the Dick Tracy line, but this film is top row!
Warren Beatty fits the title role perfectly making this the second best comic book movie after X-Men. Plus, Madonna is HOT HOT HOT in her tight black satin dress.
1-If you like Warren Beatty 2-If you enjoy a good ol' fashioned gangster movie 3-If you can appreciate good, campy fun 4-Have any appreciation for cinematography and excellent use of cameras and colors 5-Are a fan of Danny Elfman (This is one of his best scores!) 6-Are a huuuge fan of Al Pacino Only a few things stunk about this movie The actor who played the Kid was a little annoying.
His directing is great though, Dick Tracy was clearly made with love and with a clear sense that Beatty knew what he was doing, and while the story is at times skimpy and lacking in depth it is told with a lot of warmth and fun, the deliberate pacing not hurting it a bit.
Comic-book movies are a dime a dozen these days so maybe now Dick Tracy doesn't stand out as much as it did in 1990, a shame because Warren Beatty's color scheme and attention to detail is quite impressive.
The films are very similar visually and it's a shame we never got more Dick Tracy movies.The plot is nonsense, some Gangster called 'Big Boy Caprice (played by an over-the-top Al Pacino in such eccentric make-up it actually looks like Antoine de Caunes playing Al Pacino playing Big Boy) wants to take control of 'the city' and Dick Tracy does his best to take him down.
The film is a continuation of sight gags that are perfectly taken seriously.If, at the time, movies like Batman and (underrated) Teenage Mutant Ninja Turtles were darker depictions of reality within a comic-book outline, Dick Tracy is more 'old-school'.
With a all star cast,great acting,tons of action,great villains and characters and most of them are from the comics which they look great in this movie,and a great double score/soundtrack by Danny Elfman and Madonna makes Dick Tracy a classic!
This film won three Oscars for Makeup, Art Direction, and Best Original Song (Sooner Or Later).Warren Beatty stars as Tracy; a tough detective who is determined to fight crime at any cost.
Had this project been given to someone else, chances are that the results wouldn't had been as good.Dick Tracy is a well acted, visually glamorous and stupendous movie- going experience that's a fun throw back to old film-noirs and jazzy detective yarns filled with blazing tommy guns and screeching tires.
Beatty is great as Dick Tracy, throughout the film as he faces various situations he always maintains a varying level of a stern look on his face, that of a cop determined to protect his city.Al Pacino's performance as Big Boy Caprice is like Tony Montana on crack, wildly entertaining and delightfully over the top.
Playing various members of Caprice's mob, William Forsythe, Ed O'Ross, Dustin Hoffman, and Mandy Patinkin all do well, along with many other members of the supporting cast.Madonna, somebody often criticized for her acting ability (or rather, her lack of), is actually quite good in this film as Breathless Mahoney.
I don't know what it was but you watched it and you actually believe you are in this comic book setting, from the camera angles to the extreme lighting to the colorful costumes to the colorful cars to the quick fades to other scenes, this was probably the first really great comic movie based on such a thing, right behind 'Batman' and 'Superman.' I remember going out with my brother and we would "play" Dick Tracy with our toys and all the things that came out at that time.
It had some of the most talented bunch of actors in it as well: Al Pacino, William Forsythe, Warren Beatty, Dustin Hoffman, Paul Sorvino People look to deep into things, saying it is 2 dimensional, but it was based off of a early comic strip that probably wasn't trying to give any inner meaning or whatever, they just wanted it to be entertaining and it was..
Warren Beatty in his best performance as detective Dick Tracy, Al Pacino is great as Big Boy, Charlie Korsmo & Glenn Headley are amazing and Madonna is...well, horrible.
Warren Beaty was just like James Bond of the 1930's the way he played Dick Tracy.An ensemble cast of the film includes: Charlie Korsmo, Glenn Headly, William Forsythe, Dustin Hoffman, James Caan, Ed O' Ross, Tommy Lee Jones, Mandy Patinkin, Charles Durning.
Also, the performances, are very impressive!Based on the 1930s comic strip character of the same name created by Chester Gould, 'Dick Tracy' depicts the detective's love relationships with Breathless Mahoney and Tess Truehart, as well as his conflicts with crime boss Alphonse "Big Boy" Caprice.
The movie stars Warren Beatty (who also directs)as the yellow coat wearing detective known as Dick Tracy.
Big Boy Caprice (Al Pacino) is taking over the city, and it's up to Dick Tracy (Warren Beatty) to take him down.
Elfman is pretty much the "go-to-guy" for comic book movie scores, having also done two Batman films, two Spider-Man films and The Hulk.Beatty does a good job as Tracy, but the real marvel of acting has got to be Al Pacino, covered in make-up and supporting a back hump as Big Boy Caprice.
Pacino entertains as Big Boy, Beatty as Tracy and last but not least, the wonderful Madonna as sexy Breathless Mahoney.
Dick Tracy is THE best comic book movie ever made.
Warren Beatty directs and stars in what is probably the best comic-strip movie ever.
I loved this movie because I am a big fan of Dick Tracy, Waren Beatty and all of the actors did a terrific job of acting out their characters!
The make-up designs, which go to considerable length to recreate the look of the comic book characters, are also enjoyable.The film also has several memorable performances, and the most notable among these comes from someone who is has had little success on the big screen: Madonna. |
tt0096353 | Urusei Yatsura 5: Kanketsuhen | After falling asleep in class, Lum has a strange dream of a dark hooded figure coming to her as a child on her home planet of Oni. When Lum answers where she lives, the old man cackles with joy, claiming that he will come to claim her when she is older to take her to a dark place.Lum wakes from her dream and asks Ataru for console, but he refuses to listen to her concerns. Growing frustrated with his attitude, Lum zaps him and flies away. Eventually, Ataru encounters Sakura and Cherry, who soon after encounter 3 bad omens in a row: Sakura's sandal thong snaps, a black cat appears, and a hearse soon drives past.Back on her UFO, Lum receives a message from her parents, claiming they found her Great-Grandfather, who somehow had his sleeping chamber misplaced when the family moved some time before. Having never met his Great-Granddaughter, Lum's parents invite her to meet her elderly relative.Meanwhile. Ataru, Sakura, and Cherry have returned to Sakura's temple, and consult a crystal ball for more information about the bad omens they encountered. Lum soon appears in the crystal ball, and is slowly swallowed up in darkness. As Ataru leaves, Lum's words about the dream she had flash through his mind, and he rushes back to his home, only to find Lum gone. Lum's nephew Ten explains that Lum left, but does not say where to.Arriving at her parent's place, Lum finds her Great-Grandfather, who upon seeing that Lum is a girl, begins to sob uncontrollably. Noone can figure why this is, until a dark figure (whom Lum recognizes from her dream) appears at the door, and Lum recognizes the figure from her dream.Upon seeing the dark-cloaked stranger, Great-Grandfather then relates a story from a long time ago, where the dark figure came upon him, weak from hunger. Great-Grandfather was offered two mushrooms to choose from, one of which was poisoned. Great-Grandfather chose the poison mushroom, and in exchange for the antidote, agreed to let the dark-cloaked man marry one of his daughters. However, even though he was dying, Great-Grandfather tricked the old man, claiming he had only sons. The stranger then vowed he would return to claim the first daughter born into the bloodline, which now happens to be Lum. The cloaked figure claims that since he is too old, he intends Lum to be the bride to his Grandson, Rupa. This revelation is soon met with the family tossing the old man out of the house.The next day on Earth, Rupa arrives at Tomobiki High School looking for Lum. Upon finding her, he places a strange ring on her finger, claiming it will make her an adult sooner. Lum attempts to take the ring off, but it won't budge. It turns out that the ring is actually an accelerator mushroom that will cause Lum to mature to the point where she will lose her oni horns.This occurs the next day, and with Lum now being powerless, Rupa abducts her and Ten. Upon finding out, Ataru, Mendo, Oyuki and Benten 'borrow' Ran's spaceship, and head for Rupa's home planet. However, in the process of reaching The World of Darkness, Ran's ship collides with another, and both ships eventually arrive at the planet.Rupa is alerted to this, but when he sees the ship that collided with Ran's he suddenly demands that the wedding to Lum take place immediately! Lum's friends are captured, with the exception of Ataru, who managed to evade capture. Ataru soon encounters a dark-skinned girl with white hair, who demands he sign a marriage license to be wed to her, to which Ataru eagerly accepts.The two then head to the chapel where the girl, named Carla, attempts to open-fire on Rupa and Lum, claiming that Lum stole Rupa from her. In the scuffle, Rupa's Grandfather hides Lum in a hidden room, and uses a decoy to distract Carla and Ataru. Ataru asks the decoy-Lum to come with him, but she claims she wants to stay with Rupa. Carla again demands Rupa come with her, but when he refuses again, she threatens to kill him before she kills herself. The fight then escalates up to the roof where Lum has also come about.Rupa's Grandfather attempts to help him and Lum escape in a hot-air balloon. Lum begs Ataru to help her, but after being fooled by the decoy, he refuses to assist her. In the meantime, Lum's friends have managed to escape their confines, and Mendo manages to slice through the rope ladder that Rupa and Lum are on. Rupa lands safely, but Lum ends up falling over the side of the tower. Ataru falls after her, but as they fall they both argue that the other has been unfaithful. When Ataru claims that he is finished with her, Lum's horns manage to regrow, and she emits a large temperamental electrical charge, frying Ataru, before returning to the roof. She then claims she is going to stay with Rupa. | romantic | train | imdb | My favourite UY movie !!. This is certainly my favourite Urusei Yatsura movie. Summarizing the last chapters of the comic it concludes the story of Lum's and Ataru's fight for love and each other more or less (or so I believe; I haven't actually read the comic that far). The story is complex (for UY), the jokes are witty (still no sign of meta-humour, though) and it's altogether more fast-paced and action packed than any preceeding UY-film. As usual this adaption of the comic series puts more emphasis on romance and relationship than the original, making the characters seem rather stern. Especially Ataru's behaviour has changed drastically for the... less weird. This was meant to be the last UY movie, but a sixth one was done as an anniversary-special or so. If you liked the first 4, you'll love this one. If you were dissappointed by said films, this one just might make it up to you. |
tt0120630 | Chicken Run | The Tweedys are a troubled middle-aged couple who run their own chicken farm somewhere in a town in Yorkshire, England. Mrs. Tweedy (voiced by Miranda Richardson) is the ill-tempered brains of the pair, while Mr. Tweedy (voiced by Tony Haygarth) is slow, but he can handle the manual work industriously. The coop is run in the style of a World War II POW camp, with the chickens accountable for the number of eggs they lay daily. One chicken, Ginger (voiced by Julia Sawalha), who is often treated as the chickens' leader, has attempted numerous escapes, which she was aided by contraband smuggled in by a pair of rats named Nick and Fetcher (voiced by Timothy Spall and Phil Daniels). However, Ginger is routinely captured by Mr. Tweedy and his dogs and is later thrown into a coal bin for solitary confinement. Ginger is released from the coal bin just in time for roll call the next day. Mrs. Tweedy soon finds out that one chicken named Edwina had not laid any eggs that week. Edwina is beheaded to death and is later cooked for the Tweedys' dinner. Ginger becomes increasingly desperate to find a plan of escape which will work but faces problems with Nick and Fetcher, who are tired of being paid with chicken feed and want their own eggs instead.Mrs. Tweedy soon realises that the couple's farm is failing and reads a catalogue on an ambiguous method of increasing profits. Realising something is wrong, Ginger attempts to convince herself and the other chickens to speed up their efforts to escape. However, Ginger soon concludes that the only escape route is to go over the fence and something that she and the other chickens cannot do. That same night, as Ginger sits outside of the coop, she sees a Rhode Island Red cockerel named Rocky (voiced by Mel Gibson), who flies over the fence and accidentally crash into the coop. The other chickens also fawn over Rocky, while Ginger finds the first half of a poster with a picture of Rocky on it that appears to show that he can fly. After Ginger discovers that Rocky is from a circus, she agrees to hide him from his owners if he teaches them how to fly. Rocky reluctantly agrees, but says he cannot show them immediately because he injured his wing when he crashed into the chicken coop. Instead, Rocky puts Ginger and the other chickens through a set of exercises that seem to have no purpose, while assuring them that they are making progress.Suddenly, a large pie-making machine arrives at the farm, in which Mrs. Tweedy orders all food rations doubled. Ginger proclaims that their intent is to fatten them up and then kill them. Rocky and Ginger argue with each other, which Rocky claims that Ginger's honesty will demoralise the chickens, and Ginger refusing to lie to the other chicken. Discovering that the other chickens have gone into depression following Ginger's announcement, Rocky organises a party using a radio obtained by Nick and Fetcher. During the party, Rocky's wing is shown to have healed. Once their pie machine is complete, the Tweedys kidnap Ginger and later subject her to its first test. Rocky follows Ginger into the machine and rescues her by damaging the machine and giving him and Ginger more time to work on their escape. Fowler (voiced by Benjamin Whitrow), an older cockerel who has been doubtful of Rocky's acts, gives Rocky his respect for rescuing Ginger and his old Royal Air Force (RAF) badge in tribute. Rocky decides to flee the farm the next day, leaving behind Fowler's medal and the second half of his poster, which shows that he was actually a stunt cockerel who "flew" by being shot from a cannon. This revelation outrages and demoralizes all the chickens except Ginger. When Fowler arrives to try and restore order, he begins talking of his days in the RAF, leading Ginger to realise that she and the other chickens could fly out after all by using an airplane, built from the chicken coops, modeled after Fowler's pictures and personal recollections and constructed using tools supplied by Nick and Fetcher. The chickens race against time to assemble their plane as the Tweedys work to repair their pie machine.The chickens finally finish their plane just as Mr. Tweedy enters the coop to grab them. However, the chickens launch an open revolt by tying up and gagging Mr. Tweedy. As the chickens are preparing to depart, Mr. Tweedy frees himself and knocks down the ramp used to get the chickens' plane airborne. Ginger jumps down as Fowler turns the plane around, which knocks Mr. Tweedy unconscious. As Ginger struggles to lift the ramp, Mrs. Tweedy attempt to kill her with her hatchet. However, Rocky, who just returned after seeing a controversial ad for the chicken pies, jumps over the fence aboard his tricycle and hits Mrs. Tweedy in her face, which knocks her senseless. Rocky and Ginger grab onto the string of lights which was caught on the plane's landing gear as the plane departs. However, Mrs. Tweedy soon awakens and also grab the lights, which weighs down the chickens' plane. Ginger heads down the string to cut it and get rid of Mrs. Tweedy, but she accidentally loses her own scissors. Realising that it is the only way to cut the lights, Ginger manages to trick Mrs. Tweedy by using her hatchet to sever the string, which later causes Mrs. Tweedy to fall, crash into the pie machine, and plugging herself into the safety valve. The pie machine build up its pressure and explodes, destroying the barn, and covering the entire farm with gravy. The chickens continue to fly to freedom as Mr. Tweedy tells Mrs. Tweedy: "I told you they was organised". Mr. Tweedy later pushes the door on top of Mrs. Tweedy before she can lash on him.In the epilogue, the chickens are happily living in their bird sanctuary, where they can live in comfort and raise their new chicks. Rocky and Ginger fall in love with each other and later become a couple. Meanwhile, Nick and Fetcher discuss their plans of starting their own chicken farm, so they can have all the eggs they could eat. However, Nick and Fetcher ends up arguing with each other over whether the chicken or the egg came first during the film's closing credits. | cute, humor, entertaining, clever | train | imdb | null |
tt0808146 | The Naked Mile | Erik Stifler (John White) has a difficult time living up to his family name. He is Steve and Matt Stifler's cousin. He is perhaps the only Stifler about to graduate from high school as a virgin. The film opens with Erik feigning illness so that he can stay home and masturbate. Unfortunately, just as he is about to ejaculate, his parents and grandmother unexpectedly walk into the door and are hit with Erik's semen, after which his grandmother dies of a heart attack. Erik's dad later surmises that, as a Stifler, his son should be out having sex instead of masturbating. Erik's girlfriend of two years, Tracy (Jessy Schram), loves him, but is not ready for intercourse. Tracy decides to have sex, their first attempt goes horribly wrong, and she backs out of trying again.
Erik's friends Cooze (Jake Siegel) and Ryan (Ross Thomas) plan a road trip to visit Erik's cousin Dwight Stifler (Steve Talley) in Michigan during an event known as the Naked Mile. Tracy sees this as an opportunity to give Erik a "guilt free weekend pass," hoping that he can quench his lust and get sex out of his system since she is not ready.
As soon as Erik and his friends arrive on campus, they witness an over-the-top drinking contest where Dwight is crowned a campus champion. Later, they lose a rough game of football against a bitter rival fraternity composed almost entirely of midgets, and end up in a brawl with those same midgets on several occasions. The first night when the guys are at a college bar, Erik meets a college girl named Brandi (Candace Kroslak) who has a fetish for virgin boys, prompting Ryan and Cooze to make a bet with each other that Erik won't sleep with Brandi and will remain a virgin. At the same time, Ryan and Cooze end up getting turned down by a couple of girls they have met at the bar, Jill and Alexis, who are taken by a couple of the midgets.
The following morning, Dwight gets jumped by the midget fraternity in disguise while walking down the street, landing him in the hospital. Dwight tells the guys he probably won't make it to the Naked Mile, but yet still manages to make it right in time. Right away, he joins up with Erik, Ryan, and Cooze, who are at first reluctant to run, but when Brandi, Jill, and Alexis show up to run with the guys, they're finally prompted to strip down and run with the girls, and end up having a great time. Finally as Erik and Brandi reach the finish line, they steal a kiss, which is then caught on camera for a news report on TV. Watching the news report about the Naked Mile back at home, Tracy is upset and feels guilty that she allowed Erik the free pass. Her friends convince her to also lose her virginity before he gets back.
Later that evening, Erik realizes that he loves Tracy, confesses to Brandi that he can't sleep with her, and rushes back to see his girlfriend. When he gets to her house, Tracy's dad says she is at a party and Erik arrives at the party just as Tracy has headed upstairs, presumably to lose her virginity to her ex-boyfriend. Erik loudly pounds on the closed bedroom door, proclaiming his love for her. However, Tracy was not in the room because she had decided that she could not go through with her plans. The two decide that they should be each other's first, and they make love.
When Erik returns to the Beta house to pick up his friends the next morning, each boy shares stories of his experiences from the night before. The guys then ask Erik if he "sealed the deal" with Brandi that night, and Erik tells them no, prompting Ryan and Cooze to pay up on their bet, until Erik tells them about his adventure back home to make up to Tracy and finally lose his virginity. The guys are now proud of Erik for officially living up to the Stifler family name, and the three friends finally drive back to East Great Falls.
During the post-Naked Mile party, Dwight spots Vicky (Winkler), the girlfriend of Rock (Prentice), the leader of the midget fraternity, and the two of them head up to Dwight's room to have sex. Later, as the film closes, Dwight sent a DVD to Rock that reads, "Payback's a bitch." It reveals both Dwight and Vicky having sex, as Rock yells out, "Stifler!" As it turns out, Dwight and Vicky start dating, and they end up traveling the world together, as various postcard pictures show their many journeys together as the end credits roll. | romantic, flashback | train | wikipedia | Occasionally there's some vaguely funny stuff going on, like in the scene where the gang plays football against midgets, but whatever potential this movie had is ruined by the ridiculously awful dialogues.
His girlfriend acts like a total bi*ch and refuses to have sex with him so then she gives him a pass to do whatever he wants for a weekend at a "Naked Mile".
This movie isn't funny at all, more romance.The characters are pretty likable but its not as great as the first three American Pie movies.
The mandatory opposition to the "team cool" is a bunch of evil midgets that somehow are better at American football and getting girls.Storyline: virgin couple in high school are forced by peer pressure to go have sex with other people.
In the meantime a lot of teenage party and a bunch of people running naked for a mile.Bottom line: uninteresting, badly played, nice girls..
I Thought that the American Pie franchise was over with the fourth movie American Pie: Band camp, that already was a little lame.It has some funny moments, but most of it its just a movie about sex, nudity and bad words.
The story was so repetitive, it was like watching the first American Pie but without the funny parts.
Eric's girlfriend then has second thoughts, fearing that this guilt free trip will eventually lead up to their break-up.I stated in my review of American Pie: Band Camp that the series is quickly becoming a National Lampoon.
Naked Mile and Band Camp never really reach the heights of comedy, vulgarity or even quality of the original films.
The Naked Mile introduces more members of the Stifler family, including cousin Dwight, who is, yup you guessed it, exactly like every other Stifler.Eugene Levy reprises his role as Jim's father, and serves no purpose in this film, just like he served no purpose in Band Camp.
Norm McDonald is Eric's father and his very
very brief screen time is gold.Much like the other American Pie films, Naked Mile tries to gross out it's audience, but doesn't come anywhere close to it.
It just so happens that Band Camp is so horribly bad, that it makes Naked Mile look really good.It's hard to recommend the film.
Usually sequels are not so good and they copy so many things, especially from the first movie, but even if it's the fifth American Pie movie, The Naked Mile is really fun and enjoyable.
It comes with some original ideas, definitely it has more nudity and even if most of the actors don't have experience, I really liked the way they acted and overall the movie was great.
What we will get is poor films out to make money (epitimised by Levy's cameo appearance) with the 'American Pie' attached to the title.The general plot is not so bad, though a bit familiar.
I was really surprised when I got to know that the fifth American Pie movie released, The Naked Mile is really fun and enjoyable movie it has more nudity then the rest of the other American pie titles.There were lot of new actors and actress in this movie but all of them did a good job in acting ,The movie would not be a waste of time it is a enjoyable movie to watch.
it was awesome.One might think that after so many movies it would ware out , but see it didn't its just original and funny.So i cant really say that it was a sequel to the already well known teenage movie because it's somewhat different.Sure some of the main problems moving the plot are the same , but that is that it can't be changed it has to be that (I'm not writing anything else here cause people might think I'm spoiling).So if u like the whole genre i think u would appreciate this one cause it has some nice twists to it.Anyway i bet u guys rent up lots of movies half of them just on a whim so why not rent (or buy)something cool..
Programmed for that time by some corporate adult pervert who (gleefully) knew lots of unsuspecting underage teens could be morally loosened up by the cheerful naked sexual party imagery and it's relentlessly degrading depiction of healthy looking 20 something Americans, this 5th element of phallus/orifice adoration is exactly the sort of movie that proves to the rest of the planet that the polluting degraded immorally sexually cretinous USA must be annihilated.
This movie was a good fresh spin on the 8 year old American pie franchise, and I liked it a lot better than American pie 4: Band camp I would have liked to have seen more cameos from the original cast, but you take what you can get, and "Jim's Dad" is always good for some laughs7/10.
However, some of my faith has been restored after watching The Naked Mile.In comparison to Band Camp, the producers have recaptured some of the original American Pie spirit and ideology.
The usual sex, nudity, alcohol abuse and foul language, as present in most films of the genre, were also present here, and the balance of them all was very well done, especially considering the way Band Camp failed at this vital element.In conclusion, if you're looking for an all-round good Teen Comedy, full of the usual elements, you'd be on to a winner with The Naked Mile.
Meet Erik Stifler.I would say it's worth watch it, you will definitely laugh!, but if you didn't like the other American Pie movies then don't bother.
I really enjoyed the first 2 American Pies, 3rd one had its moments and 4th one was good to look back on, Although it doesn't have any of the original characters bar Jim's dad its a good spin off, Plenty of quality events that could only happen in an American Pie film.
Its basically about Stiflers cousin who meets up with his other cousin at an event called the Naked mile, This film actually has some background story to it rather than a random film full of random events, The main character is a virgin and as his girlfriend wont have sex with him she gives him a weekend off where he can do what ever he wants, Whether he does you'll have to watch to find out, Enjoy....
OK so I thought the fourth one was probably going to be last one, personally I felt they had milked the franchise for all its worth and the previous one only rose above the ordinary on the basis of some great DVD extras.............but obviously the filmmakers thought otherwise and KNEW THAT THEY COULD MILK PEOPLE LIKE ME FOR SOME MORE.And even though I'm a sucker for a plot less comedy with loads of nudity, crude language and the kind of humour which will give lots of critics palpitations, I'm not stupid, this is the 5TH MOVIE AFTERALL.Commonsense prevailed and helped by a "oh-so-clear" title I prepared myself for loads of nudity, and jokes that would be cruder and more senseless than ever before BECAUSE THE MOST CRUDE JOKES HAVE BECOME COMMONPLACE AND FOR Filmmakers TO GET A CRUDE JOKE THAT HAS NEVER BEEN SEEN THEY HAVE TO BORDER ON THE INSANE and its only time before the cross the line into indigestible territory even for fans of jokes involving copulation with bakery items.The movie starts with a bang (literally) and one of the most memorable comic openings of a film ever 2 points of my rating is just for this hilarious scene.
Luckily I didn't raise my hopes and continued to watch the movie with my original expectations.After that this movie is a mindless ride which feels a bit like this....Nerd.NUDITY.Psycotic Family.Failed Sex Life.FUNNY.Crude Jokes.NUDITY partial but HMMMMMMMMMM............MALE ASS ARRRRGGH.STIFLER (suddenly he is a hero stifler was never about being a hero).Lots of babes in skimpy clothing (will not mention this again assume they come in the spaces henceforth).Crude Jokes involving Midgets.jokes that were stretched far beyond their potential.Hot Chicks.NUDITY.NUDITY.NUDITY MALE ASS ARGHHH.NUDITY.NUDITY FROM THE EARLIER HOT CHICKS.MORE NUDITY.(one guess which part of the movie this was he-he).CRUDE JOKES (THE ONES THAT GO OVERBOARD IT HAD TO HAPPEN).jokes that were stretched far beyond their potential.Happy Realisation..........ROMANCE!!!????.THE HAPPY ENDING (tailormade for the girls wtf when will film-makers realise that only guys rent this film girls only see it to give their guy friends company and when there are dozens of hot women willing to expose why must the cute chick remain so pure, and her friends don't expose either what the hell)And it bloody UNRATED whats with showing us full-frontal in the shower but not in the signature scenes?This basically sums up the movie acting, direction and other technical issues are a mere triviality and not really worth mentioning, the soundtrack was pretty effectively used though.I expected a lot from the DVD extras after the BANDCAMP but the extras were bad and did nothing for the movie.If you like your cinema to be sophisticated and humour subtle or like to compare SEQUEL NO 1000 to the original then please don't see this movie and then take it to the cleaners.Watch only if you are a fan of such movies and are fully prepared for films that are obviously not going to be as funny (especially compared to the originals).-s jokes that cross the line, double standards on nudity, standard sequel weakness (compensating for the missing original characters, cameos etc), lots of ordinary jokes that were stretched far beyond their potential.+/-s catered to the chicks somewhat+s loads of hot chicks and nudity, ordinary jokes inter-spaced with some really hilarious jokes especially in the first half and ONE OF THE MOST MEMORABLE COMEDY OPENINGS OF ALL TIME.Total (6/10 it met expectations but I didn't give any points for that but obviously factoring in sequel and crude comedy status).
They almost overdue it on this one...The American pies have turned into a telling of the stifflers, which is strange, but not bad.There are also so SMOKING HOT girls in this movie, and being the NAKED mile, I am sure you can guess how much clothes there wearing.If you are in the mood to see another American Pie movie, go ahead and check out this one, I wanted to see it, and finished it satisfied, I think it is worth your time..
Well all three Pies are bout sex but this one is damn EXPLICIT, well we want such thing!Remember old good Private School of 1982?And remember those stupid pointless movies about sex where just talk, talk, talk and talk again and showing nothing?It is FUNNY.
It's definitely up there with good teenage/stoner/drunk/party/coming of age/ movies, with the likes of "Van Wilder", "Harold and Kumar go to white castle", "Can't hardly wait", "grandmas boy", and "American Pie 1".
This film is about Eric Stifler attending a naked college party called The Naked Mile.The initial scene is a complete copy of the first American Pie, which makes the film seem uninspired already.
I will say that i did like the first 3 american pie movies and i liked band camp.
The Naked Mile!Don't watch if you're expecting Shakespeare dialog, an original storyline or a morally correct movie.
Gents, the naked mile is not the movie you have to watch if you are expecting something like American pie 1-3 or road trip, but it is guite a good movie to watch with your pals when you want to get a laugh at.
I, like most guys, have seen the American Pie movies.
The first three movies were awesome, Band Camp was fine but The Naked Mile, it was below expectations.
Well, move over Lou...after 26 years, you've finally met your match.I actually feel like I lost IQ points after watching it.My new top 10 worst films of all time (from the "top" down) is as follows...1.
Before giving my opinion I would like to state that I really enjoyed American Pie (the first one), for being a simple comedy with human characters and situations.the second one was mediocre, and from then all the sequels sucked.But what called my attention from this piece of crap was the "humor" (shall we call it "humor"?
The film was only sparingly funny in some scenes, but it was a complete disgrace when compared to the rest of the franchise.So I looked with absolute disdain at yet another direct-to-video sequel in the franchise, this one subtitled The Naked Mile.
It does not feel right, and just gets really awkward after awhile, taking away immense amounts of the needed humour to make this film really worthy of being called American Pie. And this is coming from a guy who loves nudity.And was there really a need to have a whole ton of material poking funny at midgets?
Their acting should be an inspiration to the rest of the cast.While it has a few bizarre tendencies, The Naked Mile has some pretty funny scenes and is a lot better than anyone could have expected.
I have been a huge American Pie fan ever since the original, and although the new actors will never be as great as the original cast, this is still a fantastic straight-to-DVD movie.
The Naked Mile definitely was fun and off the wall, and I couldn't help but think, "Where do they come up with some of these jokes?" It was by far the craziest of all the American Pie movies, and I felt a great connection with this movie than I did with Bandcamp.
It's not too bad at all.It pays homage to the previous films in the use of the Stiffler name and that Eugene Levy makes some cameo appearances, but it is not overly dependant on the other films to succeed.There are the expected sexual jokes and bawdy humour (lets be honest it wouldn't be "American Pie" without them) and the Situational comedy sequences.I felt that after a hilarious opening scene the film flagged in the middle, but the director managed to pull it back on track and it regained some of its sparkle.What was noticeable is that there appeared to be some full frontal female nudity and that some of the set piece scenes were slightly more explicit than the usual "T&A" we expect from the series.Overall a good addition to the series, not highbrow, no hidden deep messages just pure unabashed smutty humour..
The plot is flat, the actors are not familiar, the characters are not special or unforgettable in any way and there is a lot of unnecessary nudity (and I mean, real nudity, just imagine some hundred people running the marathon), which was deliberately avoided in the previous movies.
With a low budget and an unknown crew, American Pie 5: The Naked Mile, can be really funny.
American Pie Presents: The Naked Mile thinks the whole thing is one big joke.All hope, wit, and any attempt at real fun was lost the second the title came into play.
i would recommend this movie to anyone who watched that disappointing American Pie 4:Band Camp.
It would be really cool if they took some time/money and made a wicked new American Pie that stays true to the early ones and makes people laugh.To bad the only way they seem to be able to continue the story is by following the Stiflers.
With more character development, better story, and original American Pie comedy I believe they could make a good movie.I think another movie about Steve Stifler would save the series.
Mixed in with other good characters and comedy I really do think it would be a fun film.Thank god for Eugene Levy, hes the only real recurring actor and I think he helps blend these movies together.
As far as teenage comedies go, the American Pie movies always had been among the best.
You would think that one erection joke would be more than enough but they just can't stop with it and really crosses the line with some incredibly stupid and far from ever likely scenes.Of course all of the American Pie movies are basically being very immature once, since basically all that they are about is getting sex.
But at least all of the previous films still had some likable characters in it and even some good writing, that made the movies some incredibly funny ones.
Plus in the other parts there is a definite story line and that's why people like the whole thing, but well this time they believe that the movie could sell on the basis of female frontal nudity alone.
I hope they make another 1, me and my friends really enjoyed and we would love to see another one come out sometime soon.Band camp was pretty funny too but i didn't think it was as good as the last 2.
I like funny movies, but not Americans movie: The Naked Mile.I give this film 2/10..
I must admit that i not at all was waiting for this film, i didn't even know that it was in production until it was there available to buy, the same as with "Band Camp" and the sequel "Beta House" with other words..Anyway, The Naked Mile is not as bad as it could have been, and it actually succeeds in giving us, the viewers, a new hilarious gang of "teens" to follow.
No "Band Camp" here with the worst acting i have ever seen, this actually gives a few laughs here and there.Although it never is as good as any of the movies in the original trilogy, it is a movie worth seeing if you like the genre.
Its American Pie, what kind of moral standards you was hoping to find from here, and other people who say this movie has no "story to tell, so tasteful etc" ?
No one forced You to look this.Look this movie if U like American Pie type of jokes, its great!.
American Pie Presents The Naked Mile. |
tt0033650 | The Gay Falcon | A high-brow detective attempts to stop crooks from running an insurance scam.Renowned Lady's man and amateur sleuth Gay Laurence AKA The Falcon (George Sanders) is going to forsake chasing dames and solving crimes for the sake of his fiancée Elinor Benford (Nina Vale). To please Elinor he and his sidekick Jonathan G. "Goldie" Locke (Allen Jenkins) agree to open a brokerage firm on Wall Street, but when Elinor asks him to go to a swanky soiree hosted by Maxine Wood (Gladys Cooper) to mingle with potential clients Gay refuses and after one day on Wall Street is ready for retirement. Gay returns home from the office to find the beautiful Helen Reed (Wendy Barrie) waiting to see him. Helen is the secretary of Wood and on her employer's behalf invites The Falcon to the same party Elinor wanted him to go to. She goes on to explain that some of Wood's parties have been plagued by jewel thefts and Maxine is particularly concerned about a diamond owned by Mrs Vera Gardner (Lucile Gleason) one of the guests. Unable to resist Gay accompanies Elinor to the party while instructing Goldie to infiltrate the event too.However, Elinor becomes angry when she realises why Gay changed his mind about attending the party and retaliates by dancing with one of the other guests Manuel Retana (Turhan Bey). In frustration, she grabs the flower from Retana's lapel and flings it at Gay. He calmly picks it up and attaches it to his lapel. Gardner then insists on dancing with Gay and while they are dancing she hands him her diamond secretly. Her action puzzles Gay greatly but before he can ask her about it she leaves the room. Moments later, a shot rings out, and she falls to the floor dead. The killer is seen by Goldie as he makes his getaway. Unfortunately, when the police arrive Detectives Bates (Edward Brophy) and Grimes (Eddie Dunn) arrest Goldie as a material witness as he was the only person in the room where Mrs Gardner was killed. Gay follows Goldie to the police station where he speaks to Inspector Mike Waldeck (Arthur Shields) and manages to convince him to release Goldie to act as bait to lure the killer out into the open.Helen meets them at the station and the three of them head off to Maxine's apartment to question her. They leave Goldie waiting in the car but while they are with Maxine, Goldie is snatched from the car by the killer Noel Weber (Damian O'Flynn). Gay tells Maxine that he suspects that Mrs Gardner was involved with a gang of jewel thieves led by Retana. Meanwhile, Weber takes Goldie to a nearby pinball parlour and orders him to phone The Falcon and make him an offer - the diamond for Goldie's life. As Goldie begins dialling the number a shot is fired and Weber falls down dead and when the police arrive they find Goldie with a dead body for the second time and re-arrest him. The Falcon returns home where Bates tells him that Goldie is once again being held on suspicion of murder and that Waldeck wants to speak to Gay back at Headquarters. Gay manages to give Bates the slip and the following day, while disguised as a tramp, he tries to apologise to Elinor who is furious because he left with Helen. She icily informs him that she has a date with Retana later that evening and never wants to see Gay again.By this point, Gay suspects Gardner must have arranged to have her diamond "stolen" so she could collect on the insurance. The flower was a signal, indicating to whom Gardner was to give the jewel. It should have been Retana but Elinor throwing it at Gay upset the scheme. Suspicious of Retana, Gay and Helen break into his apartment, but when he returns unexpectedly halfway through their search they are forced to hide outside on the patio. They observe Retana as he checks a secret compartment hidden behind a wall panel. Once Retana leaves Gay reaches behind the panel and finds the gun that killed Weber. Gay goes to the city morgue to examine the body of Weber and recognises him as the man pictured with Retana in a photograph he found during the search of his apartment. Meanwhile, as the police interrogate Goldie, Helen bursts in and confesses to Weber's murder and presents the Detectives with the gun from Retana's place. Once the police have identified the weapon as being that that killed Weber, Helen tells them all about Retana and tells them to go to the club where he is due to dine with Elinor. Gay phones Elinor at the club to warn her that the police are coming to pick up her host, but she thinks that Gay is trying to frame Retana because he is jealous so she warns him that the police are on their way. When The Falcon returns to his home he finds an armed Retana has tied up his manservant Jerry (Willie Fong) and is demanding the diamond, but when Helen unexpectedly appears at the door Retana thinks it is the police and flees.Meanwhile, back at the club Bates has arrested Elinor for obstruction and when she phones Gay from the police station he instructs Waldeck to meet him at Maxine Wood's apartment. There Maxine tells them that her life has been threatened, prompting Gay and Waldeck to promise to stay the night to protect her. Maxine retires for the night while the two guard her bedroom door, but Retana slips in through the bedroom window and threatens her. Gay and Waldeck break into the room but before they can get to Retana he collapses to the floor dead with a hypodermic needle laying by his side. Mike assumes he has committed suicide but Gay sees Maxine try to crush the hypo with her foot in order to destroy any fingerprint evidence. The Falcon declares that Maxine killed Retana, that she was married to Weber and the three of them comprised the jewellery theft ring. He goes on to explain that when she and Weber tried to double-cross Retana, he killed Weber and was about to do the same to her before she killed him with the hypodermic needle. Waldeck is amazed at how The Falcon has come to that conclusion but Gay explains that he was tipped off when Goldy was snatched from the car outside Maxine's apartment as she was the only person who could have known where he was at that exact moment and thus she must have been involved with the ring.They then all return to the police station where they release Elinor, but just as she is about to forgive Gay an attractive young woman arrives and asks The Falcon for his help in solving another crime. | romantic, mystery, murder | train | imdb | One of the best B-movie detective films thanks to terrific and witty dialog.
In the case of The Falcon, this is made even worse since the earlier RKO series, The Saint, is virtually indistinguishable from The Falcon--and both starred George Sanders for much of their run!
The plot itself was very good, but what really stood out in this first Falcon movie was the amazingly witty dialog!
I have seen most of the Falcon series films (both with Sanders and Conway), and this (which happens to be the first Falcon film) is by far the best.
Nina Vale, the Falcon's fiancée, comes off very well; I wonder why she made so few films.
Very logical screenplay.One perplexing thing about the move, and it doesn't bother me much: throughout the movie, the Falcon (Sanders) is saying that he loves Elinor Benford (played by Vale) and wants to marry her.
I actually preferred this series of films after Tom Conway took over from his half brother George Sanders as the Falcon, Conway seemed more at ease in the role.
What a pleasant problem for him when they immediately turned mega jealous of any other woman who showed up, no matter how innocent!It's the usual murky murder mystery, but the Falcon (as private sleuth) isn't fooled for long - fortunately he knew something the viewers didn't, which led him and the police to the culprits.
This was the first of the Falcon films starring George Sanders, based on a story by Michael Arlen.
This film is also notable for the appearance of Gladys Cooper in a major supporting role; she is as mesmerising as Sanders, and their scenes together are a marvel.
George Sanders is "The Gay Falcon," a 1941 film, the first entry into the Falcon series.
The title has a double meaning, as the Falcon's first name is Gay. Though it's a programmer, "The Gay Falcon" has quite an uptown cast, including Gladys Cooper, Allen Jenkins, Turhan Bey, and Wendy Barrie.
The Falcon and his sidekick Goldie (Jenkins) are insurance brokers in this, and Gay is, as usual, engaged.
Gay is on the case.George Sanders makes a very appealing Falcon - he's tall, elegant, and smooth, with a great voice and off-the-cuff delivery.
Though he eventually returned to his native Vienna to work as a photographer, he did quite a few television appearances in the '90s.Alas, there is a bit of casting that sort of gave the denouement away for this viewer, but the mystery is not really the point of The Falcon series.
The Gay Falcon, the first movie in the Falcon series, finds the Falcon (George Sanders) ready to give up both women and detective work at the request of his fiancé.
The only way to clear his name is to find the real killer.This may have been George Sanders first time out in the role of the Falcon, but he wears the role with the familiarity of a favorite old sweater.
The 1940s style of comedy/mystery films has always appealed to me and The Gay Falcon is a nice example.
This is a pleasant B-film from The Falcon series with (by today's standards) a misleading title.GEORGE SANDERS is the woman-chasing sleuth who always manages to get involved in a crime the police cannot solve without his help.
WENDY BARRIE is the flirtatious woman who goes along with him on a series of adventures that have them on the hunt for the murder of a woman wearing a very expensive diamond.
ALLEN JENKINS is Sander's side-kick, amusing as usual in a supporting role.The cast is full of surprises--never expected to see GLADYS COOPER as a rich society dame with a key role in the mystery, TURHAN BEY (a rising young star at the time), and EDWARD BROPHY and ARTHUR SHIELDS as baffled police officers.Sanders says every line in that dryly sarcastic manner he would use as Addison deWitt in ALL ABOUT EVE years later, but he seems to be enjoying his role.
Always enjoyed these old time movies where George Sanders, (Gay Laurence/The Falcon) plays a private detective.
Sanders only appeared in a few of these films and his brother Tom Conway took over the role and played in quite a few series of the Falcon.
Quite frankly, having watched I can't guess what comes next - whether Gay Lawrence (the Falcon) stays with his fiancée and an impending marriage that never quite comes off becomes some kind of running joke like John Howard's Bulldog Drummond of the late 30's, or if Wendy Barrie's character Helen Reed becomes the Falcon's new girl, or if the Falcon has no girl or another girl entirely in the coming entries, but the ending had me wanting to see the next one.Of course the wit and wisdom of George Sanders is a plus in any film, and as The Falcon it is unclear what his background is in this entry.
At the beginning of the film he has set up shop as a broker on Wall Street to satisfy his fiancée that he is through with "crime detecting" as she calls it and wants to settle down, although when she drops in to visit both The Falcon and his assistant Goldy Locke are dead asleep at their desks.
Later, though, the personal secretary of the society woman giving the party shows up (Wendy Barrie as Helen Reed) and pleads with the Falcon to attend the party, as jewelry has been stolen at all of the woman's recent parties, and another robbery will ruin her reputation.
Meanwhile he has both an angry fiancée on his hands and the society lady's swooning secretary, who loves the adventure of tracking down criminals alongside the Falcon.This is a very good entry that has a very interesting supporting cast.
Allen Jenkins is a natural and in good contrast to the suave Sanders as the Falcon's assistant.
Arthur Shields, brother of Barry Fitzgerald and a dead ringer for him, seems a bit out of place as Inspector Mike Waldeck, whom the Falcon is more than ready to give credit to for solving the crime.Recommended as a fast paced good start to the series..
Bored out of his brilliant mind, Gay jumps at the chance when a young lady tells him of the socialite Maxine Wood, who throws parties every few weeks but has had problems with robberies each time.
With the police unable to catch the thief, Gay goes to the party to help out but, on this occasion, the crime turns to murder putting Gay and Goldie right in the middle of it.I have never watched a Falcon film before and I took the opportunity to watch this film when BBC2 ran a mini-series of the films in the early morning during the summer.
Aside from that obvious remark, this is a pretty enjoyable film if you are prepared for what it is trying to be a very light, amusing little mystery that entertains.
Support is great from Jenkins; his is hardly a well-written character (he is only a standard comic sidekick) but he plays well and is actually quite funny in his couple of scenes.
Barrie is quite fun and makes for an attractive love interest while Vale is good enough to make her subplot part of the movie rather than it seeming tacked on.
Shields, Dunn and Brophy are all amusing as the usual inept cops of the genre!Overall this is not a great film but, if you know what to expect, it does manage to be entertaining.
I like his byline in a newspaper story: "FALCON EVADES POLICE - Playboy Criminologist Sought in Mystery Slaying".
Needless to say, the brokerage and the resolutions quickly go by the wayside when he is drawn into a murder mystery.George Sanders looks completely at home as the Falcon: suave, quick-witted and frequently droll, he seems to enjoy attracting trouble and he handles it deftly.Allen Jenkins is perfect as the Falcon's right hand man and comic relief.
His name as printed on the broker's office door identifies him as Jonathon Locke, Associate; it seems he is more commonly known simply as Goldie Locke.Wendy Barrie also looks like she's having a ball as Helen Reed, a young woman seeking the Falcon's help.
She's even excited to meet his assistant, Goldie, whom she refers to as "your Dr. Watson, your faithful and loyal colleague!" (Goldie beams) before going on to note that "All characters like you have a kind of stooge, don't they?" (Goldie frowns).Sanders, Jenkins and Barrie are part detective team, part comedy trio.
No one looks terribly serious but they certainly are easy to watch—the banter flies, the clues add up, and it all moves very fast.The plot is relatively unimportant but competently put together; it concerns a jewel theft ring and insurance racket that turns to murder.Among the enthusiastic cast of character actors are Ed Brophy and Eddie Dunn as a couple of dim detectives.
"The line is too long." There's a little suspense, a moderately intriguing mystery
but the humorous interplay among the characters is what really makes this picture a lot of fun.Irrelevant question on the name: Elsewhere the Falcon's surname seems to be spelled "Lawrence"...but on his broker's office door in this picture it's printed as "Gay Laurence." Any particular reason for the variation?
The "GAY FALCON" is a wonderful mystery movie with George Sanders as the Falcon.
Great start to the Falcon series.
The Falcon film series is generally a lot of fun to watch, and all worth watching at least once.
The first of the series 'The Gay Falcon' is also one of the better ones from personal opinion.It maybe could have benefited from being about 10 minutes longer or something, to give the mystery aspects a little more explanation instead of a few parts being hastier and not as easy to follow as others.
The characters are also a lot of fun, apart from a few of the time racial stereotypes, but they are not in the film anywhere near long enough to mar it.George Sanders is a truly great lead, he was never less than watchable and magnificent when at his best, and he looks so relaxed and at ease here and plays with his usual suave and imposing manner while also with an elegance, cutting aplomb and charm.
Nina Vale is alluring and Wendy Barrie has a ball.Edward Brophy, Arthur Shields, Turhan Bey and Gladys Cooper also give fine support.
Coming very close to stealing the film is Allen Jenkins, who is very funny and often even more so and makes the most and much of a rather standard comedy sidekick role in hindsight.All in all, great start to a series with much entertainment value on the most part.
The first in RKO's lighthearted series about suave detective Gay Lawrence (aka The Falcon).
Playing the title role at the start of the series is the great George Sanders, fresh off playing The Saint.
In this first entry, the Falcon investigates jewel robberies and a socialite's murder while juggling two pretty ladies.
I'm a big fan of most of these old B detective series, including the Falcon.
George Sanders has rarely been more enjoyable than he is in this role -- charming, sophisticated, and witty at every turn.
Allen Jenkins is very funny as the Falcon's comic relief sidekick, Goldie.
Solid support from Wendy Barrie, Gladys Cooper, Arthur Shields, Turhan Bey, and Edward Brophy.
A good start to an enjoyable series of films..
Gay Falcon, The (1941) ** 1/2 (out of 4) First film in RKO's Falcon series has George Sanders playing the Detective who must try and track down a jewel thief who's also leaving bodies piled up.
The film goes by pretty quickly with some minor laughs but the mystery aspect isn't too interested, although there is a nice twist at the end.
Allen Jenkins steals the show as the Falcon's assistant and Wendy Barrie is pretty good as the woman who goes to the Falcon for help..
They will start at 6AM est.All of the movies starring George Sanders and Tom Conway.
Starting with the "The Gay Falcon" Gay Falcon, (1942) A society sleuth tries to break up an insurance scam.Cast: George Sanders, Lynn Bari, James Gleason, Allen Jenkins.
The Gay Falcon is the first in a series of films about a suave detective nicknamed The Falcon, played by George Sanders.
The Falcon series was intended to replaces the Saint films also starring George Sanders.This Saint lite adventure sees the Falcon investigating a series of parties embroiled in jewellery thefts assisted by his uncouth sidekick, Goldie Locke and pretty assistant Helen.The film is entertaining enough, a time waster but does not reach the standards of Sander's debonair Saint films.
Allen Jenkins' "Goldie" Locke, all arms and legs and quizzical looks as he vainly tries to escape arrest by the police, has one delicious moment where he is asked to describe a criminal for the benefit of a police artist, and ends up describing the police inspector Mike Waldeck (Arthur Shields) instead.
Nina Vale's Elinor Benford, a star-struck fan of The Falcon (George Sanders) thoroughly enjoys herself as she ends up in scrape after scrape, if only for the fact that she can sit next to the Falcon in a car and repeatedly ask him: "So what do we do next?" Gladys Cooper plays an affluent socialite, apparently vulnerable but concealing a devious nature; while Turhan Bey enjoys himself as a dubious Mexican lounge-lizard.
This 60-minute programmer shows just how efficient and entertaining Hollywood's little films could be during its so-called Golden Age. It's the first of the Falcon series, at a time when amateur sleuths (Boston Blackie, The Saint, et al.) were popular movie fare.
Here, the great George Sanders plays Gay Lawrence aka "the Falcon", and an imposing presence he is both physically and intellectually.
RKO Studios debuted The Falcon detective series with George Sanders in the first of his four appearances in The Gay Falcon.
But there's always a damsel asking for the assistance of Sanders and Allen Jenkins who's as plebeian as they came in classic Hollywood.In this film it's Wendy Barrie who works for society grande dame Gladys Cooper and she wants The Falcon's aid in apprehending the robbery of valuable jewels from society women.
And she's got one coming up for the war effort.Through some misdirected signals Sanders winds up with the intended swag but another society grande dame Lucille Gleason winds up murdered and Allen Jenkins arrested for it.
It's both brilliant and hilarious.There are a few plot holes, but they're nicely papered over by the performances of the unflappable George Sanders and the rest of the cast.
The Gay Falcon was a good beginning to the series..
I love 40s comedic detective movies, but most of them aren't as good as The Gay Falcon.
But it's not terrible, just a little dopey.Sometimes I watch a string of mediocre movies of this type and think, maybe I've seen all the good ones, but then something like The Gay Falcon comes along to restore my faith.
The first film in the Falcon (comedy-mystery) series, features George Sanders.
George Sanders is Gay Laurence aka The Falcon, whose hobbies are women and solving crimes.
Allen Jenkins plays the Falcon's wisecracking sidekick, Jonathan G.
However, a beautiful girl named Helen Reed (Wendy Barrie), who's also a big fan of the Falcon's (she's read about his exploits), comes to Gay with a new case.
Since Gay had been asked by Elinor to attend the next such party, he goes with her, but Helen quickly descends upon them and his fiancée learns that he is still looking at other women and working on mysteries.
Two police detectives at the party, Bates (Edward Brophy, who would later play the Falcon's sidekick) and Grimes (Eddie Dunn), arrest Goldie for her murder.
Gay goes to the police station to convince Inspector Mike Waldeck (Arthur Shields) to release Goldie, if for no other reason than to force the criminals to try to eliminate him as a witness.
But later, while Helen introduces Gay to Maxine, Goldie is "snatched" by Noel, who wants the diamond but is then shot through his apartment's window by an unknown person.
The Falcon suspects Manuel; later, with Helen at Manuel's apartment, Gay discovers a picture of Manuel with Noel and the secret location of a gun, which he then takes.
Helen helps Gay again, this time by saving his life when she interrupts Manuel, who'd gone to the Falcon's apartment to retrieve the diamond.
Even though Manuel escapes, Gay has a pretty good idea about what's been going on.
Hence, Manuel decided to kill them both, but now the Inspector has only her to arrest for the crime(s).Gay promises again to give up his hobbies and urges Elinor to marry him right away, but he's interrupted by a woman (Virginia Vale, uncredited) who hears his name - the Falcon - and asks if he'd help her solve another case ...
If you had any doubts about how slick The Falcon could be, just watch as Gay Laurence (George Sanders) handles the Monsoon Diamond by sliding it on, and later removing it from Detective Bates' (Edward Brophy) cigar.
Great sleight of hand there even if it didn't look like it.Actually, I don't think it was established, in this the first of The Falcon series, what exactly was the basis of that name.
I have to admit, I was pretty sure Laurence was going to trade Helen Reed (Wendy Barrie) for Elinor Benford (Nina Vale) any moment; I kind of wish he had.
Not that Elinor didn't have reason to be a pill around all those other women, but she could have lightened up a bit.Anyway, a nice kick off the The Falcon series.
I've only seen a couple of the others starring Tom Conway, so I'll have to be on the lookout for more from George Sanders, an actor who'll grow on you the more you see him. |
tt0090094 | The Stuff | Two miners (Peter Hock & Harry Bellaver) find a yogurt- and ice-cream-like substance that appears from inside the Earth's core in a kind of eruption. They taste it to see whether it's edible, and they like it a lot. They love the way that it tastes so much that they decide to mass-produce it and start selling it. From now on, it's known as the Stuff, the latest taste sensation.Jason's mother (Colette Blonigan) buys the product--suddenly it's everywhere, on commercials, billboards, at the supermarket.... The Stuff is usually kept in the fridge, but Jason (Scott Bloom) doesn't like this new product at all, especially because he saw it move all by itself inside his refrigerator. However, his mother doesn't listen to him. Soon, there is only Stuff in the household fridge, so that Jason feels more and more hungry and isolated. Jason's family was not a really good family before-at least toward Jason--but now they only talk, eat, and think Stuff.Finally Jason is contacted by ex-FBI agent David "Mo" Rutherford (Michael Moriarty). They recognize each other as people who have not tasted Stuff. They go to the main factory to try to stop them producing the deadly dessert. People become slaves of the Stuff, preferring that substance instead of food.Mo and Jason, and Nicole (Andrea Marcovicci), the designer of the strange substance's advertising campaign, start being attacked by people who have become addicted to the Stuff.Finally, they reach the factory. Mo and Nicole are given a tour around the factory, and the foreman tells them that they have a room paid for at the nearest motel. Meanwhile, Jason has trespassed, and he becomes trapped inside one of the distribution lorries.The most famous scene happens now when at a cheap motel, Stuff starts appearing from their mattress. First, it tries to suffocate David, but Nicole burns it. They run away, but a man obedient to the Stuff is the one who gets killed. Stuff overfloods the whole motel. Meanwhile, the lorry in which Jason is in starts moving, followed by David and Nicole. Jason tumbles all around inside. The lorry reaches its destination.Nicole and David see a stream of Stuff flooding from the core of the Earth, and being put inside the lorries without any filtering. David attaches some mini recording cameras to his ankles and then uses the yellow overalls of the Stuff workers. The Stuff creates weird milky structures.Stuff is being poured in the lorry where Jason is trapped in. David hears Jason talking to the Stuff, so he can free him. Meanwhile, Nicole is attacked by one of the workers while she is travelling to the meeting point with David, who saves her. Then, David comes back to take Jason from the lorry.A police officer stops the lorry which David is driving because the back door was open. David mentions that its' a pity that so much Stuff is getting wasted. Jason and Nicole pretend to eat it until the police officer also goes to eat some and David can knock him down.They reach a castle and some army guys will help them to take on the factory lead by Colonel Malcolm Grommett Spears (Paul Sorvino). They kill many factory workers but the Stuff overflows once again. Nicole and Jason run in the last second. The Stuff wrecks the factory. They want to broadcast from Atlanta so that everybody knows what the Stuff can do.
'Chocolate Chip' Charlie W. Hobbs (Garrett Morris) is a radio broadcaster who will help them because he has seen what people turn to after the Stuff has finished with them. However, he is one of them. He takes Nicole aside and opens his mouth and Stuff starts pouring out.Somehow, people believed what the Colonel said and they start turning against Stuff. They burn it and vandalise places which sale it.The owners of the Stuff want to comercialize it calling it The Taste, with enough Stuff on it to turn everybody's' mind addicted to it. David calls Jason, and he enters the room. Jason takes glasses and glasses of Stuff and they force them to eat it.The police arrive while the two owners eat and eat. They are already hooked on it and cant stop. David and Jason leave.Meanwhile, some criminals are buying loads and loads of their drug of choice, Stuff. | cult, comedy | train | imdb | null |
tt0090323 | Wild Geese II | Africa, 1977In a brief flashback to the previous movie, veteran British mercenary Allen Faulkner trains and then leads a group of 50 hired soldiers in an attempt to rescue deposed President Julius Limbani from the fictious African country of Simba. After initially being successful, the mission begins to fall apart, double-crossed and caught in the open, an enemy plane strafes Faulkner's men. With what few men remain Faulkner looks to escape the country in an old Dakota aeroplane. With only his best friend Rafer Janders is left to board the plane, Janders is shot in the leg and can't catch the taxiing plane. As the hoardes of ferocious Simbas are virtually upon him, Janders calls for Faulkner to kill him, which he regretfully does.London, 1982As the only surviving Nazi leader in captivity, Rudolf Hess (Laurence Olivier) has secrets that could destroy the careers of prominent political figures, secrets an international news network will pay any price to get. As the aged Alex Faulkner (Edward Fox) arrives for a meeting, Robert McCann (Robert Webber) is arguing with Michael Lukas about the delay of a planned rescue of Rudolf Hess. Faulkner is escorted into the office where he meets Michael and Kathy Lukas (John Terry and Barbara Carrera) where they show him a brief video tape and offer to let him name his price to rescue Hess. At first Faulkner thinks they are joking, but when he finds out they are serious, he tells them about the possible consequences of Hess's rescue. Faulkner refuses the offer but recommends John Haddad (Scott Glenn) to them as a substitute. As former Lebanese-American soldier-turned-mercenary Haddad avoids Palestinian hitmen in London. Later, network executives Kathy and Michael Lukas hire Haddad to free Hess and get him safely out of West Berlin.When Haddad arrives in West Berlin he stakes out the outside of Spandau as a jogger while being spied on. He drafts plans of the outside of the prison including guard towers and entrances. The next day Haddad joins a construction team and sneaks away to get into the prison guard entrance. Carefully eluding the guards by studying their timed patrols he drafts floor plans of the hallways and cell blocks. When he leaves the prison with the construction crew, Haddad is abducted by East German spy Karl Stroebling. Tortured into telling Stroebling about his mission, Haddad escapes and survives by overpowering the thugs and rolls across the street being barely missed run over from an oncoming truck as the police arrive as witnesses to the incident. While recovering in hospital, Haddad is visited by British Colonel Reed-Henry (Kenneth Haigh). Reed-Henry questions Haddad but to no avail; he leaves Haddad but suspects he is there to rescue Hess. Haddad leaves the hospital and along with Kathy goes to Bavaria to plan the mission without interference from Stroebling. Haddad enlists his old mercenary comrade Colonel Alex Faulkner to watch his back. Faulkner, a former British Army officer, is working as an assassin and is an expert marksman.As romance between Haddad and Kathy blossoms, the trio return to West Berlin to find that Reed-Henry will help Haddad release Hess. Once again Stroebling's thug's attempt to kill Haddad, but this time Faulkner helps him kill all but one of them. Meeting with Reed-Henry to discuss his plan, Haddad agrees to hand over Hess to the Colonel in exchange for help from Regimental Sergeant Major James Murphy (Paul Antrim). Murphy, an ex-warden at Spandau prison, informs Haddad of the prison routine and helps make the mercenaries look like British Royal Military Police. Stroebling offers to remove a contract on Haddad's life in exchange for Hess and the death of Faulkner. Haddad refuses and Stroebling leaves, frustrated.As the plan is finalised with the News network, Reed-Henry and Stroebling each believing they will receive Hess. Part of the plan involves a staged traffic accident so Haddad employs a fair ground wheel of death rider, Pierre (Malcolm Jamieson) to perform the deliberate crash. Attempting to (subjugate) Haddad into a vulnerable position using blackmail, Stroebling kidnaps Kathy. In exchange for guaranteeing her safety, Haddad must have a member of Stroebling's gang Patrick Hourigan (Derek Thompson) join the rescue group. Haddad and Faulkner are now joined by Kathy's brother and Lebanese mercenaries Joseph and Jamil. The group now including Hourigan are trained by Murphy. During one of Faulkner's fever spells, Hourigan substitutes Faulkner's medication with LSD tablets causing hallucinations. Hourigan taunts Murphy about an IRA ambush he participated in. Murphy shoots Hourigan dead, putting Haddad in a dilemma over Kathy's existing safety. Haddad enlists his final team members, Arab businessman Mustapha El Ali (Stratford Johns) and his employees, to do a couple of minor parts of the rescue. To appease Stroebling, Haddad offers Michael as extra insurance.Launching a coup that will change the shape of the world, Haddad must also rescue Michael and Kathy from the clutches of Stroebling. Michael creates a diversion for him and Kathy to escape but he is killed during the struggle when the guard retrieves his handgun and shoots him. Moments later Haddad kills the guards and rescues Kathy. The plan goes ahead as scheduled but Pierre is killed in the flaming wreck from the staged accident. Hess is sedated with an anasthetic, and switched with the look-alike corpse from the other ambulance and placed into a waiting jeep. At the rendezvous point at the Kaiser Wilhelm memorial Reed-Henry tries to intercept Hess, but discovers that he has been duped into killing Stroebling disguised as a guard. Kathy, Haddad and Faulkner take a drugged Hess to and from a soccer game with international passengers to their plane flight, and escape from being caught by murdering a customs officer. Reed-Henry confesses to his superiors that Hess has escaped with his rescuers and is nowhere to be found. He accepts execution via being shot with his own pistol from his superiors as his punishment.EpilogueHaddad, and Kathy and Faulkner take Hess to a hotel in Vienna, Austria where he awakens to find himself in an unfamiliar environment. Although he is offered the best hospitality, he insists on knowing why he was drugged while Kathy talks to McCann about the rescue and Michael's death. Hess, knowing that he is being exploited, overhears the conversation and tells Kathy, Haddad and Faulkner that he has no desire to be a part of modern society. Haddad and Faulkner try to talk him into accepting his freedom, but he insists on going back to Spandau to live the rest of his life. The following day Haddad, Kathy and Faulkner take Hess to the French embassy where he turns himself in. An article of a newspaper in the following days tells a story about a false rumor of Hess's escape. | cult, violence | train | imdb | Scott Glenn too returns a creditable performance, and Edward Fox steps into the shoes of Richard Burton quite seamlessly.
I have just seen this film, and l thought it was quite good, not up to the original but the story line was good, the acting was good, in fact it was a good film with a fantastic idea.Olivier and Fox add to the cast with Olivier doing his best to convey a hard part...I have read in books that this film was a "bomb" and a lot of folk don`t like it, but why has every film got to have a message, why can't people just see a film for what is should be a bit of fun, l give this film
He is too stupid to realize the most obvious of things, like that the girl might need protection.There is little of the actual mercenary action that was present in the original one.
This inferior sequel deals about a new group of the much-wanted mercenaries (Scott Glenn, Edward Fox, John Terry among others) assigned by a rich television network (Robert Webber, Barbara Carrera) to free famous arch-Nazi war criminal Rudolph Hess.The film is packed with noisy action, thrills, suspense, tension and lots of violence .
The movie is dedicated to Richard Burton , he played the original film (along with Roger Moore, Hardy Kruger,Richad Harris, Stewart Granger), that was better than you would expect.Adding more details about those described on the movie regarding Rudolph Hess - very well played by Laurence Olivier- and his Spandau prison, the events were the following : Hess was privately distressed by the war with Great Britain, because he, like almost other Nazis , hoped that would accept Germany as an ally .
After the original with its star studded distractions; this only in-name sequel would see a small tag of mercenaries led by Scott Glenn hired by an American TV station to go behind enemy lines (Berlin, Germany) to take part in a very dangerous mission (freeing Nazi prisoner Rudolf Hess, who holds many secrets that some people would want to keep it that way)."Wild Geese II" is a hardy, but cleverly plotted and lavished boy's own adventure.
However don't go in thinking its going to be an all-out action assault like "Wild Geese", it's not.
Yes, Richard Burton died before filming this (he's only seen in the pre-title sequence that is footage from the first Wild Geese film---and really of no consequence to the sequel's story).
Unlike 1978's The Wild Geese which was chock full of story, action and even some moral values this apparent sequel comes up short on all accounts.
A plan to spring Nazi War criminal Rudolf Hess from his cell in Spandau prison by a team of Mercenaries is the basis of the movie.
Sadly Richard Burton who was to recreate the Colonel Faulkner role died before filming began and was replaced by Edward Fox who seems shallow in his performance.
Richard Burton was to star in this sequel to the original Wild Geese, but he died before shooting started.
Not that the first Wild Geese would ever rank among the great films of all time, but it was nicely done story about the comradeship of the military fraternity.These guys headed by Fox and Scott Glenn aren't mercenaries, they're heist guys.
The last prisoner in Spandau where all the surviving Nazis were contained, those who weren't hanged.Sir Laurence Olivier takes out his mitteleuropa Albert Basserman accent for the last time to play Rudolf Hess, former Deputy Fuehrer of the Third Reich who escaped the hangman at Nuremberg because of insanity and the fact he'd flown to the UK and was captured there.
It was a sad pathetic attention getting gesture by a very mediocre man, shoved aside by those in power.The premise of this story is that Glenn and Fox are hired to spring Hess out of Spandau so he could tell what he knew about Hitler to the world.
As a fan of the original "Wild Geese," I couldn't help but be crushingly disappointed by this disjointed, boring "sequel." Scott Glen goes through the film as if on Prozac and Barbara Carrera is strictly no-talent eye-candy.
As for Laurence Olivier as Hess, well, it looks like he thought he would reprise his embarrassing performance as Neil Diamond's father in the 1980 "Jazz Singer." This was just one more of the many child-support-and-alimony-payments-are-due roles that crowded the end of his otherwise distinguished career..
So Wild Geese II, Nearly every review I have ever come across regarding this film has been very negative and to be honest from reading a lot of them I don't even think many had watched the movie to begin with...
The original Wild Geese - these days a Sunday afternoon guilty pleasure classic that when looked at objectively is actually a fairly routine action film with a join the dots script and pedestrian direction.
Wild Geese II is very different from that movie, new cast, mainly new crew and made nearly ten years later - Wild Geese II is more of a spy thriller than action film.
One aspect of the film that I think it really shares with the original is that any of the main characters can get killed at any time although it is a bit more edgy this time around.Another aspect - in this case bad unfortunately is seeing another washed-up actor hamming for the alcohol bills, Edward Fox in this case who is just plain awful here taking over from what would have been Richard Burton's role.
The interesting thing is that bad as the two leads are they do not bring the film down as the rest of the cast is filled out with mainly good supporting actors - the standouts being Barbara Carerra in a pretty thankless role as the love interest, an actor who plays an IRA gunman and another actor who plays a British Sergeant-Major.
So overall not as dated as the original but still dated, better story and better direction but with a bad rep - I think this is an unusual case of a sequel surpassing the original but audiences seem unwilling to give it a chance probably because the first just wasn't that good to begin with..
The Original Was a Minor Classic.it was Action Packed and contained Plenty of Humour.Infact it was like a British Dirty Dozen With Mercenaries instead Prisoners.The cast Seemed to Enjoy themseleves.unlike this movie where most of the cast look like there going to fall asleep.Scott Glenn is so wooden in this Chuck Norris would of been better.the Action is very Rare.Only Fox Plays it tongue in Cheek.The Script isnt Great and the story goes nowhere.Dull.However Roy Budds Music Score is typically Great.4 out of 10.
'Wild Geese 2' Is a contractually obliged sequel to the original mercenary classic, Richard Burton Was due to reprise his role, but sadly Richard Burton, succumbed to a fatal brain hemorrhage, This time around Edward Fox, Fills in as the younger Brother of Faulkner, who is approached by news reporter magnates, who want Faulkner to free the infamous war criminal, Rudolf Hess,(who is incarcerated in the equally infamous Spandau prison, in Berlin,Laurence Olivier,) plays the aging Nazi.Faulkner Decline's the perilous operation,but Recommend's another mercenary for the impossible feat, John Hadad, Played By the ever moody Scott Glenn,who literally sleeps through this performance, Naturally Glenn Cant pull off this mission, so Fox Agrees, 'Wild Geese 2', is watchable but don't be expecting sheer brilliance,.
Roger Moore had the good sense to turn it down, instead we get Scott Glenn looking as though he's stepped off the set of 'Westworld', and Barbara Carrera as the token crumpet.
Whilst it was possible to root for the original Wild Geese as they rescued a democratically-elected Prime Minister, its impossible to care if Glenn, Fox and Carrera spring Hess.
An American TV network hires a group of mercenaries to spring the notorious high-rank Nazi officer and war criminal Rudolf Hess who is being held at Spandau Prison, East Berlin.
Haddad (Scott Glenn), an American mercenary heads the squad with another British mercenary Faulkner (Edward Fox).The mission gets complicated as other parties like the KGB and another mercenary group try to sabotage the plan, eventually leading to the lost of lives of Haddad's men and endangering the life of the target man Hess.This film was a bomb when it played at the cinemas because a lot of viewers had the misconception of what they would see and expected wall-to-wall, masculine battle scenes like those in THE WILD GEESE.
The other reason was that the leading cast was not super stars: Scott Glenn was an up-and-coming star then and Edward Fox's career had dwindled.
But having watched it again on DVD recently, I was pleasantly surprised to realize that it was not as bad as I thought it was.The film has a slow, step-by-step build-up that follows the "planning-surveillance-organizing-executing" structure, something like a "Mission Impossible" episode that fits very well with the plot.
Modern audiences may not like the lack of tension but viewers who are accustomed to espionage action thrillers of the 70's and 80's will not have much to complain about.Despite some negligible flaws, Scott Glenn, Edward Fox, Laurence Olivier and the others all play their part well.
Surprisingly, the locations in East Berlin chosen for this film depict the beauty of the era, not the negative views Westerners used to have in minds about the Eastern block countries at the time.Despite the farcically contrived ending,WILD GEESE II is still an interesting, exciting, and well-executed espionage action thriller not to be watched as a sequel but a film in its own right..
The first had three top draw british stars this has one british supporting character actor.with an american leading man who was basically wooden as hell.the acting is awful its slow moving with little action.its nothing like the first and has been made for a american audience no surprise it failed.this has nothing to do with the original.pathetic.
It has a lot of very good action and an interesting story as well as being shot on location in pre 1989 Berlin.
However, if you view this film without trying to make comparisons to the original, you end up with a thoroughly good romp through the very pretty city of Berlin.
Scott Glen is excellent as the mercenary who has a price on his head, Edward Fox is also good though he has done better.
The problem with this sequel is ...1 ) It doesn't feature any characters or actors from the original film 2 ) It doesn't feature any battle scenes set in the African continent 3 )Even as a film in its own right it fails to stand on its own legs The plot featuring a plan to abduct Rudolph Hess from Spandau Prison is ludicrous and despite the low brow nature of the original when it came to geo-politics at least there was an element of credibility to the proceedings even if it was to just set up the story .
In fact if it was an entirely American production the IRA would be the good guys So in summary this is a film that cheats the audience in to thinking they're watching a film that's a sequel to a well regarded action adventure .
Burton, before dying, was very enthusiastic about the filming of "Wild Geese II.
So it's ridiculous to imagine that Burton would have played the role played by his substitute Edward Fox (who plays his brother in the film) : it's true in only a few scenes.
Most of Richard Burton's dialogs are in fact delivered by Scott Glenn, who plays the leading mercenary in the final version.
But if Burton plays the role of Edward Fox, he's not the leader anymore and the story is ridiculous (like in the shot movie).
If you re-watch the film, you can see Edward Fox limping like Burton would have done it because of his surgery : Faulkner meets the Lukas' at EBC in London, the second interview between Glenn and the Lukas was in fact the continuation of Faulkner's: Burton's Faulkner would have accepted the mission of course and then hired immediately Haddad in London to help him.
A nonsense that you can experience in the final version : Glenn delivers very poorly his dialogs and makes the movie look like a slow TV-movie, Burton would have set all these scenes under high tension.
In fact, from the moment they return to Berlin, Glenn would have played almost exactly (except in the Turkish alley and in Austria at the end)the role of Edward Fox (who just took Burton's clothes and nothing else).
The helicopters that you see on the poster drawn for the movie starring Burton are absent from the final film but would have appeared towards the end : before the attempt to free Hess, there was supposed to be a massive operation of the British army (a simulated reaction to a Russian invasion, a training, but at a large scale in the conditions of reality, where the army has to evacuate British families from Berlin and so on...).
The Wild Geese is one of the better action films out there with its combination of a top-notch leading cast, a good supporting cast, a good script and spectacular action sequences.
Because while Scott Glenn and Barbara Carrera are good actors, they lack chemistry.
Glenn is not a leading man and it takes considerable effort to watch him throughout the entire film when he spends whole scenes by himself.
But the real star of the supporting cast is the cameo (for lack of better description) by Laurence Olivier as Rudolf Hess.
Olivier appearance is brief, during the finale of the film, but his scenes with Fox, Glenn, and Carrera makes the two hour running length of the film seem worthwhile.
So despite having an excellent Edward Fox and Laurence Olivier, Wild Geese II lacks in everything that the first film had.
I have long been interested in the then divided Germany and particularly the ravaged Eastern sector of Berlin which retained to a degree damaged the last war.Wild Geese 2 is a film that isn't that easy to find and unlike the original film hasn't been subject of a free giveaway DVD with Sunday newspapers.This is a fair story, about the plan to abduct Rudolf Hess from Spandau prison in Berlin, where he was held as a prisoner after the Nuremburg trials in 1946.
Its a good pot-boiler premise of a thriller and was set to star Sir Richard Burton, unfortunately he died before filming commenced.Edward Fox stepped into the role Burton would have taken and he does a great job in that part.The Hammer films actress Ingrid Pitt makes a brief appearance in the film - she escaped from the East Berlin sector by swimming the River Spree in 1962 after the wall had gone up and was picked up by a patrol of American soldiers.Ingrid Pitt did a few film appearances in Berlin, a situation she wasn't easy with having had to escape from the city in 1962, her filming was done before the wall came down in 1989It was a shame that Ingrid Pitt didn't feature more in the film, when you look at Who dares wins from the same year (1982), she put in a good performance as Helga, a big wheel in the People's Lobby movement in that film.Had Ingrid Pitt's character been used to exert influence over Barbra Carrera's character for instance, it might have given the film a more dynamic effect and put Ingrid Pitt higher up the credits too, she was sadly underused in this film.Wild Geese 2 is much like Where Eagles dare in a general sense, it is laced with danger and double cross throughout and up to the end there is no certainty that the mission objective will be successful.A good film overall, but I think more could have been made of some of the character's performances, especially Laurence Olivier, he only appears mainly towards the end, they could have wrought more out of his back story in the script I think.Perhaps the screenplay was cut short, for instance, how Scot Glenn's character manages to become equipped for the job, how Edward Fox's character does too, more detail in the film would have been worthwhile.Overall a watchable film..
WILD GEESE II is a stand-alone sequel to the Richard Burton film; none of the cast return and the story is quite different here with different characters in a different situation.
This is a men-on-a-mission film in which some mercenaries are tasked with springing notorious Nazi Rudolph Hess from a Russian-run prison in West Berlin, a task which is every bit as tense and difficult as it sounds.This is a largely criticised movie that suffers from having an overlong running time; around the middle part of the production the pacing really flags and half an hour could easily have been cut out to give it more pace and momentum.
Saying that, the pacing problems are really the only problem the film has, as otherwise it's a solid thriller with interesting cast members and well-directed action from old-timer Peter Hunt.The story and execution reminded me of RONIN a little, although the Frankenheimer film is by far the better of the two.
Once the pacing picks up, WILD GEESE II remains entertaining through to the end, and the action is stark and realistic; I liked it..
There are several "Oh Crap" moments I had watching this, which makes it cool in my book, I mean The Wild Geese had like one of those when they blow up the bridge and the rest was pretty formulaic, I do not want to compare this to WG though as I loved that film also, I'm just saying that this film is not formulaic at all, it will surprise you, at least two or three times, trust me.
Edward Fox replays his Day Of The Jackal role to an extent, and Scott Glenn is at the peak of his bad as*ness career. |
tt1862079 | Safety Not Guaranteed | Darius Britt (Aubrey Plaza) is a disillusioned college graduate who lives at home with her widower father (Jeff Garlin) and interns at Seattle Magazine. One of the magazine's writers, Jeff Schwensen (Jake Johnson), proposes to investigate a newspaper classified ad that reads:
Wanted: Somebody to go back in time with me. This is not a joke. P.O. Box 91 Ocean View, WA 99393. You'll get paid after we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before.
Jeff's story idea is approved by his boss, Bridget (Mary Lynn Rajskub). Jeff selects his team, made up of Darius and a man named Arnau (Karan Soni), the latter of whom is a studious biology major interning at the magazine to diversify his resume. They travel to the seaside community of Ocean View to find and profile the person behind the ad. Jeff later reveals an ulterior motive for this assignment: to track down a long-lost love interest who lives in town.
Darius discovers that the person behind the ad is Kenneth Calloway (Mark Duplass), a stock clerk at a local grocery store. Jeff's attempt to approach Kenneth alienates him, so Jeff orders Darius to make contact. Darius' disaffected attitude serves her well, and she quickly endears herself to Kenneth as she poses as a candidate to accompany him on his mission. While Kenneth is paranoid and believes that "secret agents" are tracking his every move, Darius gains his trust as she participates in a series of training exercises in the woods around his house and begins to develop feelings for him. She tells Kenneth about the death of her mother when she was young and that her mission is to prevent it. Kenneth says his mission is to go back to 2001 and prevent the death of his old girlfriend Belinda, who was killed when someone drove a car into her house.
Meanwhile, Jeff tracks down Liz (Jenica Bergere), his fling from his teenage years; although she is not as attractive as his memories of her younger self, they reconnect and sleep together. He asks her to come back with him to Seattle, but she believes this is just another fling for Jeff, so she refuses. Upset by her rejection, Jeff takes Arnau out on the town, and they pick up some young women. Jeff tells Arnau to not waste his youth and convinces him to spend the night with one of the women.
The next morning, Jeff receives a phone call from Bridget, who has been following up the team's notes on the story; she informs him that Belinda (Kristen Bell) is still alive. During an interview, Darius learns Belinda was only friends with Kenneth and that Kenneth had driven into her then-boyfriend's house, but no one was injured. After the interview, Darius is questioned by two government agents who have been following Kenneth and believe that he may be a spy because of his communication with government scientists.
Darius returns to Kenneth's house to confront him about Belinda, but Kenneth rationalizes that his time traveling must have worked. Jeff then comes in to warn them that the government agents are also on the property. Kenneth panics and runs into the woods. Darius follows him and finds Kenneth has boarded his time machine, which has been integrated into a small boat. Darius apologizes for lying to Kenneth, tells him everything else they shared was real, and joins him on the time machine. Kenneth tells Darius that his mission has been updated, saying he now wants to go back for her. As Jeff, Arnau and the two government agents watch, Kenneth activates the time machine and it disappears, along with himself and Darius. | entertaining, romantic, cute, sentimental, flashback | train | wikipedia | Aubrey Plaza plays Darius, one of the interns who at first seems pretty disinterested in the whole situation, ends up being the one who has to pretend like she wants to time travel.
She expects to be working with a total nutjob, completely off his rocker, but instead she finds that Kenneth, the man who put the ad in the paper, is actually an incredible insightful, sweet, and softhearted person and that time traveling is more a facade for finding yourself and it's more of a metaphor for fixing old mistakes.
There's nothing here that will floor you or blow you out of the water, but it truly is a lovely and heartwarming story.Normally feel good movies aren't my thing, but Safety Not Guaranteed is sincere enough and of a quality that makes it an absolute joy to watch.
LOGLINE: Mark Duplass (Puffy Chair & Humpday) plays Kenneth, the local small town weirdo who bags groceries and places a classified ad seeking a companion for time travel.
Writer Derek Connolly weaves in and out the possibilities of what is true and keeps the audience guessing until the film's final second payoff.Actors Duplass and Plaza are so great radiating weirdness off of each other.
Safety Not Guaranteed (2012) *** 1/2 (out of 4) Grocery clerk Kenneth (Mark Duplass) places an ad in a local paper asking for someone to go with him as he time travels.
A magazine writer (Jake Johnson) hears about the story and takes a long a couple interns, one named Darius (Aubrey Plaza), quickly gets caught up with the time traveler as she applies for the job without him knowing that she's actually on a job.
Mark Duplass and Jake Johnson are excellent, and that new kid Karan Soni...well, you'll be seeing more of him in the future is my guess.This is a film I would see again and again, each time it appears in the future.
Travel in time is definitely my favorite sub-genus of science fiction, and even though I equally adore the creativity of the Back to the Future trilogy, the historical humor of Bill and Ted's Excellent Adventure and the apocalyptic solemnity of The Terminator, I also appreciate the independent films which deal the subject with more sobriety and philosophy.
Films like Primer and Suspension have compensated their low budget and visual simplicity with provocative ideas which leave the mechanics of travel aside in order to focus on the melodrama created by the characters, proving that there's no need of flying cars or phone booths when there's an ingenious narrative inhabited by realistic and interesting human beings.
Even though I didn't like it as much as Primer or Suspension, the film Safety Not Guaranteed fits into that group, even though it doesn't necessarily include too much time travel.
The first point makes it a comedy but the second point, the main one, makes it a drama so be prepared for a more thoughtful journey than just a laugh riot.It is fairly original, especially with the much talked about ending, but I personally found that the low-budget indie "Juko's Time Machine" (2011) handled a similar concept in a much more ingenious way.
If you like smart dialogue, an imaginative narrative, and well developed character, SAFETY NOT GUARANTEED is your film.
If Safety Not Guaranteed was made 5 years ago, no doubt the character played by the hilarious Aubrey Plaza, would've been played by Ellen Page and Mark Ruffalo would have replaced Jake Johnson as Jeff.Now, as mentioned, Plaza is very funny, but sadly, she, almost note-by-note, reprised her Parks and Recreation TV role.
Not in the least.) -The climax ,one of the best ending I ever see (it will spin your mind for half in hrs) Well in the end (as always ignore my faulty English :P but I am improving :) ) I recommend it from my heart , Yes It start on a slow note but the movie worth it for 1 time watch.
In Seattle, the editor of a magazine, Bridget (Mary Lynn Rajskub), assigns the cynical reporter Jeff (Jake Johnson) and the interns Darius (Aubrey Plaza) and Arnau (Karan Soni) to find and interview the author of an advertisement inviting a companion for a time travel.They travel to a coastal town in Washington and Jeff leaves Darius and Arnau watching the PO Box. Darius finds that the man is Kenneth Calloway (Mark Duplass), who works in a supermarket.
Now Darius has to find whether Kenneth is a lunatic or has really invented a time machine."Safety Not Guaranteed" is a comedy with a promising beginning, with funny and witty dialogs and situations.
While the two other magazine workers drift away from the story, Darius grows closer to Kenneth and starts to wonder if he isn't crazy after all.'Safety Not Guaranteed' contains possibly the most likable character of the year, Kenneth played by Mark Duplass.
This shows us that she looks at Kenneth as friend and as someone she can trust rather than just the subject of an article.The other two magazine writers who are "working" on the story, Arnau (Karan Soni) and Jeff (Jake Johnson), are very different people.
It is just as interesting to watch these two characters evolve and in a way come-of-age, as it is to watch the main story of Darius and Kenneth.The movie is written brilliantly and is full of deep and often humorous dialogue.
well these are my reasons -After a long time I saw this movie which make you care for the characters when this most of the big budget movies failed to do the same -Characters are so real in the movie that you will not feel as they are acting or faking their emotions but We can see anyone of those in our real life -The climax ,one of the best ending I ever see (it will spin your mind for half in hrs)Well in the end (as always ignore my faulty English :P but I am improving :) ) I recommend it from my heart , Yes It start on a slow note but the movie worth it for 1 time watch.
Leaving too many questions unanswered and generally undoing the good feeling you get from it in the first 50 or so minutes makes me wish I could go back in time to stop myself from watching this movie.
Take a sci-fi premise and mix it with a gentle love story, add a few metaphysical Charlie Kaufman-like touches...and voilà...the perfect movie for a hot summer's day.
Acting was good in this movie...I just didn't like the characters or the script or the story.And one more thing - SHAKY CAM!!
I always had fascination with people that are outsiders because of how colorful in persona they are, their live life though their own wavelength, their never boring, they have a lot to offer the world, but most of all are truly honest about their feelings; I myself am one of them.This film is one of the most bizarre yet strangely cleaver and beautiful time travel tales and romances I've seen.
And the guy is sweet, the moment when he plays an instrument and sings a song to Darius was great.I really love the chemistry between the two, I feel this is another of those rare times of romance done the right way because it has two factors, suttle build up but most of all likable and believable characters.
I laughed a lot -- watching it with my mathematician/computer geek husband and three tech-absorbed sons heightened the experience (some of the youngest male character's lines are absolutely priceless) -- and was amazed to find myself bursting into tears during the final clip.Fantastic casting, great acting, wonderful writing, excellent music, and camera work that perfectly suits the story.
You are a young writer and you saw that someone wants to an assistant to go back in time with.So what you will gonna do?A wonderful movie about science fiction and relationships and it is also very imaginative.It also makes you understand that you have only chance to live your youth.I enjoyed every minute of this movie.It was such a lovely story.The end of the movie really made me surprised.Storyline was really interesting.Travel in time is my favorite topic in science fiction movies.That is why I wanted to watch it.Maybe you can think that it would be ridiculous but it start to be more interesting and really makes the movie more amazing.
'SAFETY NOT GUARANTEED': Four and a Half Stars (Out of Five)Touching and hilarious little indie film about three magazine employees researching a story about a guy who posted a classified ad looking for someone to go back in time with him.
The film stars Aubrey Plaza, Jake Johnson and Mark Duplass (who has written and directed popular indie films himself, with his brother Jay, like 'CYRUS' and 'JEFF, WHO LIVES AT HOME').
When a staff writer named Jeff (Jake Johnson) proposes doing a story on a guy who placed an ad looking for a time travel companion Darius enthusiastically agrees to assist him on the project.
Plaza plays Darius, a directionless magazine intern for a Seattle magazine, who is given a job, along with two others, to investigate a man who put a strange ad in the classifieds section asking people to contact him if they were interested in traveling through time.The ad reads something like this: "WANTED: Somebody to go back in time with me.
For the remainder of the film, we watch as these two quirky, yet vulnerable human beings (not characters) build up a stable relationship, as Kenneth trains Darius for the event of time traveling.While Kenneth painstakingly puts Darius through endurance tests, Jeff decides to look up a formal flame, who is not chubbier yet still packs a wholesome wallop, while at the same time, harasses poor Arnau, a young college student who is a virgin, taking the job of a journalist because diversity looks good in college.
The entire cast fits together and play off each other in a delightful way and the ending is great without being sappy sweet or maudlin.I don't want to get into the plot, but Aubrey Plaza's debut as a lead actress is right on target and I see much success for her in the future in a lot more movies.
The entire cast fits together and play off each other in a delightful way and the ending is great without being sappy sweet or maudlin.I don't want to get into the plot, but Aubrey Plaza's debut as a lead actress is right on target and I see much success for her in the future in a lot more movies.
SAFETY NOT GUARANTEED.PLOT: Parks and Recreation's Aubrey Plaza plays Darius, an intern at a Seattle news magazine roped into investigating the cryptic personal ad with lead writer Jeff (Jake Johnson) and fellow intern Arnau (Karan Soni).
The screenplay weaves Jeff's journey back into the past through connecting with an old girlfriend against Darius's burgeoning respect and love for Kenneth as they fire pistols, run through the woods, break into low-level scientific installations searching for crucial pieces of the time machine.
The filmmakers of Safety Not Guaranteed most likely thought, "Well, we have this character straight from Parks & Rec, I guess we'll hire the same actress." Darius (Plaza) is a direct rip-off of April Ludgate; however, instead of working for Amy Poehler in Pawnee, Indiana, she is an intern at Seattle Magazine.Darius and fellow intern Arnau (Karan Soni) volunteer to tag along with one of the magazine's journalists, Jeff (Jake M.
Kenneth (Mark Duplass) seeks a partner for time travelling, but the prospective partner must bring their own weapons and he warns them that their safety is not guaranteed.
This is not a foundation for the hardest hitting journalism, but then again, the film does not make out Seattle Magazine to be the most informative periodical.Picking up where Jeff fails, Darius uses some of her feminine skills to convince Kenneth she is interested in being his time travelling partner and they embark on training.
But the music is great and the story is completely original, so Safety Not Guaranteed is a fun small film that can definitely be enjoyed by anyone.+Lead quirky performances +Originality +Writing -Lack of focus at times7.0/10.
The acting is good all around, but the stars are Aubrey Plaza and a pleasant surprise from Mr. Mark Duplass, I thought his performance was the best in the movie.
The story is science fiction, fantasy and real-life relationships.This is a film I would see again and again.I enjoyed every minute of this movie.
Fantastic casting, great acting, wonderful writing, excellent music, and camera work that perfectly suits the story.I like this movie a lot, it is something quite different from the usual comedy, drama, love story.
Fantastic casting, great acting, wonderful writing, excellent music, and camera work that perfectly suits the story.I like this movie a lot, it is something quite different from the usual comedy, drama, love story.
The story is science fiction, fantasy and real-life relationships.This is a film I would see again and again, each time it appears in the future.
Safety Not Guaranteed has a definitive quirky streak that runs through every aspect of the film I enjoyed every minute of this movie.
If time travel was possible I wonder if there is a timeline where Aubrey Plaza won an Oscar for La La Land and Emma Stone starred in Mike and Dave need Wedding Dates!Three Seattle journalists go to investigate a story about a classified ad where a man seeks a companion for time travel.The ad was placed by Kenneth (Mark Duplass) a paranoid eccentric store clerk.
The highly talented, but mostly unknown, cast delivers an entertaining feel good drama revolving around the exotic idea of a time machine.The story follows an intern magazine reporter (Aubrey Plaza) trying to write a story about a social outcast (Mark Duplass) who declares himself a time traveler.
This movie is the science fiction, so I expect the characters go back in time in the early stage and the story goes on in the past scene.
it were shot with with millions and had few major "stars" it would be a box office smasher.There is a conversation that takes place between the two main characters in Safety Not Guaranteed, Aubrey Plaza's Darius and Mark Duplass's Kenneth, in which Kenneth talks about his first girlfriend.
it were shot with with millions and had few major "stars" it would be a box office smasher.There is a conversation that takes place between the two main characters in Safety Not Guaranteed, Aubrey Plaza's Darius and Mark Duplass's Kenneth, in which Kenneth talks about his first girlfriend.
Colin Trevorrow's Safety Not Guaranteed, a film with a more unpleasant opening than anything I've seen recently, tried valiantly to win me back but was sadly only around halfway successful.The film stars Aubrey Plaza as Darius an interning magazine journalist sent with two colleagues to research a story about a bizarre and mysterious classified ad seeking a partner in a time travel mission.
Plaza is her usual moody self, yet is allowed to strip away some of her trademark cynicism as her character warms to Kenneth (Mark Duplass), the potentially damaged loner responsible for the classified ad, showing a tender side not seen from her before.Their relationship is a cute coming together of two social misfits, and works pretty well despite some questionable plot holes and an ending that doesn't quite add up.
However, this is only half of Safety Not Guaranteed, and Darius and Kenneth's story is hampered by a brief runtime (86 minutes), too much of which is spent on the secondary story concerning Darius' fellow intern Arnau (Karan Soni) and boss Jeff (Jake Johnson).Any warmth Trevorrow generates in scenes of Darius and Kenneth is obliterated every time the film switches to the mean-spirited, creepy antics of Jeff, who is using the trip to rekindle a past romance with Liz (Jenica Bergere), dragging troubling ethnic stereotype Arnau along for the ride.
SAFETY NOT GUARANTEED.Jeff takes two interns on assignment with him: Darius (Aubrey Plaza) and Arneau (Karan Soni).
Safety Not Guaranteed, then, represents a real achievement, entering into a fraternity of select films that tell a worthwhile romantic story while displaying a healthy respect for the science fiction that brings the pair together.The classified ad read, "WANTED: Someone to go back in time with me.
If you like time travel movies with a story and a good cast, I wouldn't suggest watching this one.
Despite the movie's newbie director (Colin Trevorrow) and first time big-screen writer (Derek Connolly), Safety Not Guaranteed achieves the difficult balance between quirky humor and witty dialogue and a sentimental love story.
The plot enables key trademarks of the actors' TV personas to shine in unlikely settings effectively convincing viewers that they are indeed watching new characters.Unhappy (and slightly lost) interns Darius (Aubrey Plaza) and Arnau (Karan Soni) are apathetically selected to join Jeff (Jake Johnson) on a weekend trip to Ocean View, Washington to investigate the author of an unusual classified ad.
Writer Jeff (Jake Johnson) offers it as a story idea and brings along interns Darius (Aubrey Plaza) and Arnau (Karan Soni).
A simple classified advertisement for a man seeking a time travel companion could inspire a few different movie ideas, so I was surprised to see SAFETY NOT GUARANTEED approach it as a romantic comedy.
As the time of his mission approaches, Darius and Kenneth grow closer while the question continues to loom: can he really travel through time or is he insane?SAFETY NOT GUARANTEED definitely feels like a hipster indie film.
He had a great screenplay to work with, also from a first time screenwriter, Derek Connolly, who happened to write the story specifically with Aubrey Plaza (from Parks and Recreation) in mind to play the lead character.
Darius is chosen along with Arnau to help Jeff write a story in their magazine about a suspicious guy who posted a wanted partner ad regarding nothing less than time travel. |
tt1640548 | Rampart | The film opens as Los Angeles Police Department (LAPD) Officer Dave Brown (Harrelson) patrols the Rampart Division. Brown is a 24-year veteran of the force, who previously served in the Vietnam War. While training a new officer, he roughs up a suspect to find the location of a meth lab. After work, he goes home to his two daughters and two ex-wives, who are also sisters (Heche and Nixon). After dinner, he goes to a piano bar where he picks up a stranger and has a one night stand.
The next day, he is t-boned in his patrol car. When he checks on the driver who hit him, the driver flees from his car, hitting Brown with his door as he exits. When Brown catches the driver, he brutally beats him, and the assault is captured by a bystander. The video creates another controversy for the LAPD, which is already besieged by the Rampart scandal. The Assistant District Attorney (Weaver) urges Brown to simply retire. He refuses and outlines his defense. Over the course of the film, it is revealed that Brown studied law and failed the bar exam, but he remains extremely knowledgeable about case law.
Back at the piano bar, Brown picks up a lawyer named Linda (Wright), after first determining that she is not surveilling him. Later he meets with ex-cop Hartshorn (Beatty), who suggests that Brown was set up to distract from the Rampart scandal. As the LAPD exerts more pressure on Brown, he retains legal counsel. Soon after, his ex-wives ask him to leave their houses so that they can sell them. Brown meets again with Hartshorn and mentions his need for cash. Hartshorn tips him off to a high stakes card game happening later that night at the Crystal Market.
While Brown surveils the card game, it is knocked off by two armed men. Brown pursues the men. He kills one of them and lets the other go. He then stages the scene to make it look like he was shot at. He realizes that a homeless man nicknamed "General" (Foster) witnessed the whole thing from his wheelchair. As another investigation into Brown heats up, he goes to a hotel and blackmails the concierge into giving him a room by threatening to arrest the concierge for running a prostitution ring in the hotel. Next, he blackmails a pharmacist into giving him an assortment of drugs.
When he meets with Hartshorn to give him a cut of the money from the card game, Brown asks for the source of Hartshorn's tip about the game. He suspects that he was set up again. Hartshorn refuses to name his source. Brown then meets with General in a parking lot to make sure that he will not testify about witnessing the shooting. The next day, an investigator with the District Attorney, Kyle Timkins (Cube) surveils Brown, who confronts him. Brown insists that he is not a racist, merely a misanthrope.
Brown grows increasingly paranoid and reliant on drugs as the pressure on him mounts. When he meets with Hartshorn again, he pulls a gun and accuses Hartshorn of setting him up. The elderly man scuffles with Brown a little bit and then has a heart attack. Instead of calling an ambulance, Brown leaves him to die. Back at the hotel, Brown's two daughters drop off some dry cleaning at his room, and he confesses to his younger daughter that everything she has heard about him is true.
Brown summons Timkins to a meeting and tapes a confession in front of him. He admits that he has been a dirty cop, and that in 1987, he killed a business acquaintance. He justified the murder because he knew the man was a serial rapist, which is why he got away with the extrajudicial killing. Timkins refuses the confession, insisting that he will arrest Brown for his most recent murder. The film ends with Brown revisiting his family and staring at his elder daughter on the front porch before disappearing into the night. | boring, murder | train | wikipedia | so far gone morally that redemption is no longer even a possibility.Writer James Ellroy (LA Confidential) and director Oren Moverman (The Messenger) present to us Officer Dave Brown, known to his fellow cops (and even his daughter) as "Date Rape" Dave.
This includes Robin Wright (who nearly matches Dave in the tortured soul department), Sigourney Weaver, Anne Heche, Cynthia Nixon, Ned Beatty, Ben Foster, Ice Cube, and Steve Buscemi.
The first hour feels like an Actor's Retreat as most every scene introduces another familiar face.Still, as terrific as Harrelson is, and as deep as the cast is, the film is just too one note and downbeat and hopeless to captivate a viewer.
Oren Moverman co-wrote the screenplay and directs.David Douglas Brown (Woody Harrelson in a one man powerhouse of a performance) is a veteran Los Angeles police officer, one of the last of the renegade cops who works out of the Rampart Division.
When Dave is caught on video brutally beating a man who accidentally ran into his police car he is faced with decisions that uncover not only his misdeeds but those of his fellow workers.The cast is filled with fine support (Jon Foster, Ice Cube, Steve Buscemi, et al) who have very little to do, but Harrelson is in every frame obnoxiously smoking cigarettes in a chain smoker fashion.
If that was the case, I'd certainly watch more because there is a lot there and the on screen talent is superb but as a stand alone film it's a massive let down and it goes absolutely nowhere at the end of 2 hours.Oh, and the sex club scene is particularly pointless, if any such scene can be.
Always watchable largely thanks to Harrelson--he's really quite good---but never quite believable film tracks a couple days in the life of a not exactly dirty, but not exactly clean cop.
To my mind, Harrelson's character isn't exactly dirty--we never witness him taking bribes, or stealing money, or looking the other way--he's just way overzealous in his pursuit of bad guys--actually scratch that--something happens at the mid-point that actually changes part of that last statement--but he still remains a clean(ish) cop trying to do right by society, even guys he claims to hate--he tries to give a fair shake to.
Meh whatever, film starts piling things on for Harrelson--having been caught with a cell phone cam beating up the 2nd guy (who was running away from him!) he's then put on suspension, and then he gets put under investigation which leads to...not a whole lot honestly.Film is a very shaggy dog story---Not much really happens throughout the movie other then just watching Woody Harrelson walk around and talk tough---he tries to bond with his teenage daughter, he tries to make it right with his ex wives, he tries to figure out what Internal Affairs wants to hear so he can get his job back, and yeah that's about it really.
That said, the film's well shot, its nicely acted and not just by Harrelson, the actress playing his teenage daughter i feel scores just as many points as Woody does in their handful of scenes together.
How much does that tell you?Co-written by James Ellroy and starring Woody Harrelson in the main role, 'Rampart' serves both as compelling crime melodrama and scorching character study.
End of story." Dave Brown (Harrelson) is an LAPD officer that who does things his own way.
Some of the talented character actors in the film like Ben Foster and Sigourney Weaver deliver solid performances but aren't on screen enough make any impact overall to the film.
Its A Magnificent Performance!'Rampart' Synopsis: Set in 1999 Los Angeles, veteran police officer Dave Brown, the last of the renegade cops, works to take care of his family, and struggles for his own survival.'Rampart' has some terrific moments.
No big message here--just a bit of trivia.Which is where I stand on Rampart, a dreary, artsy retread of Crash and a bunch of Wambaugh police stories, not to mention my favorite "burnt-out cop" movies, Madigan, Warning Shot, and, speaking of Joseph Wambaugh, The New Centurions.
I saw on the IMDb page for Rampart that the thing made about 1/12 of the cost, but it's all so earnest and true-to-life and artsy- friggin'-fartsy that only a red-state Neanderthal would mention that the movie made zilch, thereby sucking investor-dollars away from projects that may have had a chance to succeed.If you hadn't already noticed, I hate Woody Harrelson and indie- flop-piles-of-art-garbage.
In 1999, in Los Angeles, the brutal, racist and womanizer Police Officer David "Dave" Douglas Brown (Woody Harrelson) works at the Rampart Division.
Rampart (2011) *** 1/2 (out of 4) Woody Harrelson gives a tour de force performance playing David Brown, one of the last dirty cops still working for the LAPA in 1999.
If, on the other hand, you are a thinker, a people watcher, who wants to get inside a characters head, this film is brilliant.Harrelson is amazing and highly credible; the young lady who plays his elder daughter is also really good....so don't take any notice of the naysayers, just watch it, and prepare to plumb the depths of human despair..
Both the actor and, I assume, the pathologically disturbed Los Angeles cop that he plays in Oren Moverman's insufferably boring film "Rampart." Mr. Harrelson, a fine actor, has stranded himself in a blurry, muddled story about a Vietnam Vet-turned-cop with a controversial track record.
I was exhausted watching him act, and he looked exhausted playing the part.Mr. Harrelson's character, an L.A. cop of 24 years, starts propelling himself toward self-destruction when he beats a traffic offender within an inch of his life.
Woody Harrelson plays a corrupt cop named "Date Rape" Dave (and for those of you still reading, we continue) who got the moniker not from doing so but rather for allegedly killing someone who did.
For his second feature, Rampart, Moverman combines again with Harrelson (from a script he co-wrote with the legendary James Ellroy), but Woody's Officer Dave Brown is the furthest thing from morally sound.
A lot of corrupt police stories show us things within the police force or solely through our main character, but this film takes another unique step in really focusing on the ripple effect of Brown's darkness.
Brown is never out of place in any of these contexts, but Moverman doesn't seem to know how to bring them together properly.Of course there's one thing that even the fiercest detractors of the film can join hands in, and that's the praise of it's star, Woody Harrelson.
There aren't a lot of performances so in tune with their character like Harrelson is here and no matter how you feel about the film, there's no way that this performance isn't going to stick with you.
Especially for Woody Harrelson, who albeit was hateful as Rampart officer Dave Brown but blew me away with this performance.
This is the only place that the film actually has any energy at all and there is not enough of this to save this misfire of a movie.The all-star cast is wasted because individually the screen time is so short that they are not there long enough to make any lasting impression.
Unfortunately, RAMPART falls into the latter category.The film features a gaunt Woody Harrelson as your garden-variety corrupt cop, given over to adultery, racism, misogyny and about another dozen 'isms' and 'ogynies' while you're at it.
But this goes in another direction where it sorta builds a slight sympathy for the dirty cop named Dave Brown(Woody Harrelson).
"Rampart," starring Woody Harrleson and Robin Wright-Penn is set in Los Angles in 1999, right at the height of the notorious scandal that rocked the LAPD where numerous officers were implicated in cases of police brutality and misconduct.
One fact is crystal clear; Officer Brown is on a path of self destruction from the very start of the film.Harrelson, in the leading role, plays the the character of Veteran LAPD Officer Dave Brown.
His personal life crumbles even more with his tumultuous relationship a lawyer (Penn.) Officer Brown is suddenly thrust into the misconduct spotlight when a video camera catches him beating a person who just crashed into him while driving in his police cruiser.Harrison's performance is strong and gritty, but the film lacks overall momentum.
Woody Harrelson gives an outstanding performance as Dave Brown the latest screen manifestation of the rogue cop who patrols the city streets doling out justice on his own terms.
Even if you hate cops - It doesn't even end with any kind of closure - it's just plain stupid.Don't waste your time on this film - it's stupid, it has no story, and it's just distasteful in every way..
Set in 1999 Los Angeles, Rampart (Dir. Oren Moverman, 2012) follows a veteran police officer David Brown (Woody Harrelson) as he struggles to hold an unconventional family together after being caught on camera nearly beating a "criminal" to death.
This stubborn cop is stuck in the old ways of the police force, as many officers constantly remind him, and he is unable to adjust to the new expectancies of society.The camera work and editing style is one of the most noticeable things about Rampart.
With a cast containing Harrelson,Wright, Buschemi and Beatty it can't be all bad but it's a very bleak tale which we've seen in so many cop movies before.
"The most corrupt cop you've ever seen on screen" evokes the rich Hollywood tradition of amoral officers, Harrelson's character is nothing like the thugs in "Training Day" or "Bad Lieutenant".
His character is nasty, dirty, unpredictable and the last of its kind, it's like Training Day but without all the alpha male bravado nonsense that Denzel Washington's portrayal had in that film.However, even with Harrelson's brilliant central performance, Rampart is strangely compelling yet never much fun to watch.
The cast by the way is phenomenal, with Anne Heche, Cynthia Nixon, Steve Buscemi, Robin Wright and Ice Cube all doing sterling work with minimal roles.As I've already said, Rampart can be difficult to watch but it is worth your time if you have the patience for it and want to see Woody Harrelson pulling an absolute blinder as the lead character..
The movie starring Woody Harrelson (well, there are rarely scenes without his presence) and Ned Beatty, Ben Foster, Sigourney Weaver, Steve Buscemi in supporting roles should ensure a catchy experience - but the reality is different.
They decided their follow up film was Rampart, another LA set cop film by James Ellroy, the writer of LA Confidential and Street Kings.Dave "Date Rape" Brown (Harrelson) is a corrupt officer in the LAPD: he is a racist, a sexist and a womaniser and is willing to beat offenders.
But one day Dave is filmed brutally beating a man and his world comes clashing down as he is investigated, sued, becomes paranoid and ends up losing his family.It is clear that Ellroy and Moverman wanted to make character piece and not a typical corrupt cop film: but what we ended up with is an unfocused mess.
The biggest example is during a legal meeting, featuring a Steve Buscemi cameo where the camera keeps panning from left to right for no good reason: just keep the camera still.There was the potential to make a better film, a film looking at how Dave operates, what actions does, whether he gets result, why he takes these actions, why is he racist, etc
, a look at this rogue unit of the police, the investigation and legal action against Dave and this Rampart scandal which many people would not know much about (especially outside the USA).
Dave is a hateful character but there is a nasty undercurrent, from making Linda the lawyer (Robin Wright) being only issued in performing fellatio, his older daughter (Brie Larson) making a collage which prominently has the "C" and just the general environment and view of point the film presents.
Dave Brown (Woody Harrelson) is a brutal Los Angeles police officer from the Rampart Division.
Hounded relentlessly by Internal Affairs, he thinks he's found redemption when he guns down two hoods who held up some local gangsters in a card game, but things are only about to get worse.Over the years, Woody Harrelson has become something of a cult actor, generally appearing in the more off beat, independent type films that may get rave reviews, but don't generally do a great shakes at the box office.
Though a better actor could have starred, a film like Rampart, another James Ellroy adaptation, is probably exactly the sort of thing he's suited for.
His only objective that may be of some kind of goodness is his attempt to establish a relationship with his two young daughters named Margaret and Helen who are living with his two former partners, but when he is videotaped whilst using illegal means against a suspect he is faced with charges that endangers his career and reduces his chances of ever gaining his children's trust and respect.Distinctly and engagingly directed by Israeli filmmaker Oren Moverman, this well-paced fictional tale which is narrated from multiple viewpoints though mostly from the protagonist's point of view, draws a dark and unsentimental portrayal of a uniformly corrupt LAPD veteran's cynical and inhumane conduct during a scandal within the Los Angeles Police Department in the US called the Rampart scandal which took place in the late 1990s.
While notable for it's naturalistic urban milieu depictions, fine cinematography by American cinematographer Bobby Bukowski, editing by film editor Jay Rabinowitz and use of sound, this character-driven and dialog-driven story where the core of the city of Los Angeles becomes a character in itself depicts an in-depth study of character.This sarcastic, unsettling and forebodingly atmospheric crime drama which is set in the City of Angels and where a descending man uses his authority as a policeman like a false preacher uses his bible contains some fine humane moments despite it's bleak undertones and is impelled and reinforced by it's cogent narrative structure, substantial character development, unrestrained dialog, the prominent acting performance by American actor Woody Harrelson and the fine supporting acting performances by American actress Robin Wright, American actress Brie Larson and American actress Sigourney Weaver.
The main character, played by Woody Harrelson, is a brutal, violent, and corrupt cop in 1999 Los Angeles.
The movie examines Dave's relationships with his two ex-wives and two daughters, his carousel of women, and his psychological decline as he slips deeper into the abyss and the walls start closing in on him.Woody Harrelson has evolved into a first-rate actor and he is a treat to watch here as the dirty cop who finds a way to justify his every crime.
If you are going to produce a film about the Rampart scandal (and dedicate the film to the "victims of Rampart") then you better make a film that accurately reflects the day to day existence of the cops you are targeting.Rampart's main character, Woody Harrelson, is a mess, like this movie.
He's only in his late 40's in the film!Then there is the bizarre personal story of Harrelson marrying sisters and fathering a daughter by each of them, getting divorced by one, yet continuing to live in the same house and move back and forth between the two sisters who have homes adjacent to one another!!!This movie could have been written much better with some sort of department advisers------- like real cops from that era.
Here we have the multi-talented Woody Harrelson, in the role of a psycho LA cop, flanked by great names such as Sigourney Weaver, Steve Buscemi, Ned Beatty and Robin Wright, in a film that, for all intents and purposes, offers great material and a thrilling story.
Directed by Oren Moverman (the excellent Oscar-nominated The Messenger), written by James Ellroy (the fantastic Oscar winning L.A. Confidential) and staring the Oscar nominated Woody Harrelson and Sigourney Weaver, Rampart should be a stunning film.It isn't.It's a turgid, leaden waste of two hours.Harrelson gives a solid performance as bitter, angry, violent L.A. cop, Dave 'Date Rape' Brown but it isn't enough to redeem a film than would be better pitched as a cure for insomnia.
Woody Harrelson's performance is slightly less manic than those of Harvey Keitel and Nicholas Cage, but it's hard to feel much sympathy for rogue cop Dave Brown in his downward spiral.
The cast in this movie is great , with a solid leading actor Woody Harrelson to depict Date Rape Dave.
You feel that the movie wants to take its story to certain places at times but it just never quite gets there.It might had all worked if this was some sort of action-thriller, in which the cop Woody Harrelson turns rogue and takes on the street punks.
Woody Harrelson, even though his character is despicable, gives away one fine performance and shows he's still more than capable to play a lead role and carry a movie.
Woody Harrelson gives the performance of his life as Dave "Date Rape" Brown and somehow makes us sympathize with a character who is truly one of the most corrupt and decadent police characters put on film.
Woody Harrelson gives the performance of his life as Dave "Date Rape" Brown and somehow makes us sympathize with a character who is truly one of the most corrupt and decadent police characters put on film.
Right after watching 'Rampart', I was pretty impressed by Woody Harrelson's performance as a rogue LAPD cop circa 1999.
I'm going to assume that most of the implausible moments in the film (and they are legion), are attributable to Mr. Moverman and not McEllroy, who is responsible for such gritty, realistic neo-noirs as 'L.A. Confidential'.Rampart really has no connection to the late 90s LA police scandals of the same name, and is only used as a backdrop as we follow Woody Harrelson's rogue Police Officer, Dave Brown on the crime-ridden streets of LA.
I think Woody Harrelson may be the one working actor right now who looks like he could really be a cop. |
tt0239948 | Saving Silverman | Darren Silverman, Wayne LeFessier, and J.D. McNugent, best friends since fifth grade and Neil Diamond fans throughout, form a Neil Diamond tribute band called "Diamonds in the Rough". Darren meets a beautiful but domineering psychologist who is showing signs of being emotionally abusive, Judith Fessbeggler, through a chance encounter in a local bar after a band gig. Unfortunately, six weeks into their relationship, Judith is still making Darren watch her change clothes, and though sleeping together is satisfying for her, Darren gets nothing but a sore jaw. Judith isolates Darren from his friends, demands that Darren quit the band, receive humiliating medical procedures, and attend relationship counseling under her care. Wayne and J.D. decide to save Darren from her by attempting to bribe her, arm wrestle her, and shock her with faked photographs of Darren cheating, all to no avail.
The friends, undaunted, try to reunite Darren with his "one and only", Sandy Perkus, when she returns to Seattle to take her final vows as a nun. When Darren and Judith announce their engagement, Wayne and J.D. kidnap Judith. However, Judith eventually discovers the identity of her captors, and the duo are convinced they cannot let her go. When they visit Coach Norton in jail (who accidentally killed a referee in a fit of rage) his advice is that they should just kill her. The duo attempt to shoot Judith, but end up deciding against it. Sandy's feelings for Darren are reawakened, but the pair's attempted date is ruined by Darren's preoccupation with Judith. Sandy, disheartened, returns to the convent, but Darren snaps out of it and runs the 30 miles there to win her back.
Chained to an engine block in Wayne's garage, Judith convinces J.D. he is gay. She knocks him unconscious to steal his keys and escape, only to be tranquilized with a dart gun by Wayne. Returned to the garage, Judith seduces Wayne into releasing one of her hands, so she escapes again. She runs to Darren's house in time to see him kiss Sandy, but shames him into confessing his engagement to Judith. Sandy, disheartened, returns to the convent again. Darren has Wayne and J.D. arrested. After escaping from jail with the help of Coach Norton, J.D. and Wayne rush to the convent on the brink of Sandy's final vows as a nun. They convince her that Darren still loves her. They then kidnap Neil Diamond to help Darren and Sandy reunite. At the wedding, Neil stalls the proceedings with the song "Hello Again" while Darren and Sandy reunite, Wayne and Judith (the latter being furious that her wedding is ruined) beat each other up (as love play) and J.D. arrives holding Coach in his arms, who coincidentally reveals to J.D. that he too is gay. The couples then wed on stage at Neil Diamond's concert; Darren to Sandy, Wayne to Judith, and J.D. to Coach. As the film closes, the entire cast sings "Holly Holy". | violence, comedy | train | wikipedia | null |
tt0089791 | Pee-wee's Big Adventure | Pee-wee Herman has a heavily accessorized bicycle that he treasures and that his neighbor, Francis Buxton, covets. A bike shop employee, Dottie, has a crush on Pee-wee, but he does not reciprocate it. Pee-wee's bike is stolen while he is shopping at the mall. The police tell Pee-wee that they can't help him find his bike. Pee-wee tells the police that a lot of people wanted to take the bike and thinks Francis took it. He confronts Francis in his bathtub in an underwater brawl; Francis' father stops the brawl and tells Pee-wee that Francis didn't steal the bike. Pee-wee then offers a $10,000 reward for his bike. Francis, who did indeed pay to have someone steal the bike, is frightened by Pee-wee's relentlessness and then pays to have it sent away. After holding a meeting, Pee-wee angrily rejects Dottie's offers of help, tells her off and says that he doesn't need anybody. Desperate, he visits "Madam Ruby", a phony psychic with an electric-powered "crystal ball". After sneaking a glance out the window at the shop across the street, Al and Moe's Bargain Basement, she tells Pee-wee that his bike is in the basement of the Alamo. Pee-wee hitchhikes to Texas, getting rides from a fugitive, Mickey, and from Large Marge (the ghost of a deceased truck driver).
At a truck stop, Pee-wee discovers his wallet is missing (stolen by Madam Ruby) and pays for his meal by washing dishes. He befriends Simone, a waitress who dreams of visiting Paris. As they watch the sunrise at a dinosaur museum, Pee-wee encourages her to follow her dreams, but Simone tells him about her jealous (and large) boyfriend Andy who doesn't want her to leave. At sunrise, as Pee-wee and Simone leave the dinosaur, Andy tries to attack Pee-wee. Pee-wee escapes onto a moving train, where he meets Hobo Jack; Pee-wee jump from the train at San Antonio. He immediately heads over to the Alamo and joins a guided tour. At the end of the tour, he asks the guide, Tina, where the basement is. Tina laughs with the other tourists as she tells him that the Alamo has no basement, causing Pee-wee to flee in humiliation. At a bus station, he runs into Simone, who tells him that she and Andy broke up and she's on her way to Paris. She tells Pee-wee not to give up finding his bike, before bidding him "au revoir". Pee-wee calls Dottie at the bike shop and apologizes for his behavior. Meanwhile, Andy shows up at the bus station trying to stop Simone from leaving. He spots Pee-wee and resumes his attack. Pee-wee evades Andy at a rodeo by disguising himself as a rodeo bull rider. Forced to ride for real, Pee-wee does surprisingly well but receives a concussion, while the bulls chases Andy away.
Pee-wee enters a biker bar to make a phone call, but the outlaw motorcycle club kicks him out. Pee-wee accidentally knocks over their motorcycles, causing the bikers to drag him back into the bar and threaten to kill him. Pee-wee makes a last request, dancing to the song "Tequila". His dance wins over the bikers. They offer him a motorcycle to get home, and escort the ambulance to the hospital after Pee-wee gets into an accident. In the hospital, he has a surreal nightmare of clown doctors "operating" on his bicycle overseen by Francis (as the Devil). Pee-wee wakes up and sees a TV news report that a special bike is being used as a prop in a movie at Warner Bros. Studios and is shocked to learn that his bike is being used by a spoiled brat kid actor named Kevin Morton, Pee-wee sneaks into the studio by pretending to be part of Milton Berle's entourage. He finds the film set where Kevin Morton is playing "Rusty", a saintly orphan raised by nuns. However, Morton is rude and nasty to his co-stars and director. During a take, Pee-wee, disguised as an extra nun, ad-libs that Rusty has inspired "her" to start a paper route and takes off with the bike. Riding his bike, he is chased by security all over the studio lot and through several sets, including one for a Twisted Sister music video, before escaping the studio.
Outside, Pee-wee discovers a burning pet shop. He heroically rescues the animals and collapses on the sidewalk, just as police and fire department arrive. Even though the firefighters declare Pee-wee a hero, the police arrest him for what he did at the studio. Pee-wee is taken back to the studio, where he meets the president of Warner Bros., Terry Hawthorne. Pee-wee explains how his bike was stolen and how much time he spent trying to get it back. Mr. Hawthorne decides to drop the charges and make a special movie about Pee-wee and his bike. The bike is returned to Pee-wee, accompanied by Dottie.
Later at the drive-in, Pee-wee and Dottie attend the movie premiere of his biopic, an action movie starring James Brolin as "P.W. Herman" (who introduces himself as "Herman, P.W. Herman") and Morgan Fairchild as Dottie. After ninjas attack the couple and steal an important sport bike called the X-1, P.W. gets a phone call from the unseen President of the United States, who explains that the X-1 has an important microfilm concealed in it, which the Soviets must not be allowed to discover. Pee-wee has a cameo appearance as a hotel bellhop (unconsciously mouthing "P.W.'s" lines as Brolin speaks them). Back at the movie, Pee-wee gives refreshments to all the people he met along his journey, including Mickey (who has been recaptured and furloughed in a prison bus to see the film). Pee-wee also encounters Francis, who claims to be Pee-wee's best friend who taught him how to ride, and brags about how knowledgeable he is about Pee-wee's bike, but accidentally catapults himself into the air using one of the bicycle's gadgets. Pee-wee tells Dottie that he is leaving. Dottie wonders why he is not staying for the rest of the movie. Pee-wee answers, "I don't have to see the movie. I lived it." He and Dottie then ride off together. | cult, mystery, psychedelic, entertaining, humor | train | wikipedia | null |
tt0057546 | The Sword in the Stone | In olden times, England is in turmoil. With the death of the King, noone can decide who is the rightful heir to the throne. With war threatening to tear the country asunder, a stone and anvil appear from the heavens in London town, with a sword planted firmly in the anvil. On the hilt of the sword, read the words, "Whoso pulleth out this sword of this stone and anvil is rightwise king, born of England." Many try to pull the sword, but none can budge it. In time, the sword is forgotten, and the Dark Ages plunge the countryside into a dismal state.Out in the woods one day, Sir Kaye is out hunting with his adopted brother Arthur, whom everyone names 'Wart.' After causing Kaye to miss shooting a deer, Arthur promises to retrieve the arrow. Arthur's journey leads him to a small hut, wherein resides a sorcerer named Merlin, and his pet owl, Archimedes, who can talk. Merlin explains to Arthur that he was expecting him to appear. After they have tea, Merlin decides to accompany Arthur back to his home, and after packing up everything in the hut into a small satchel, the two set off.Arthur and Merlin arrive at the castle of Sir Ector, where Arthur is immediately put to work in the kitchen. Merlin introduces himself to Ector, and displays his powers to the doubting Knight. After some persuasion, Ector allows Merlin to stay, putting him up in the Northwest Tower, a crumbling edifice of the castle.A few days later, Archimedes observes the arrival of Sir Pelinore, who has brought news from London of a jousting tournament to Ector and Kaye. According to the rules, the winner of the tournament will become the new King of England. Ector eagerly begins to have Kaye train, and in his excitement, promises Arthur that if he keeps working hard at his duties, he can become Kaye's squire.Merlin hears of this news, and decides to push Arthur to see his true potential (as Merlin can move into the past and the future, he knows who Arthur will become). While walking outside along the castle's moat, Merlin explains that he can turn into a fish. This idea excites Arthur, and Merline turns them both into fish, to explore the moat. However, a much larger fish soon gives chase to young Arthur, until they both manage to escape.Arthur's tardiness in helping Kaye practice results in him washing dishes. Merlin finds him, and after bewitching the dishes and washing utensils, leads Arthur into the forest, where they both are turned into squirrels by the sorcerer. As Arthur leaps among the trees, he comes across a girl squirrel, who is soon madly infatuated with him. Merlin finds the whole scenario cute, until he is soon found irresistible by another squirrel. Merlin then changes himself and Arthur back to normal. The girl squirrel who was infatuated with Arthur, skitters away, heartbroken.Arthur and Merlin return to the castle, where Ector lectures Merlin for making Arthur shirk his duties. Arthur tries to defend Merlin, but his 'mouthing off' ends causes Ector to declare that Arthur will not become Kaye's squire, and that that honor will belong to another person of the castle, who is named Hobbes.Arthur is dejected at what has happened, but Merlin tries to get him to persevere, and plans to educate Arthur. As he attempts to explain things, Archimedes interjects on Merlin's teaching methods, as Merlin is educating Arthur on things that will not be proven for hundreds of years, and could very well lead people to think of Arthur as a raving lunatic in their current Dark Ages.Exasperated at this lecturing, Merlin turns teaching duties over to Archimedes, while he fiddles with a model plane. Archimedes scoffs at the toy plane, while Merlin attempts to prove that 'man will fly.' His efforts lead to the plane plummeting like a rock to the moat below. Even though the plane's flight was a failure, Arthur tells of how he's often dreamed of soaring like a bird. It is then that Merlin uses his magic to fulfill this wish. Archimedes then takes it upon himself to teach Arthur to fly, but is soon impressed by how quickly he has picked up the technique. Their lessons are then interrupted when a hawk appears, chasing Arthur into the nearby woods.Arthur soon finds himself in the thatched hut of a witch named Madam Mim, who playfully shows Arthur her magic powers, which are moreso for evil purposes. As Arthur explains more about Merlin and his magic, Mim decides to 'destroy' the little bird. However, before she can do this, Merlin appears, and Mim proposes a Wizard's Duel.Merlin accepts, and the two head off into the woods, where they then shapeshift into a number of creatures, all in an attempt to destroy the other. It appears that Mim has won, until Merlin turns himself into a germ, causing the witch to become gravely ill. With Mim now safely 'detained,' Merlin, Arthur and Archimedes head back to the castle.Back at the castle a few days later, as Kaye and Ector prepare to head off to London for the tournament, they are informed that Kaye's squire, Hobbes, has come down with a terrible cold. Needing a replacement quickly, Ector recruits Arthur. Arthur then joyfully goes to tell Merlin the news. Archimedes commends the boy, but Merlin is incensed that after all he's done to try and teach Arthur, he has chosen such a demeaning thing as being a squire to Kaye. Arthur tries to reason with Merlin, but the sorcerer grows so upset, that he rockets out of the room, yelling 'Blow me to Bermuda!' Archimedes explains that he's gone to an undiscovered island somewhere, but doesn't know if the sorcerer will return.In London, the tournament is under way, and Kaye is soon up for battle. However, Arthur realizes that he left Kaye's sword back at the inn they are staying at. Kaye furiously yells for Arthur to retrieve it immediately! When Arthur gets there, he is saddened to find the inn locked. As Archimedes looks around, he sees the sword in the stone. With little effort, Arthur draws the sword from it's resting place, and rushes back to the tournament.Kaye is at first angered that the sword isn't his, until Sir Ector notices the inscription, and word spreads that someone has pulled the Sword from the Stone. When Ector asks Arthur how he got it, he refuses to believe the boy could have pulled the sword out himself.Arthur, Ector, Kaye and a crowd return to the stone and anvil, where Ector re-inserts the sword, wanting Arthur to do it again. Kaye brushes the boy aside, feeling that since it's already been pulled, anyone can do it. However, the sword has again become immovable. This causes a stampede of others trying to pull it out, before several people demand that Arthur try again. The rabble dies down, and Arthur tries again...and succeeds where the others have failed.As the legend decrees, Arthur is made King of England. However, he is unsure just what to do, and cries out for Merlin's help. Merlin then returns, back from Bermuda, and the 20th Century. When Arthur explains what happened, Merlin grows happy that it seems that Arthur has fulfilled his destiny, and now plans to help the 'once and future king.' | cute, psychedelic, fantasy, historical, entertaining | train | imdb | As Walt himself once said: "For every laugh, there should be a tear." Disney take children always quite seriously, and a lot of his early films contains a lesson for life, sometimes the lesson can be very sad and cruel, like in "Bambi", sometimes lesser sad, like in "The Sword in the Stone"...
It was one of the last movies with the participation of Walt Disney himself."The Sword in the Stone" is Disney's version of the famous King Arthur's story.
But it is one the funniest Disney classics ever, like "Pinocchio", "Aladdin", "Robin Hood" and "The Aristocats".It has lots of hilarious moments which can make one get into uncontrollable laughter.Let me mention some of them: the scenes with Merlin and the Granny Squirrel; the scene when the dishes wash themselves and Sir Ector and Kay get a "bath"; the scene when Kay brutally crashes with the castle's oldest tower; the part when the plane model gets stuck on Merlin's beird and Archimedes laughs so hysterically that he almost can't breathe; that part when Archimedes nearly shrinks inside his little house; the moments with the sugarpot...I could go on, but it would take forever because there are so many hilarious moments.The songs are clever and enjoyable, such as "The Sword in the Stone", "That's what makes the world go round" and especially "Higitus Figitus", my personal favorite.I like this movie and I've gotta say that humor is, without a doubt, the strongest attribute of this movie.This should definitely be on Top 250..
Or the story involving Arthur as a bird, trapped in the clutches of Madamn Mim (maybe one of the funniest sequences in any Disney movie).So, as one can figure from what I've described (if you haven't seen the film yet), it's fairly over-the-top, loaded with silly-songs (one of which a true charmer involving Merlin's proclivity for organizing a packing up of his house) and little lessons for kids.
This is another one of those animated Disney films, it is another one of those underrated ones and it is based on the book by T.H White: "Sword in the Stone".
:-)What I like about this film is the characters, the way the makers formed the plot, the songs (which consist of two, which is a little too few) and the humour (which comes predominately from Merlin).As you may have realised, this film is one of many interpretations of the story of King Arthur.
Here, Arthur does not pull the sword out of the stone until the very end and it is mostly about him learning of the world with Merlin.I recommend this to anyone who likes Disney films, of all ages, very well worth watching!
Fluff or not though the film's entertaining enough and allows for the great animation that I found to be the stand out quality here.I'm an animator myself so maybe this means more to me than the average audience, but the character animation on Merlin and Madam Mim can easily go head to head with Disney's more highly regarded classics and the use of effects is remarkable (in classical animation, effects refer to any animation that's not a character i.e. water, smoke, fire, dust etc.) Everything from rain storms to pixy dust is masterly handled and adds a whole layer of wonder to the whole thing.
Our Arthur in this tale is too damn cute for us to really buy his potential, and Merlin, though great fun, seems like just about the worst teacher you could possibly hand a student to (one of his lessons seems to be to always use magic to fudge your chores...brilliant).
I think the same of Madame Mim, who again serves a pretty dubious purpose (remember, young Wart, if someone insults you...shoot magic at them) but on her own terms is very entertaining.However, I do not have this complaint with the squirrel sequence, which is one of the best scenes in any Disney movie.
The soundtrack tunes are very simplistic both melodically and especially lyrically and resolutely refuse to stay in your brain.The narrative itself is unusual, introducing the sword in the stone legend immediately and then dispensing with it until the last five minutes or so, concentrating its energies instead on young Arthur (read Wort) and his upbringing by the kindly Merlin and his obstinate talking owl Archimedes.I kept seeing recollections of past Disney (and other) cartoon forebears, everything from, naturally enough the Sorcerer's Apprentice from "Fantasia" and "Cinderella" while the chasing wolf early on is a blatant lift of Wile E Coyote in the "Road Runner" shorts.
The old Disney trick of an experienced elder mentoring a young innocent had of course been done before in "Pinocchio" and "The Jungle Book" although I could also see some ideas which were adapted in future projects, the animated crockery anticipates "Beauty and the Beast" for instance.Disney never did return to the Arthurian Legnd in future animations as was hinted might happen here which is a pity but for me there's far too much diversion from the legend itself so that I was willing young Arthur to hurry up and give the sword the required pull long before the ending, which when it does arrive seems far too rushed in any case.No, not the best Disney by a long way and certainly not in the vanguard of the studio's work..
This boy turns out to be Arthur (a.k.a. Wart), an orphan who lives in the castle of Sir Ector, and hopes to become the squire for his boorish foster brother, Sir Kay. However, Merlin sees that Arthur can get farther in life with more education (which the boy doesn't have a lot of), so he begins to educate him by using his magical powers to turn him into different types of creatures and taking him on adventures.
However, during the process, Arthur sometimes finds himself in more trouble, and things may not quite go the way Merlin originally thought.Unsurprisingly, this film features some fine animation.
Aside from the humour, there are also some moments of suspense, such as the sequence with Merlin and Madam Mim going head to head in a dangerous competition with their magic, as well as some fairly sad or touching moments.Of all the full-length animated motion pictures Walt Disney produced in his career, "The Sword in the Stone" is certainly not one of the most widely recognized.
It may be a tad different from most Disney films, and not exactly one of the best, but with the merits I found in it, I think it's a tad too overlooked, and deserves more attention, so if you haven't seen it, you might want to if you want a humorous telling of the story of King Arthur's beginnings, based on the book by T.H. White.
But there were a couple of good things about not having DVD players or the like; one of them, the whole Sunday afternoon experience of going to the movies.I do remember my parents' driving my cousins, my sister and myself every time one of Disney's classics were shown.
Young Wart's journey from a little orphan kid to the Kingdom of England is full of very low key examples of Merlin conquering evil by the way of knowledge.Each Disney film praises, in some way or another, values that we can relate to nowadays.
Walt Disney produced this animated version of the legend of King Arthur and the wizard Merlin, who in this adaptation teaches a young Arthur(nicknamed Wart!) the ways of the world, and how to read, etc.
From what I've read, nothing was spared: the animation didn't match the quality of previous Disney's works, the episodic structure lead to a conclusion disappointing because of the lack of a memorable plot line or a clearly defined antagonist
in this list of flaws, where I only concede the issue with Wart's voice, nothing seemed enjoyable enough to redeem the film: not Merlin's eccentric personality, not the humor made of unusual anachronistic references, not even the scene- stealing exuberance of Madame Mim.Well, since reviewing is about giving opinions, I'll give you mine: "The Sword in the Stone" was victim of an unfair bias constantly leaning on Disney's 'Golden Age' standards, while for one thing, it was a respectable attempt to take some distance from the usual formulas (and I'm pretty sure viewers enjoyed the new storytelling format, since the film ended-up being one of the highest grossing of 1963).
And now that these fifty years of existence did justice to "Sword in the Stone", now that there are enough Disney animated features to make a clear distinction between the indisputable classics, the underrated gems, and the forgettable ones, I think we can all agree that "The Sword in the Stone" is in the same league than "The Jungle Book" or "Robin Hood", all contained in that entertaining parenthesis of the 60's-70's.
And even if it's not 'Bambi' or 'Lion King', there's something extremely poignant and heart-breaking in the squirrel part's conclusion, even more because it's unexpected.But there are laughs in the film, and quite a lot, "The Sword in the Stone" is full of anachronisms, of priceless interactions between Merlin and Archimedes, who make a great pair of "Grumpy Old Men", and some hilarious scenes involving a wolf that have irresistible Warner Bros cartoon vibes.
Merlin and Wart go through several entertaining adventures involving many different animals and obstacles that I'm sure would be fun if it weren't supposed to live up to the legend of King Arthur.
Good lines, classic character design, the best song in the whole film and his various hijinks with Arthur's life do keep us entertained throughout the whole film.What keeps this from being a greater Disney film is that the story itself doesn't really contain all that much and that the side characters are not that interesting.
However, a powerful but forgetful wizard named Merlin has plans for Arthur to be something beyond a squire.This movie actually starts off with a captivating intro where England is left without a king, and a proclamation has been sent that the one who can pull the sword out of the stone will be made king.
However, it's great imaginative fun for the little kids and, probably to the adults' liking, you can get a couple of important messages from the film like getting an education and how complicated love can get.The animation was pretty good, not as vibrant as earlier films or in later films of the 80s and 90s, but it is serviceable.
In medieval times, Merlin the Magician tutors a 12-year-old boy through educational magic; the lad, nicknamed Wart, is the future King of England, King Arthur, though what he learns from being temporarily transformed into a fish, a squirrel, et al.
While people tend to either think of the classics (Snow White, Sleeping Beauty, Bambi) or the early 90s revival (Beauty and the Beast, Aladdin), this is every bit as good with an entertaining story and lots of fun, with good animation, too.The most memorable part is with Madam Mim, and it is not surprising that Disney has used her in other cartoons, and even put her in their "Kingdom Hearts" video game.
Merlin, who can magically access the future, intends to prepare Wart for a grand future, so he gives the squirt dangerous lessons, transforming themselves into animals to learn the mental skills befitting a knight and a ruler.With that said, there are a lot of good things about this film.
The story has heart and comedy mixed perfectly, the writing is excellent, and there is a great moment where Merlin battles against Madam Mim in their animal forms which made the whole movie worth it.
The songs, while not the best work from the Sherman brothers, are tolerable enough to listen to and the music score is solid.Overall, The Sword in the Stone came this close to becoming a masterpiece, but with all of my heart, as a Disney fan, this is an extremely underrated movie that deserves a lot more recognition than the reception it received.
The Sword In The Stone is a personal favourite of all the Disney animated films.
It is certainly one of Disney's most interesting and enjoyable films.The plot loosely follows the book of the same name, Arthur (mainly known as Wart)is a boy who aims to be a knight's squire.
The movie is filled with little episodes that are fun to watch but have not much to do with the actual story that must be about Merlin the wizard (voice by Karl Swenson) and how he educates the boy named Arthur (voice by Rickie Sorensen), who will be King Arthur one day.
What follows are a lot of funny adventures with fun animation and characters.I LOVE Merlin in this movie.
He tells Sir Ector that he got the sword from the stone yet nobody believes him at first but they go back and find that he was really the one who pulled it and is therefore dubbed King Arthur, King of all England.I love the wizard's duel between Merlin and the evil Madam Mim. One of the best parts of the movie.
is always in a rather hateful mood!I think "Sword in the Stone" should go down in history as one of the BEST animated Disney Movies ever.
This movie has a lot of thrilling moments, such as Wart getting a feel of what it's like to be different animals through the help of Merlin's magic, Merlin's talks about what are yet to come from his time travels (which leaves anyone from his time he tries to explain to about them puzzled or perplexed) and what's one of the most renowned moments, if not the most renowned moment, the Wizard's Duel between Merlin and the witch Mad Madam Mim. I never read the initial source that inspired Disney's take, but I read a little there was mentioned about it in the difference between this and T.H. White's book, which is this version being more comical.
If you love the Arthurian Legend and any of the other Disney film animations then The Sword in the Stone you should enjoy.
"The Sword in the Stone" is the Disney version of the Arthurian legend, adapted from the first of four books by T.H. White telling the life events of the young Arthur, before he became king.
In fact, "The Sword in the Stone" is one of the most instructive Disney movies for the kids, not only because of the number of lessons that can be learned, but also because of their clarity and their direct character, which make them easy to catch and understand.But I would have liked to see these lessons more treated on-screen when Wart becomes king.
And unlike Merlin, Archimedes prefers to keep both feet on the present ground, rather than thinking about the future."The Sword in the Stone" is not one of the greatest movies of Disney's career, but it nevertheless remains an instructive and funny picture, the kind of work that only Walt and his partners can make..
''The Sword in the Stone'''is one of the classics from Disney that I watched when I was a kid and probably the first movie I saw about the Arthur's and Merlin's stories.
A wonderful classic story told Disney style and filled with great songs and beautiful animation, how could anyone not fall in love with The Sword in the Stone.The "Sword in the Stone" appears in London, with an inscription proclaiming that "Who so Pulleth Out This Sword of this Stone and Anvil, is Rightwise King Born of England." None succeed in removing the sword, which is soon forgotten, leaving England in a Dark Age. Some years later, Arthur aka "Wart", a 12-year-old orphan training to be a squire.
There Merlin stays with Arthur to teach him the ways of the world and the magic as well as the intelligence and strength he will need for his true destiny.I think my favorite moment of this film is definitely the battle between Merlin and Mim, since this is one of the rare Disney movies that doesn't have a definitive villain, but I think Mim was a close as you could get.
"The Sword in the Stone" is an animated film based loosely on the King Arthur tale.
7th out of 8 in the Silver Era. After the success of 101 Dalmatians, The Sword in The Stone was released in December of 1963, and the last animated film Walt Disney would see completed and released.The story is about a Wizard named Merlin, who teaches Arthur about life lessons and how to use his brain, as Merlin knows that Arthur is going to be something big.
Arthur pulls out the sword, making him king.Most of the characters in this film are extremely boring, except for Madame Mim and Merlin.
The character designs are alright, but the animation is good when Merlin is using magic.With the weak plot, mostly weak characters, and everything else average, this movie is where the magic in Disney films start to wane away.
This film is not very memorable, but there is some good and entertaining parts in the movie (Merlin vs Mim, squirrel scene).
When he pulls it out, he learns that it is a magic sword and that whoever pulls it out would be named King of England.The legend of King Arthur has been retold many times, and Disney's animated musical THE SWORD IN THE STONE is one of the best.
If you have ever wanted to see the story of young King Arthur pull the sword Excalibur out of the stone, this is quite an interesting idea of what it was like.
This was not a film that the Disney team had a lot of fun with, and one can easily tell.The story is a hodgepodge, it's just a bunch of episodes of Merlin teaching some lessons to the young King Arthur. |
tt0769507 | Tai yang zhao chang sheng qi | The movie details several interconnected stories.In the first story, the mother of an 18 year old boy in the countryside of revolutionary China 1976 begins acting strangely once she falls out of a tree trying to retrieve a pair of her shoes that a magical bird, which was repeating "I know, I know, I know" had stolen. Among her antics are: trying to straighten out a crooked tree by digging under it and removing rocks, reciting a poem over and over again from the rooftop, telling her son that her uncle is dead even though he is obviously right there, burning her sons fingers with a match, destroying all the letters from her husband (who supposedly is dead and who her son has never met), and shouting something seemingly nonsensical from the top of tree. Suddenly she seems to return to normal. But right after that, we see her clothes floating down a river and are supposed to think she has killed herself.In the second story a teacher at a university in Shanghai (same time, 1976) is falsely accused of groping a female doctor at a film (where he is chased down and beaten by a crowd). In a hilarious scene, the woman goes to the police and tries to identify who squeezed her rearend by having a "lineup" where various suspects squeeze her from behind a cloth screen. The woman actually has accused the teacher in order to divert attention from the fact that she is having an affair with a married teacher. The story ends with the first teacher hanging himself.The last story connects the two tales. At the point where the first story ended, with the boy being told of his mothers suicide, we see that in fact he was bringing the teacher from the previous story (the one who was having the affair with the doctor) to the countryside for "reeducation." The teacher, who is now with his wife, turns out to be a good hunter and spends most of his time taking the boys hunting. But he is neglecting his wife who ends up having an affair with the young boy whose mother has just disappeared.At the end, the movie flashes back 18 years. We see two young women on camels in the desert. One is on her way to meet a man she is going to marry, the other woman is silent. At one point, they split up. We find that the couple who are to be married is actually the same couple who is now in the countryside for reeducation, while the woman who does not say anything is actually the crazy lady of the first story, who is pregnant and is going claim the possessions of her dead husband. The man, who was Chinese but whose Russian name is Alyosha, had gone to fight for Russia. The pregnant woman, though, does not believe the husband is dead but simply that he wants to avoid responsibility for the child. On the train back, the woman has the baby, who falls off the train and magically lands in a pile of flowers an the railroad track and must be retreived. In the last scene, we see the woman shouting from the top of the train the same thing she was shouting from the top of the tree in the first story. It is: "Aloysha, dont be afraid, the sun rises at a high place; once the baby cries the sky lights up" | psychedelic | train | imdb | The movie basically revolves around two interconnecting stories.
In the first story, the mother of an 18 year old boy in the countryside of revolutionary China 1976 begins acting strangely once she falls out of a tree trying to retrieve a pair of her shoes that a mysteriously appearing bird, which was repeating "I know, I know, I know," had stolen.
In the second story a teacher at a university in Shanghai (same time, 1976) is falsely accused of groping a female doctor at a film (where he is chased down and beaten by a crowd).
The final segment of the movie connects the two tales.I left the theater with several plot questions unanswered and was glad to find out the Chinese audience I watched it with (in Chengdu, China) were equally as puzzled but just as enraptured with the film.
You will definitely leave asking questions that I would assert are not possible to answer from the information provided in the film.
But you also soon discover that it is really o.k. and the unanswered questions leave you thinking and talking about the film long after you have seen the movie.
The film has a magical quality to it, even though it takes place during that most unmagical of times, the Cultural Revolution, with everything except for one scene at the end being set in 1976.
The director, Jiang Wen, has only made three films in 15 years, and this is the only one of his that I have seen.
But it definitely makes me want to see his other films..
Wen Jiang's personality takes center stage in The Sun Also Rises, his first effort since the 2000 Devils on the Doorstep, a film that has yet to be released in China.
While The Sun Also Rises captivates with its sumptuous colors, magical realism, high energy, and outstanding performances, its elliptical plot and lack of coherent narrative suggests that Jiang may have purposely clouded the film's meaning in symbols and code to escape the Chinese censors.
Loosely based on author Ye Mi's novel Velvet, the film is set in China during the Cultural Revolution.
There are four stories and six characters in the film, but they have a tenuous connection to each other.Three episodes are set in the 1970s and one twenty years earlier, but Jiang provides no intertitles or other indicators to help the viewer recognize changes in theme, time, or place.
As the film opens with a tableau of gorgeous colors and people running, a young woman (Zhou Yun) identified as the mother of a teenage boy (Jaycee Chan) buys a pair of embroidered shoes.
The colorful shoes are promptly stolen by a mysterious bird, which repeats the mantra "I know, I know, I know," and the woman falls into what seems to be madnessclimbing trees, collecting rocks, digging a pit in the middle of the forest, and screaming the name of Alyosha (which we eventually learn was the name of the boy's father).
Meanwhile her dutiful son tries to protect her, at the cost of having to constantly leave his job.
The segment is playful, magical, and poetic in its songs and poetry, and it suggests that insanity reigned supreme during the Cultural Revolution.In the second episode, the scene shifts to southern China, where a mob chases Liang (Anthony Wong), a professor at the University of Shanghai, suspecting him of groping women at an outdoor movie, a story that raises issues of rule by mob during the Cultural Revolution.
When Liang is beaten, he is comforted in the hospital by Dr. Lin (Joan Chen) who throws herself at him, telling him how much she loves him.
For comfort, Liang turns to an old friend Tang, played by the director Wen Jiang.
The sequence is raunchy, comic, and absurd, hinting at sexual repression during the 70s.The scene then moves back to eastern China, where Tang and his wife meet the son of the widow who went mad in the first segment.
The son is now a brigade leader and he welcomes the new couple who are following the government's plan for intellectuals to be relocated to perform manual labor in the countryside.
Tang adapts to the village, making friends with the local children and going on pheasant hunts while blowing his bugle to provide hunting calls.
Meanwhile his lonely wife makes love with the young brigade leader, who is prepared to die as a result.
When Tang overhears his wife telling the boy that her husband says her belly is like velvet, he determines to kill the young man but is stopped by the boy's question, "What is velvet?" The last segment shifts to the magnificent Gobi Desert, where two girls cross the desert in search of their lovers.
The segment takes us back twenty years to discover how the characters connect, but, as a love child is born amidst the flowers, the film ends on a note as elusive as its beginning..
The sun may rise, but the story here doesn't.
One major thing works against The Sun Also Rises.
Its attempt to revisit the surreal mystery genre on a mainland China backdrop faces stiff competition from arguably among the best catalogs in that precise brand of storytelling, as the country witnessed a flood of excellent entries in this form circa the late 90's to early 2000's.Anyone who's ever seen Lunar Eclipse, Where Have All the Flowers Gone, Chicken Poets, Dazzling, I Love You, Spring Subway and quite a few others, will easily tell you this.Also, our friend Jiang Wen, although definitely a superb actor and major contributor to the recounting of tales, is probably better when he's poking serious fun at something, to wit In the Heat of the Sun and the unforgettable Devils at the Doorstep.When it comes to psychedelia he may not be our first choice, as his previous brush with something similar, albeit as an actor in Green Tea, wasn't really all that hot.
And in The Sun Also Rises, we have him as a director, which means he's had more to do with the project, yet the result doesn't feel all that strong.
It's in many ways akin to The Missing Gun, another one of his projects and also a decent if uninspired venture.For Sun Also Rises, Jiang enlisted his own wife, Zhou Yun, probably taking a leaf out of Chen Kaige's manuscript in this sense.She plays a wacky southerner in some unnamed remote village who goes nuts over a pair of fish-ornamented shoes that never seem to stay put yet always come back, or are somehow found.
This comes much to the dismay of her son, a young villager especially good with an abacus (Jaycee Chan).
He tries to keep her from going crazy, to no avail, until she proceeds to dig strange holes in the ground, go floating on the river and generally get up to all kinds of irrational mayhem.
Nothing seems to help, nor ease her anguish as she keeps calling to someone named Alyosha.In a different story arc, we move to another part of China (each story takes place in a compass bearing, no place names with the exception of a Beijing cameo), where academics find themselves in a bizarre twist of passion.
Here, Jiang Wen and Anthony Wong play what are presumably educators in a secluded rural campus, while Joan Chen does a horny doctor who gets everyone worked up.
There are accusations of perversion and hints-a-plenty that this is taking place during the Cultural Revolution.The third segment in this multi-threaded affair brings a few of the characters together as Jiang Wen and his on-screen wife (Kong Wei) are sent off to the southern village to be "re-educated" in the proper ways of hard work, all under the tutelage of Jaycee Chan's character.
Here too lust plays a role, but no caution, it's all friendly in the end.Finally, the fourth part brings clever closure to the stories, featuring pretty much all the main characters and having that "Ah!
However, it also has Zhou Yun deliver among the most screechingly irritating scenes in movie history.The Sun Also Rises is one of those OK'ish movies that somehow leaves you thinking there's a couple more viewing in it, so go ahead, give it a chance, you may learn something.It also fields some of Jiang's old gags from previous movies, another boon, but isn't as witty as some of the other works he's been in and basically has no strong message that we could discern.
And unlike those other surreal pictures we discussed earlier, this one opts for bombastic presentation that's completely unlike the understated beauty the genre craves.
Jiang Wen is pretty much the most popular mainland Chinese director/actor at present.
But whenever I watch any of his movies I can't help feeling that it might be useful being Chinese myself so I could better catch more of the social commentary and humor, which are apparently plentiful in all of his movies.
But I am not Chinese, and so Jiang Wen is one of the few directors, whose movies leave me behind feeling stupid and somehow a little guilty for not "getting them", because there is supposedly so much to "get"...But I also can't help feeling that his movies are pretending to be more than they really are.
This is especially true for this movie, which I enjoyed the least of the three Jiang Wen movies I have seen so far (the other two being "Devils on the Doorstep" and "Let the Bullets Fly").
The set-up is really nice, there are interesting characters and stories introduced.
First we see one story in one part of the country, then another story in another part of the country, then one character from the second story going to the first setting and encountering characters from there, and then we get to see a flash-back which ties it all together and wraps the whole thing up.
And it all works out pretty nicely with very, very beautiful music and sometimes hilarious scenes going on.BUT there is constantly some surreal sh!t happening that doesn't make any sense at all!
We have a goat falling from a tree, a piece of grass and dirt floating on a stream leading to a house built with round rocks, a man committing suicide right after all his problems have been solved and a girl giving birth to a baby on a moving train while she is peeing through a hole on the track, thus dropping the baby on the flower covered train track - just to name a few of those moments.
I've read that these events are for the most part supposed to symbolize the crazy futility of the cultural revolution, which is the time-setting of the majority of the film.
I'm sure there are better ways to depict the futility of the cultural revolution than having something completely (!) random happening in the movie all the time...Another thing that i found pretty annoying is that Jiang Wen seems to like using unresolved plot lines as a cheap means to have people discuss and think about the movie afterwards.
That doesn't make it deeper, it just makes it a bigger mess.If you want to watch a movie by Jiang Wen, don't start with this one!.
Jiang Wen is disappointing.......
Jiang Wen's "In the heat of the sun" is a master piece and arguably the best Chinese film ever made.
His second work "Gui Zi Lai Le" is controversial in its achievement but certainly fun to watch.
The Chinese film industry has so much to expect from him after those crappy 'big productions' such as "Huang jin jia", "Banquet" and alike in recent years.
But Jian Wen has failed people's expectation with this one.
I don't care how high the technical achievement performed in this film.
If a story told can not be comprehended by its dedicated viewers, it's not worthwhile watching.
I always have an interest in decoding but do not feel like listening to other people's murmur - Jiang Wen's or anyone else'.
On the acting part, the talented Anthony Wong wasted his talent entirely in the film.
Joan Chen's good performance was ruined by the ridiculous plot.
Like a Painting That Asks Questions.
I won't pretend to understand everything or even half of what went on in this film.
I gave up pretty quickly into the film, however, I wanted to keep on watching and the film kept me enticed mainly for that reason.
Just to watch for the beauty?
I really found this film like I was wandering through a modern art gallery but so much better.
It was painted beautifully, the setting and the colours; my mouth watered and i felt like i was eating a six course meal.The words also seemed to be quite poetically abstract to fit in with it all.
A dream like film..
Top-actor-turned-director JIANG Wen's venture into the avant-garde.
Seen in the Toronto International Film Festival First thing, the English translation of the title is inaccurate.
The Chinese title says "The sun rises as usual".
I don't know if the mistranslation is due to oversight, incompetence or, this is a long shot, a sneaky ploy to draw attention to the film by subliminally invoking a connection with Hemingway's novel of the same name.Top Chinese actor JIANG Wen's third try at the director's chair seems to have been inspired by works like "Amores Perros" (2000), "21 grams" (2003) and Babel (2006).
Under the superficial structure of interlinked stories and non-linear time frames, the complexity of the plot is nowhere near that of the three mentioned.
While there are red herrings abound, there is really no ingenuous cause-and-effect links as in these others.The individual stories are however worth watching.
At 46, Joan Chen can still do neurotic-erotic like nobody else can.
Anthony Wong, strumming a few acoustic chords and crooning a popular Indonesian folk ballad, is irresistible, to young girls and middle-age women alike:Bengawan Solo River of love we know Where my heart was set aglow When we loved not long ago(he sang in Chinese) Overall, the movie is well shot, with all the once avant-garde elements of camera deployment, montages, mise-en-scene, extensive voice over, visual and audio motifs, occasional wandering into the surreal, you name it.
Add a pinch of ingenuity in the next one and director Jiang will certainly be heading in the right direction..
these 4 parts story-telling is popular lately, but Jiangwen's "sun also rise" is the most magic one.
compare to the "still thing"by Jiazhangke, Jiangwen use a more passion color and rhythm to make a movie, based on the Chinese life style.
maybe you will say there is none connection with these two.but let us focus on the "looking for husband" part in "still thing", is it familiar to the frantic mum story in "the sun also rise".
maybe these whole stories are out of the country ,the race, the age or period, it is supposed to happen whenever and wherever, woman is crazy for the man , man is crazy for different women,but life still on.can live in the love ,can death for the love.
even can't tell ,the fate was made by a glance or an occasional meeting long time before.
which like the wife of the director, also the actress as the frantic mum, said:" when i was very little,the first movie i've seen in cinema,is Jiangwen's "the days under sunshine", i never can expect one day i'm his wife." but for Jiangwen, this is not his first woman.
but we can find ,how the new love encourage him and change the way he express himself.in the movie, when the young guy finally say his own opinion about the woman belong to him, Jiangwen, also a character in that movie, put on his gun, and give a shot.He is mad on he is not young..
The film is more a self-actualization of Director Jiang himself on his aspirations and far-sightedness than a readily decipherable reading for the audience.
Alongside the 4 episodes respectively under the narrative motifs of insanity, love, gunman and dream, the quadruple-segmented parody in a non-chronological structure embeds in its inner core, quite implicitly, a philosophy of karma, cycling, reborn, rejuvenation and blessings.
Structurally, events in the last episode (dream) precede those in the first episode (insanity) in temporal dimension but is narrated in a flashback.
The interrelatedness between the first episode (insanity)and the third (gunman) as well as the sequential arrangement of the second episode (love) and the third (gunman) provides a bridge that completes the causality in both temporal and spatial dimensions of the story.
The last episode (dream), a flashback, closes most gaps, bestowing on the audience a residual brain working activity on leaving the cinema.The wide spectrum of the director's meditation of the story does not call for a preferred reading on the part of the audience.
Insanity rides through the entire story in various degrees and in variant forms: insanity reigns in the insanity episode; it then tunes down itself as an over-reaction in the love episode; it transforms itself into an extreme sentiment and lust in the gunman episode; it becomes a possible nirvana (expressed in an aberrant gesture of the character), under a rising sun, on the next generation in the dream episode.Jiang establishes love as another common narrative theme and the act of running as visual motif in the four episodes.
Love sways between parental care and lovers' romance in the sequences.
The wide geographical coverage in the story and the western-styled gunman perhaps are projections of the grandiose and ostensible aspirations of the director.Under fast pacing, fast cutting, elliptical narrative, a deluge of film language and cinematographic techniques, fluidity in temporal and spatial orientations and with abrupt slapsticks in loud volume (ambient sounds), the film presents with comic effects and titillating musical acoustics a contrivance from an essentially intrinsic perspective that swings between perceptibility and imperceptibility to practical decoders. |
tt0120789 | Pleasantville | David (Tobey Maguire) and Jennifer (Reese Witherspoon) are twins and attend the same high school. Jennifer is concerned mainly with her appearance, relationships and popularity, while David watches a lot of television, has few friends, and is socially awkward. Their mother (Jane Kaczmarek) leaves Jennifer and David alone at home while she heads out of town for a rendezvous with her younger boyfriend. The twins begin to fight over the use of the downstairs TV; Jennifer wants to watch an MTV concert with her date, Mark Davis, while David hopes to watch a marathon of his favorite show, Pleasantville.Pleasantville is a black-and-white '50s sitcom, a cross between Leave It to Beaver and Father Knows Best that centers around the idyllic Parker family George (William H. Macy), his wife Betty (Joan Allen), and their two children, Bud and Mary Sue. David is an expert on every episode and wants to watch the marathon so he can win a $1,000 trivia contest. During the fight between David and Jennifer, the remote control breaks and the TV cannot be turned on manually. A mysterious TV repairman (Don Knotts) shows up uninvited, and quizzes David on Pleasantville before giving him a strange-looking, retro-styled remote control. The repairman leaves, and David and Jennifer promptly resume fighting. However, through some mechanism of the remote control, they are transported into the television, ending up in the Parkers' black and white Pleasantville living room. David tries to reason with the repairman (who communicates with him through the Parkers' TV set) but succeeds only in chasing him away. David and Jennifer must now pretend they are, respectively, Bud and Mary Sue Parker.Jennifer is dismayed to be stranded, but she and David begin exposing the town to issues such as sex, personal freedoms, styles of art, and literature. Pleasantville soon begins changing at a rapid pace, and previously black and white objects and people begin to develop full and vibrant colors. After initially wanting to leave, David discovers a sense of belonging he lacked in the real world, so when the TV repairman returns and berates him for altering the show so much, David turns off the TV, relinquishing his ability to go home in the process. While the mayor is concerned, people in Pleasantville begin to explore hidden abilities and revel in their new freedoms.The town fathers, who see the changes as eating away at the town's moral values, remain unchanged. Certain youths, such as Skip and Whitey and their friends, also remain unaffected. They resolve to do something about their increasingly distant wives and disaffected youths. Behavior similar to Nazism, as well as racial segregation and subsequent rioting similar to that of the African-American Civil Rights Movement start to occur, incited by a nude painting of Betty on the window of Bud's boss Bill Johnsons soda shop; the window is smashed with a park bench, and the soda shop is destroyed, books are burned, and anyone who is "colored" is harassed in the streets. Bud begins to grow into a strong leader, advocating resistance to the new "Pleasantville Code of Conduct", a list of regulations preventing people from visiting the library and Lovers' Lane, playing loud music, or using colorful paints. Bud/David and Bill are arrested and tried in court for violating the paint rules, but ultimately everyone in the court room changes colors and Mayor Bob leaves in horror when he is exposed as having changed as well.Eventually, the entire town becomes colored, and the people of Pleasantville are finally introduced to the rest of the world. Televisions at the television repair shop now display full-colored images of various scenic vistas around the world, and Main Street, which had previously been a circuit that led back to its beginning again, now leads away to other towns and cities.Jennifer chooses to stay behind in neighboring Springfield, while says goodbye to Betty and his new girlfriend David returns home using the remote control after promising to return and check up on her soon. He finds his mother crying in the kitchen, distraught over her life and her failed relationship. She complains to him that her life was not supposed to run this undesirable course. David replies, "It's not 'supposed' to be 'anything'."Back in Pleasantville, the citizens and Jennifer are enjoying their new freedoms and colors. Betty is seen sitting next to George on a park bench. George asks what will happen next and Betty admits incredulously that she doesn't know. When she asks George, he laughs upon realizing that he doesn't know either. The camera focuses on Betty for a second as she relaxes against the bench, then she turns once more toward the other side of the bench. The camera pans to the side to reveal Bill Johnson sitting where George had been. He says "I guess I don't know either," and smiles. | fantasy, whimsical, cute, alternate reality, psychedelic, satire, sentimental | train | imdb | It's an even bigger injustice that it did not get a nomination for best screenplay or cinematography.In the hands of another writer, this movie could have been made as just a parody of 1950's sitcoms like "Leave It To Beaver" or "Ozzie and Harriet." But this film isn't about how clichéd those series look decades later.
That's why the past is sometimes seen as "the good ol' days." Pleasantville does not represent how the 50's actually were but rather an idealization of what people THINK the 50's were---no one had sex, everyone got along swell, and life was fairly easy.
It isn't just about making out, but having the OPTION to make out.Another reviewer claimed that this film was an attack on the 50's, but David and Jennifer could very easily have been dumped in the world of "The Brady Bunch", "Gilligan's Island" , or "Batman." But setting "Pleasantville" in a 1950's sitcom allows for the brilliant metaphor of black and white versus color.
Similarly, David does not bloom into color until he breaks out of his aloofness and defends his "mother." Compare the way he ignores his real mother at the beginning of the film to how he consoles and comforts her at the end to see how much David has changed.I could go on and on, but I think you get the idea.
There are a lot of films out there that are very entertaining and/or very moving--like "Raiders of the Lost Ark" or "Titanic." Movies like "Pleasantville" which challenge the audience and force them to think are very rare, and should be treasured by the discerning filmgoer..
I thoroughly enjoyed "Pleasantville" from the 'Once upon a time' through the film fading to black.The acting was top notch all around, as was the use of special effects; in very few films has colour been used so effectively that it can convey a story seemingly without help from dialogue or music.I can see how some people would perceive it as merely another mouthpiece of liberalism, but I watched it twice, and I only noticed it attacking bigotry and censorship.
What was wrong wasn't that these people were living according conservative values, but that they didn't really choose those values in the first place!I like the fact that the film was bold, and that it made its point as directly as it contrasted the black and white with the splotches of Technicolour.
This superbly mounted and completely winning fantasy starred Toby Maguire and Reese Witherspoon as a contemporary teenage brother and sister who are magically transported into a black and white television show called "Pleasantville", a show similar to "Leave it to Beaver" or "I Love Lucy", where everyone in the town knows each other, where the fire department only saves cats from trees and never put out fires and where there are no pages in the books or toilets in the bathrooms.
Maguire's character is a "Pleasantville" trivia expert so he knows everyone there and everything that's going to happen but sis Witherspoon is a stranger in a strange land whose introduction of 1990's sensibilities to the citizens of this town brings about extraordinary changes.
The film is beautifully made with a very smart screenplay and superb performances, the best of which is by Joan Allen, who is luminous as Betty, the mother in the sitcom who is shocked at first but learns to accept the 1990's coming to Pleasantville.
The film appears to be in black and white, but as each character opens their mind or changes from the perception of the Pleasantville tv show, then they begin to gain color.
several of the scenes are priceless, and as someone before commented, the drive through a black and white scenery with coloured blossom weaving through the soft winds will leave you breathless.in short, if you feel like watching a wonderful movie, catch this one and be impressed; try to follow the patterns every character exhibits and think about what the colour means in that sense, how it brings life back, how change is life..
The basic theme here being that the meaningful life requires breaking out of rigid, dull and conventional roles, this film's story sucks two teens back through their television set to a fictitious 1950s sitcom named "Pleasantville," where life is in gray-tones until they start breaking the rules.
As a metaphor for change or lost innocence it gets a bit tired but for most it's very effective as a way of seeing people's true feelings come out.The cast are great - Maguire and Witherspoon are both good (yes, even Witherspoon!), but the real strength comes from the adult support cast.
The father character is shown as being a nice guy, who never accosts his family, provides for them and seems to do nothing wrong, yet this also portrays him as being boring and therefore needs to change.The movie started with an interesting premise and had really good acting and good special effects, I just found it difficult to stomach the frequent negative attitudes about males and the male bashing.
But it is also one that should be tempered with responsibility and reason.Tobey Maguire plays the proverbial Adam, a boy that loves everything to do with the 'pleasant' world of forties and fifties television, until he and his sister, Reese Witherspoon who plays the also proverbial Eve, are zapped into the television world of Pleasantville.In this world, everything is black and white, until Eve feeds the apple to an unsuspecting boy.
Pleasantville is a really messy, unfocused film that has nothing to do but define its' own atmosphere for over two hours, while trying to convince us that there is a much deeper meaning behind it all.I'm no expert on shows from the fifties, and I am not a product of that era, but I have of course watched many shows from that period and I understand what the movie was going for; it was trying to show us that things aren't as picture perfect as they appeared in those shows, and that change into the modern world isn't so bad--it just makes us "free".
I also think that the characters from those shows also knew that there was a world beyond their own town, that there were days when it would rain, and that the local sports teams didn't always win.Director Gary Ross seems pretty unsure of his material himself, and that is probably why the film keeps defining itself; within the last half-hour of the movie, a young boy punches another.
The film then TEDIOUSLY expands this single joke commonly throughout the movie, showing us shocking images of kinky sex acts, some I can't even mention here, for my comments won't be posted (HINT: one involves a popular number in the double digits), and when we're not seeing the acts of sex or the blown-away expressions of those who have just experienced it, we get some really "shocking" conversation; Reese Witherspoon has been shacking up with every guy in sight, then educates her mother on ways to "please" herself--Oh, MY!
Another shock, provoking embarrassed and courteous laughs from the audience.The final scenes of the film dissolve into complete disorder; Don Knotts starts getting angry at the kids for their disruption of Pleasantville, and goes quite mad, but what was he expecting in the first place, and why does his demeanor change so radically from that of the first act?
She is transported with her brother, but feels she has entered Nerdville, and so sets out to change her surroundings to something she is more familiar with, something with a more 90's sensibility, like, say with...sex?This is actually an interesting premise, especially since the 50's world is in black and white, and only gradually introduced to color.
The movie is technically clever, well-acted and beautifully photographed - but that's where the good stuff ends.The point of view of this film is that people in the 1950s were stupid, complacent, unaware and uncaring of the world outside their immediate environs.
Leave It To Beaver of the late 50s early 60s and consider where you would rather be.Pleasantville is a movie with little understanding and appreciation of the period in American history that it attempts to belittle by its revisionist portrayal.This film is not funny, witty nor insightful.
because you certainly wont be requiring it once the film begins.Yet another incomplete plot with pretensions of social commentary added as an afterthought.What rubbish.Luckily I had free tickets so the only thing Im really angry at is the incredible waste of time the whole thing was-not to mention the tragic mess made of a fine Lennon tune(ok, THAT wasnt too bad).Also, as a parting thought, does anybody REALLY think Toby Maguire can act?
While it contains several good points about the same-old same-old style of Pleasantville,and it's heart is in the right place, there are different ways that they could have made this movie without filling it with sex.
He's ready to settle into a "Pleasantville" marathon - a black and white TV sitcom, but as laid out in the premise, they instead find themselves playing the brother and sister in the show.The film follows how their modern ways affect the characters in the show.
When brother and sister David(Tobey Maguire) and Jennifer(Reese Witherspoon) are sucked into an old black and white sitcom named Pleasantville, courtesy of a TV repairman(Don Knotts), early hilarity ensues as they cope with their situation.
There are so many great performances so many well written scenes, so much wonderful cinematography as John Lindley expertly blends together scenes of color and black and white, aided by the most purposeful use of digital effects ever seen in a film.
Another interesting perspective I had of the concept was as a kind of reflection of American culture, ranging from the 1950s generation gap to the later civil-rights movement (check out the "No Coloreds" sign in a store window).I won't try to nutshell the movie, since the characters endure a whirlwind of change and turmoil.
And director Gary Ross got just about everything else about "Pleasantville" half-right, which makes for a halfway decent viewing experience, nowhere near as bad as it could be, but not as good either.The look of the scenes in the sitcom small-town is half-right -- the costumes, hairstyles and set decorations are perfect, but the pretty black-and-white cinematography and odd camera angles are more reminiscent of an art movie by Scorcese or Woody Allen than grainy single-set 50s TV.
David—an intelligent but socially inept teenager—and his twin sister Jennifer—pretty, promiscuous, and desperate to be popular—are at odds with one another until they abruptly find themselves trapped inside Pleasantville, a 1950s black-and-white sitcom where tradition, naiveté, and old-fashioned values run the idyllic little town like clockwork.
Pleasantville is a fabulous idea that tries to cram a heck of a lot of high concept into its running time.Modern teenagers are transported by a convenient remote control into an apparent utopia within the small town setting of a 1950s television show.Fairly innocent conflicts regarding 'geography' and sexual mores give way to a more serious agenda concerning small-minded prejudice, bigotry and the value of individualism.
There is much use of symbolism, particularly the gradual depiction of characters and objects in colour rather than black and white.The acting is of a high quality, with seasoned performers such as Joan Allen, Jeff Daniels and William Macy providing a solid background to (relative) newcomers Tobey Maguire and Reese Witherspoon.However, some of the messages and symbolism is alternatively muddled (the timing of the transformations to colour) and heavy-handed (the signs that start to spring up saying 'no coloureds'.Having said that, there is a lot to like about 'Pleasantville', even if the loftiness of its ambitions is only partially met by its success.Worth a look..
But I've seen Father Knows Best, Ozzie and Harriet, The Donna Reed Show, Andy Griffith, etc., all of which provided the black-and-white idealized fictions of American life that are the subjects of Gary Ross's movie Pleasantville.Why have I seen this movie about 15 times and watch it again every chance I get?
But 'Pleasantville' is so much more than I expected.It touches a very interesting theme of what people think of the 1950's America based on the movies and sitcoms.
And, yet, it made no mention that it's due to a lack of common sense and rampant, unprotected sex that this world is rife with STDs and unwanted pregnancies.I found it really hard to believe that the characters living in Pleasantville (before the colors of sex arrived) were so bloody clueless that they didn't know that a whole, wide world existed out there beyond the idealistic borders of their quaint, little town.Like, didn't these innocent-ones ever watch movies and TV?
I'd like to see someone make a movie about an immoral society and show how someone can come in with moral values and change black and white to color.
(Unlike much of modern programming, which is so pandering and graphic -- even early in the day -- that it would have been considered pornography 25 years ago.) If you actually WATCH shows from the 50s like "Beaver" and "Father Knows Best", instead of just clips or what you THINK you remember, these were actually not bad, and not as bland as "Pleasantville" wishes to remember them.
I wanted to see Pleasantville because it looked like a movie that had some neat visual effects and poked some harmless fun at a more docile time from America's past.What I saw was a movie which went from subtle hints that morality stinks to blatant signs that any moral person has absolutely no right to live.I'm not going to go into all the issues addressed (way too many in one movie...), but basically, if you had/have morals, you were/are a boring person with a closed mind.
I know 'moral' can be subjective, but this movie is just one more example of making 'good' people look like freaks by adjusting the norm to fit Hollywood's ideals..
Two 1990's teens, David and Jennifer, living unhappily dysfunctional lives, gets magically transported into Davids favorite 1950's Black and White sitcom, Pleasantville where they turn the world upside down for the residents of the fictional town by introducing many 1990's things (slang words, culture, sex, etc.) into the Pleasantville's 1950's universe which in turn changes people, plants, even inanimate objects into color.I identify with David in that I too was brought up (I'm in my early thirties now) in a dysfunctional family, only a thousand times worse than his, and I also sought an escape from that by watching endless syndicated re-runs of all kinds of classic tv shows (where life was perfect, people were happy, people loved each other), to the point where I had every line and every piece of useless trivia memorized from all of those shows.
It's swell.Mr. Simpson: Great!Jennifer/Mary Sue: You know that guy?David/Bud: Yeah, he owns the Hardware store.But Pleasantville, which starts out as a comedy/fantasy film, changes gears midway and turns into a sociological/political argument against the fifties and against any modern day romanticism of those years which almost ruins the movie.
But there are some things that they were doing so right back then (lower crime rate, lower illegitimacy rate, an educational system that was the envy of the world, fewer divorces, more two parent families and fewer single parents, a healthy respect for religion, children and teenagers treated their elders with more respect, profanity wasnt a part of the everyday language, a Hollywood that was still producing mostly family friendly movies and tv shows, etc.) that we are doing so horribly wrong today.I wouldnt change parts of the film where David and Jennifer introduce and teach the residents of Pleasantville how to do things differently in their day to day lives (except for the sex parts which this movie wouldn't have suffered without) thereby introducing color to the town, but at the same time, I would have done it without having to attack a person's beliefs.
This is a movie that might have been made in the 60's, when young trendies embracing "free thinking" (to justify their self-indulgence in sex and drugs) would have hailed this film as the perfect message - even instrument - of change.
They also left us with rampant egotism, mistrust (even hatred) of authority, and a party's-over cynicism that, 30 years later, has only gotten worse.The key problem with "Pleasantville" is that, despite a rushed (and insincere) "reality check" at the very end of the film, writer/director Gary Ross wants us to believe that changing the world is as simple as opening up your mind to sex, jazz and art.
It's hard to really see this as a metaphor for greater things; "Pleasantville" is much too simplistic in its "power to the people" faux-idealism to mean much more than what it shows on the surface.It's also very significant to note that, by film's end, the town of Pleasantville is completely technicolored and every citizen is just as happy and docile on the surface as they appeared in their black and white beginning.
Pleasantville will change you, I am not joking!The movie makes an entrance at poking fun of those old sitcoms as spoofs like "Leave it to beaver" "Father Knows Best" The Andy Griffith, "Dick Van Dyke" but ends up becoming one perfect political satire statement.This is a follow up of the book "Fahrenheit 451" as well as "The Truman Show" but with a different twist.
In the fight over the remote, both teens are inexplicably sucked into the TV set and thus into the black-and-white world of Pleasantville, where everything is perfect...or is it?The hallmark of this film is that it deals with some pretty heavy social issues without getting preachy or self-indulgent.
It's an American fantasy movie released in 1998 that tells the story of two teenagers living in the nineties who accidentally enter a fifties black-and- white sitcom which takes place in a town called Pleasantville. |
tt0407304 | War of the Worlds | Ray Ferrier (Tom Cruise) is a divorced union container crane operator with few skills as a father. Ray's ex-wife (Miranda Otto) drops off their rebelious but coming of age teenage son Robbie (Justin Chatwin), and meek 10-year old daughter Rachel (Dakota Fanning) for a weekend visit with their father in New Jersey. (Filmed in Bayonne in the shadow of the worlds longest arch bridge.) Ray is a self-absorbed individual who feels imposed upon by having to baby sit his own children. Then something happens that will change their entire lives. An unusual and violent lightning storm hits the town. In the intersection down the street, Ray sees a huge three-legged war machine rise from beneath the street. The machine begins to fire and incinerate everything and everybody. The Martians have begun the war by attacking Earth with only one goal in mind, destroying everything in sight. Ray becomes a real father when he decides to protect his children and take them to their mother house. Ray grabs his handgun and a few supplies and steals a minivan from his friends service station, begging the friend to come with them, but leaving him behind when he doesn't understand the danger and refuses to get in. The mother and her new husband have already left for Boston so the Ferriers hole up in their house. Overnight, the Martians show up around their and cause great destruction. A news van is outside and the reporter informs Ray the Machines are in all cities. They decide to try to make it to Boston They start running for their lives and are just ahead of the Martians, when they get caught up in a frantic mob of people in upstate NY who are also fleeing the machines. The mob tries to get in the car or take it away from them. In a Mexican standoff, Ray relinquishes the car to an armed gunman in exchange for letting him get Rachel out of the car. Ray drops his gun which is picked up by another mobmember who shoots the other gunman. They manage to get on a ferry as several more machines rise in the distance and the ferry leaves before it's full. A machine rises from the river and overturns the ferry but the Ferriers swim to shore. Robbie follows an Army unit into battle against Ray's wishes but he cannot stop him. Ray and Rachel are taken in by a sole man holed up in the basement of his rural house. Machines are all around and they send a camera tentical into the basement where they are holed up to look for humans which they avoid by moving and hiding. Then some Martians come in personally to investigate, but they're called back to the ship before they find the humans. Ray and the homeowner dispute over how to handle the situation. The machines have increased in number and are everywhere, and they can not be destroyed by our military. They make it to Boston and the Martians start dying from various sickness caused by germs that humans are built up immunity to, but the Martians don't have. Douglas Young (the-movie-guy)=================================Ray Ferrier is a dock crane worker who leaves his shift in Brooklyn and drives home to meet his ex-wife, Mary Ann, and his two kids, Robbie and Rachel, at his home in Bayonne, New Jersey. When he arrives, late, they are all waiting for him. Ray sees that Mary Ann is pregnant. After a few minutes of debate, over the children sharing a room and Robbie's homework assignment due on Monday, Mary Ann and her new husband leave for Boston to visit her parents for the weekend.Ray mildly orders his son to play catch with him in the back yard. Ray notices that Robbie now wears a Boston Red Sox hat; Ray is a Yankees fan. While the two play catch it becomes clear that father and son share a strained relationship. After a brief argument, Robbie allows one of Ray's throws to fly past him and break a window in the basement. Rachel comments that Ray "won't reach" Robbie by being belligerent. Rachel asks what they should have for lunch and Ray coldly replies "you know, order." Ray goes upstairs to his bedroom to get some sleep.When he wakes up several hours later, he finds Rachel watching cartoons in the living room. She also informs her father that Robbie has taken off with his prized Mustang. Ray becomes furious and rushes out to the street to find Robbie. People have gathered on the street. Ray also sees everyone looking to the north of his block where a strange storm appears to be swirling in the wrong direction. Ray goes into his backyard, taking Rachel with him. The wind picks up, but blows towards the storm. Suddenly, several bolts of lightning begin to strike the ground, some hitting dangerously close to Ray's yard. He and Rachel rush back into the house for shelter and find that every clock has stopped and the power is out. Ray's watch has stopped and his cellphone is dead. After telling Rachel to stay in the house, he goes outside and finds Robbie nearby; his son had taken his car downtown and left it there when it stalled. Ray orders Robbie to watch his sister until he comes back. Ray passes by an auto repair shop where the owner, Manny, tells him that the starter is burned out on a minivan he's looking over. Ray tells Manny to replace the solenoid.Ray walks downtown to the site where the lightning struck. A crowd has gathered around a large hole in the street. Ray touches a piece of the cracked pavement and finds that it's unusually cold. Suddenly the ground under the hole surges upward and everyone scatters. A car that fell into the hold is thrown out. A huge machine on three stilted legs bursts out of the hole and observes the crowds. It lets out a loud blast like a fog horn and as the crowd continues to scatter, it begins to incinerate dozens of people with blasts of heat beams; people are turned instantly into ash when the beams strike them. Ray runs, escaping through a department store; as he does, the ash from an unfortunate victim covers him. Ray hides behind a building and watches the monstrous machine walk by. He is reminded of Robbie and Rachel when a man runs by carrying his own child.Ray returns home in utter shock. Barely speaking to his kids and washing the ash from his face and hair, he tells them both that they're leaving immediately. Ray has Robbie take everything in his refrigerator and Ray retrieves a small pistol, tucking it into his belt. They go to Manny's garage and climb into the minivan the mechanic had been working on; since he'd replaced the solenoid, the car is able to run. Manny thinks Ray is joking with him until Ray tells him in a serious tone to come with them. As he tells Ray to get out of the car, the nearby Bayonne Bridge collapses. Ray speeds off while his kids become panicky, especially Rachel, who has a problem with enclosed spaces. Robbie tries to calm her. Ray tells Robbie about the machine and the destruction it caused. Ray plans to take his kids to a safe place, hopefully their mother and stepfather's house.Arriving at Mary Ann's house, they find it deserted. The trio have a brief argument over what to eat and Ray takes them down to the basement where they'll spend the night. After a few hours of restless sleep, Ray wakes up and hears a commotion outside, which becomes a deafening roar. The three rush into the basement's utility room and lock the door against a wall of flames.When Ray wakes up several hours later, he walks upstairs to find most of the house demolished. The commotion from the previous night was caused by a plane that had crashed in the neighborhood. While Ray walks by, he sees a man in the wreckage of the plane, cleaning out the food service carts. Ray finds out that he's a cameraman for a news network and is there with a woman reporter. The woman tells Ray that the reports about the tripods are all the same, once they start moving, no more reports or news come from the area they attack. The woman eagerly asks Ray if he's a survivor of the plane crash; when he tells her he isn't, she and her crew hastily leave.Ray gathers his family and they set out again in the minivan. They drive for a while and pull over when Rachel needs to relieve herself. She defiantly walks farther than Ray wishes her to and stops by a creek. While she looks at the water, she sees dozens of human bodies floating by. She is terrified by the sight until Ray suddenly finds her and scolds her for wandering off too far. Back at the truck, and Army convoy passes by. Robbie seems overcome with anger and wants to join them in their counterattack against the invaders. Ray tries to reason with Robbie, telling him that the idea of them joining up with the Army is ludicrous.Ray lets Robbie drive for a while so he and his daughter can get some sleep. They come to a small town where evacuated people have gathered. The crowd quickly becomes hostile toward Ray's family and wants their vehicle. Ray and Robbie are forcefully pulled from the truck and beaten by the mob. Rachel panics and Ray, gathering his senses, uses his gun to force the crowd to retreat a bit. Moments later, he is forced to drop his pistol when another man, determined to take the truck for himself, holds a pistol on Ray. Ray is permitted to get Rachel out of the truck and walk away. The crowd again becomes violent and the man who took the minivan is attacked.The family continues to walk with the crowds of evacuees. At a railroad crossing, a train zooms by, the entire length of it is on fire. At a ferry crossing in Athens, New York, the family waits to cross the river on one of the boats. Ray meets a woman he knows who has her own daughter in tow. The sound of the alien call is heard nearby and the crowd of people begin to rush the ferry. Army guards close the gates and deny Ray, his friend and their kids entry. The see a way to bypass the gates and make it to the boat, but only Ray and his kids are able to board. Robbie sees that several people are trying to climb over the ferry's ramp and goes to help them. As the boat crosses the river, another tripod rises from the river and attacks, turning the ferry over and spilling cars and people into the water. Ray and the kids surface and swim for shore as tentacles from the tripod grab people out of the water. Ray and the kids make it to the opposite shore. While they steal away, they see garments floating down from sky.Still walking, the family passes by a battle between the aliens and the Army. Jets zip by overhead and Robbie somehow becomes entranced by the battle, which is unseen and taking place over a hill. Robbie approaches it while Ray and Rachel yell for him to come back. Robbie ignores them and is stopped at the top of the hill by Army personnel. Ray leaves Rachel under a tree and confronts Robbie, telling him that he doesn't need to become involved and that his sister is very worried about him. Robbie insists that he needs to see the battle and Ray reluctantly lets him go, accepting that he can't stop his son's obsession and needs to protect his daughter. Ray picks up Rachel just as a final assault of helicopters fails to stop the tripods. The last thing Ray sees after Robbie rushes over the hill is a tripod looming over a wall of fire. It also becomes obvious that the tripods have a protective shield covering them that repels all bombardment. Just then Ray and Rachel are called by a man who owns a nearby house. The owner, Olgilvy, offers them sanctuary in his basement. However, it becomes clear to Ray that Olgilvy is mentally unstable and plans to tunnel out of the basement.A series of loud noises from upstairs prompt the group to hide. A snake-like probe is sent into the basement. The group narrowly avoids detection and the probe is withdrawn after a few minutes. Later, three of the aliens enter the basement - they are three-legged and very curious. Ray also stops Olgilvy from shooting them with his shotgun, knowing the noise will attract more of them. The aliens leave when their horn sounds.Ray also discovers that the aliens are covering the landscape with a mysterious and rapidly-growing red vine and they are using blood harvested from humans they've captured to fertilize it. At this revelation, Olgilvy becomes extremely agitated, digging frantically in his basement and muttering "Not MY blood!" repeatedly. Ray realizes that if Olgilvy continues to act the same way, he'll only grow worse and they'll all be found. Ray tries one last time to calm the man but fails. Ray has Rachel put on her headphones and listen to her music while he confronts and kills Olgilvy behind a closed door. After he emerges from the room, Ray and Rachel fall asleep. When Rachel awakes, she sees the alien probe has returned and they've been discovered. Ray uses an axe to cut the eye of the probe off, however, Rachel has fled the house. Ray rushes out in time to see her captured by a tripod. The tripod attacks Ray, who hides in a nearby Humvee, and he's flipped over. The tripod loses interest in him, however Ray uses a grenade from a belt he finds to get it's attention. It uses a tentacle to lift him into an underslung cage filled with other people. Ray finds Rachel, who's in deep shock. While Ray figures out how to escape, a large valve opens overhead and sucks up one of the captives. The valve then tries to capture Ray, who takes the grenade belt with him. His fellow captives keep hold of his arm and drag him back. When Ray lands in the cage, he shows a soldier that he'd pulled the pins from two of the grenades. They explode inside the tripod and the cage is released, falling onto a nearby tree, freeing everyone.Ray and Rachel make it to Boston. While being directed by more soldiers, Ray notices that the red weeds are dying and that a tripod has come down. Another nearby tripod sounds it's horn and everyone flees. Ray notices that a small flock of birds have landed on the tripod - it's shield is not functioning. Ray relays this discovery to a captain standing by, who orders his platoon to bring up Javelin missiles. Several rockets are fired at the defenseless tripod, which collapses, demolishing a building. The evacuees and soldiers approach the tripod, which opens a hatch, spilling a bright orange fluid. An alien arm with a pink hue (instead of the steel-gray color Ray had seen on the aliens in the basement) falls out limply. The aliens are dying of some unknown cause.Ray walks Rachel to his in-laws' house. His ex-wife and her new husband are there, along with her parents. Rachel runs to her mother. Robbie steps out of the house too and he an Ray embrace.The narrator's voice returns and informs us that the aliens had killed billions, however they were defenseless against disease-carrying bacteria to which humans have long been immune. | violence, action, murder | train | imdb | In other words, special- effects-wise, it isn't just about visuals but the audio as well.Although the story of the father (Tom Cruise) and his two estranged (is anyone pictured married in films nowadays?) kids is so-so at best, the film is all about the action.
Reserving comments on minor difficulties which would reveal too much; (except, the narration was unnecessary); the "War of the Worlds" is excellent entertainment.******** War of the Worlds (6/13/05) Steven Spielberg ~ Tom Cruise, Dakota Fanning, Justin Chatwin, Tim Robbins.
And not in the same way Tom was upstaged by the gorgeous little boy in Jerry Maguire through sheer 'awww' factor, Dakota is both cute and one of the most talented actresses I've ever seen.The special effects were amazing, (the first lightning storm was the PERFECT way to get the audience on the edge of their seats, the rest of the movie made sure we stayed there) the thrills were non-stop and executed brilliantly - I nearly broke my fiancé's arm during one particularly nerve-wracking scene - and whilst some of the characters were inevitable clichés - the rebellious teenage son, for example - the story evolved at a fast enough pace that you didn't have time to get irritated by them.I thought the ending came a bit suddenly and with perhaps not quite enough explanation but overall I really enjoyed this movie - and I'm not usually a fan of alien blockbusters.
The film concerns upon the survival of human specie , the fundamental theme results to be the humanity confrontation and the main enemy : an alien invasion at an exceptional world happening .It's a fabulous story , and very well narrated , about a deadly alien attack , a father who wants to save his children : Dakota Fanning and Justin Chatwin , at whatever cost .
There's a sub-plot concerning a father whose greatest thoughtfulness turns out to be the children's security, his hard struggle for the family protection .Cruise and Spielberg told the film being dedicated to their children and the intimate feeling among themselves .
In fact, the scene was shot from inside the house, and Cruise was shot in reflection against the window - so there is no problem here other than the reviewer not thinking what they were seeing through.Now on to the review...This film follows Tom Cruise - playing a not-very-adult divorced father - and his two kids through the Wellsian version of The War of the Worlds.
Cruise, whose character is not really built for heroism, digs deep into his soul to protect his children as they attempt to make it to Boston to reunite with his estranged wife and her new family.Before I discuss the technical merits of the film, and the lavish production values, I feel that I need to make a comment on Dakota Fanning.
If you're going to rate a film on pure spectacle, this one would easily get a 10 - it's utterly astounding.The acting is uniformly good, and the idea of showing the film purely from the perspective of Cruise's character - so the audience knows nothing that he doesn't know - works extremely well.But there's no plot, no underlying logic behind *anything* that happens, be it human or alien-initiated - every single plot decision seems to have been taken from the perspective of 'wouldn't it be cool if...' or 'Let's shock people with the nastier sides of human nature now' or 'Now we must give our hero a tough decision'...
Everything to make this a science-fiction classic masterpiece were present; Spielberg's directing, a great concept, ILM special effects, Tom Cruise as the main character and lots of other professionals involved both in front and behind the cameras.
Basically the movie is only about Tom Cruise and his two children running and driving from city to city, from the aliens and their destructive Tripod-machines.
Always a bit of trepidation going to see a remake of a major movie - The original was quite good (for its time).I think part of it is the "I know what's going to happen" feeling and so I approached War of the Worlds in this light.However I was entirely delighted with the movie, the updated story line, and the excellent special effects.
In this updated adaptation of H.G. Well's classic, we revisit alien territory already familiar with Spielberg (with evergreens like Close Encounters of the Third Kind, and E.T.), except that this time around, the aliens are not an iota friendly and wastes no time proving its point with its laser beams.Cruise plays Ray, a middle class salaried worker whose ex-wife (Miranda Otto, in an underused role) leaves their estranged kids with for the weekend.
Spielberg teases you with indirect shots of the tripods, from mirrors and reflective surfaces, never letting you see from a first person's perspective for too long, keeping in pace with the initial suspense built.Terrorist attacks were mentioned in conversation, and perhaps this movie also serves as a timely reminder of always being prepared, with emergency equipment, stashes of food, and familiarity with emergency procedures.This film could take the easy way out and focus on the big explosions ala Independence Day, but since that was already done, we get to focus on the smaller picture, that of the survival of the family unit in crisis, and I applaud this approach.
Most times we do not have complete information, and need to make split second life determining decisions.However, the pace slackens toward the end of the movie, and steers us back with reminders that this is after all a summer action blockbuster, with predictable endings, some plot loopholes and worse, rushed explanations.Tom Cruise doesn't get to flash his pearly whites so often here, as we see a transformation from irresponsibility, and in his son's opinion, cowardice, to courageous dad whose children are his first priority.
Well not too much to add beyond all that's been said here already, except:1) once again, Spielberg explores family dysfunction and parent abandonment issues, this time shoehorning it into an apocalyptic action movie.2) alien machines that should be busy destroying world population centers instead choose to chase Tom Cruise through New Jersey...down side streets, to his ex-wife's house, on a ferryboat, in his minivan.
This film doesn't present a corny alien invasion episode with bad acting or unrealistic situations like Independence Day does, but it puts you right in the characters shoes and does not exaggerate the concept at all.
From the angle of the camera (eye level to make it feel like you right there staring at the tripods), to the brilliant cinematography and breathtaking special effects (the opening scene where we see the tripod rise from the ground is astonishing and just freaky), this movie grounds what could have been a very "out there" film.
Lost and forgotten are the times you created marvelous movies like 'Close Encounters', 'The Color Purple', or 'Schindler's List'.When we put aside the special effects in your film (that money nowadays can buy in abundance), there remains a hollow shell with poor acting, a flawed story, a ton of logical errors, and - what I reproach most - you've actually got nothing to say to the audience.
Tom dose not seem to get a long at all, when Ray falls a sleep and then he find out that Robbie as taken off with car.As leaves the house, he see people standing in middle of the road looking at sky, seeing some of really odd cloud, they rush to the back garden to see more, then some of lighting storm, and it was not normal lighting storm, (The special effect for that great,i loved it).As Ray leaves and seeing everyone rushes to were the lightning as hit about 10 times and then see this Tripod that came from underneath the ground that starts to kill people.The rest of movie is about father and kids trying to survive for rest of movies while the Tripod destroy everything around them.Great acting from the whole cast, as already said the special effects was absolutely brilliant.I give this movie 9 out 10.
It's somewhat discomforting that one of our generations finest filmmakers has produced something deserving the same treatment as the Gamera series, Lost Continent and the Crawling Eye (OK, I rather liked that one when I was a kid), but that's what happens when you combine a completely illogical premise with irritating characters and a story so full of holes and absurd occurrences that one wonders if the crew ever watched the final product before releasing it.Let's see if I've got this right.
This gives the big picture view that gets short shrift in the 2005 edition.Spielberg's choice to tell the story from the point of view of a random citizen caught up in the maelstrom has possibilities, but suffers from the injection of the superfluous subplot involving Ray's (Cruise's character) parenting issues.
But, it's a lot better than Spielberg's edition, which comes off more as a vehicle to sell lunch boxes and action figures than it does as an example of good film-making.
When the son is determined to go off and fight the aliens, all I could think was, "Great, 1 down, 2 to go, and now maybe the real story (of a war between the worlds) will begin." It's usually a big mistake to make your main characters and hero totally unlikeable and lacking in charm - I didn't care if they were all pureed into alien V-8 juice.
After striking lightning once with Minority Report, the creative duo set out to tell the story of an alien invasion from the point of view of a father and his two children, who are trying to find their way to shelter, and security, within the mass mayhem that follows the invasion.Cruise plays Ray Ferrier, a working, divorced man, who witnesses an extra terrestrial attack during what was meant to be another weekend he spent with his kids son Robbie (Justin Chatwin) and daughter Rachel (the obnoxiously precocious Dakota Fanning).
The screen shows us tanks and soldiers running over the hill towards a battle against the alien tripods, but they never take us to the other side of the hill, to show us what's really going on.Watching the movie, I couldn't help but compare the dust Ferrier was covered in with photos from Ground Zero on the day of the attack.
But then again, the film excelled in so may other fields acting, atmosphere, special effects that I was willing to overlook the usual Spielberg disadvantages (let's face it, the man doesn't know how to end a film) and enjoy the overall view as a haunting mirror to the way our society behaves during this frightening first decade of the 21st century..
After see her in this movie, Dakota is no doubt going to have a great acting career as she gets older.The third thing that I enjoyed was that Spielberg gives us a true meaning of war and fear.
This film has Tom Cruise running around scared the whole time with kids you kind of hope the aliens kill anyway.
Even though I expected WotW was going to be bad, I somehow thought Tom could save it.If you haven't read the book, or seen the 1953 movie, or you are easily impressed by bright, shiny objects, you will probably like this movie.The 1953 movie is waaaaaay better story-wise, and not bad effects considering the year.
Already feeling inconvenienced due to his parental inadequacies, things are further complicated by the arrival of aliens, who after a lighting storm awakes them from the earth, start to lay waste to America.Having failed to ignite the box office in his customary way with his last two directorial outings (The Terminal & Catch Me If You Can ), Steven Spielberg, arguably played safe with his next film.
The movie has great action, Excellent special effects and truly terrorizing sound and ambiance effects of the alien invasion, but the subtle, entertaining and gripping element of the movie isn't really the "war", violence or a man vs.
It put me on a little cloud knowing I was part of it.I got the script and as it was expected of me rose some points needing changes, or some explanation and made a list like so: 1- With the Tsunami experience we know people do not understand danger is here and completely lack self preservation instincts, but here it says the street has been hit by lightning, then starts collapsing, cracking, erupting, the buildings are too; a very odd looking flying machine comes out of this quickly followed by another this time standing on three feet, still people do not try establishing any safe distance with the phenomenon until they start being vaporized.
Nathan Pacheco War of the Worlds Film ReviewThe science fiction action film, directed by Steven Spielberg, is probably one of the most "eye-catching" movies out there.
Not every day you encounter bloodthirsty aliens, so to act as if it was a real event, takes so much time and talent to really make you believe it was actually happening like the actors did in this movie.
Since the last movie they made which it was Minority Report, they took the remake to an exhilarating next level in the film "War of the Worlds".It stars Tom Cruise, Dakota Fanning, Justin Chatwin, Tim Robbins, etc.Ray Ferrier (Tom Cruise) is a working class man living in New Jersey.
Sometimes you can get away with it, but more often than not they fail miserably, succeeding only in disappointing the fans of the original in the process.If SS wanted to do a angsty, dysfunctional family drama set against the backdrop of an alien invasion he should have just made up his own story, rather than bastardizing the work of someone else.It's ironic that when you consider this movie in comparison to the George Pal version from the 50's, suddenly George's messing with the plot doesn't seem so bad, at least I enjoyed that movie even if it also largely ignored the bulk of H G Wells original plot.Steven, give me back the two hours of my life wasted on this movie!.
Tom Cruise proves again and again he can act, but Dakota Fanning steals the show from him in this one, she is brighter then the effects in this movie.The story is a good take on the classic "war of the worlds" tale, concentrating more on the humans and never visiting the "why" of the aliens in much detail.The special effects are awesome and really add to the movie, I loved the opening sequence when we first see the invaders...wow.This is Steven Spielberg so you know all production values are high bar and that is all that needs to be said there.This is a fun exciting and only in one spot a bit silly (the Tim Robbins bit) movie.I highly recommend it to any sci-fi fans..
Also, the most subtle element is the fact that while the guy struggles (runs, hides, etc.) to protect just his family, only bad things happen, while the moment he "realizes" (without any reason as far as I am concerned) that he "must fight" and "make personal sacrifices", everything starts going well.Stilberg's subtle style and the special effects made this movie viewable to the end.
He got back on track with Catch Me If You Can. I think the aliens are better in War of the Worlds than Independence Day. I hope this movie gets nominated for an Oscar.
There is so many mixed reviews about War of the Worlds, and being a non sci-fi fan, I thought maybe I should give an outsiders point of view (no pun intended).It's Ray's (played by Cruise) turn to look after his teenage kids for the weekend.
Sounds typical but it isn't, for the best part of the film, Spielberg has the viewer on the edge of your seat, moment after moment, scene after scene.While Ray and the kids don't move in the direction you might think is best logical, the story does provoke many questions, one would have to face in this highly unlikely situation.Probably the most gripping of all the scenes, would be Ray and his daughter trapped in a house basement with Ogilvy (Tim Robbins).
Sure, the effects are amazing and when the aliens are attacking, you wont care about much else; but he grounds the story in minute details too often, and the story of Tom Cruise and his estranged kids just isn't enough to form a solid backbone for the movie.
I think they were waiting for human technology to advance to the point where we could create spectacular computer graphics images to make them look cool, because the ultimate goal of the filmmakers is apparently just to show off what they can do with CGI, without any thought of actually coming up with a good story.The special effects in this movie are amazing.
If you like great visuals this is the film for you, if you want a movie that actually has a story, best save your dollars.
Fourth, is that he gave JP a spectacular CG though completely irrational ending(how exactly does a T-rex sneak up on super smart raptors without making a sound?) while in WotW he does the opposite, and fifth, as stated before, is that Spielberg seems less interested in summer popcorn genre films after doing Schindler's List and it shows in his direction.His last real attempt was the Lost World--which I think, despite its flaws was one of his least forced movies in decades.
However, maybe the movie would have worked better had it expanded the story to involve more characters and encompassed more the broader effect of the invasion outside of Cruise's family.All in all, a total waste of talent and an even clunkier mess than the marauding invading aliens..
WOTW seemed like it could have been done by any action movie director - Michael Bay maybe :-SOK not much time but things that got to me:1) If the aliens coveted our planet for a million years, why didn't they just take over before humans existed? |
tt0067140 | Giù la testa | In 1913 Mexico at the time of the Revolution. Juan Miranda (Rod Steiger), a Mexican outlaw leading a bandit family, meets John 'Sean' Mallory (James Coburn), an Irish Republican explosives expert on the run from the British. Noting his skill with explosives, Juan relentlessly tries to make him join a raid on the Mesa Verde national bank. John in the meantime has made contact with the revolutionaries and intends to use his dynamite in their service. The bank is hit as part of an orchestrated revolutionary attack on the army organized by Doctor Villega (Romolo Valli). Juan, interested only in the money, is shocked to find that the bank has no funds and instead is used by the army as a political prison. John, Juan and his family end up freeing hundreds of prisoners, causing Juan to become a "great, grand, glorious hero of the revolution".The revolutionaries are chased into the hills by an army detachment led by Colonel Günther Reza (Antoine Saint-John). John and Juan volunteer to stay behind with two machine guns and dynamite. Much of the army's detachment is destroyed while crossing a bridge which is machinegunned by them and blown to bits by John. Col. Reza who commands an armoured car, survives. After the battle, John and Juan find most of their comrades, including Juan's family and children, have been killed by the army in a cave. Engulfed with grief and rage, Juan goes out to fight the army singlehanded and is captured. John sneaks into camp where he witnesses executions of many of his fellow revolutionaries by firing squad. They had been informed on by Dr. Villega, who has been tortured by Col. Reza and his men. This evokes in John memories of a similar betrayal by Nolan (David Warbeck), his best friend, whom John kills for informing. Juan faces a firing squad of his own, but John arrives and blows up the squad and the wall with dynamite just in time. They escape on a motorcycle John is driving.John and Juan hide in the animal coach of a train. It stops to pick up the tyrannical Governor Don Jaime (Franco Graziosi), who is fleeing (with a small fortune) from the revolutionary forces belonging to Pancho Villa and Emiliano Zapata. As the train is ambushed, John, as a test of Juan's loyalty, lets him choose between shooting the Governor and accepting a bribe from him. Juan kills Jaime, and also steals the Governor's spoils. As the doors to the coach open, Juan is greeted by a large crowd and again unexpectedly hailed as a great hero of the revolution. He throws the money back into the coach to John.On a train with commanders of the revolution, John and Juan are joined by Dr. Villega, who has escaped. John alone knows of Villega's betrayal. They learn that Pancho Villa's forces will be delayed by 24 hours and that an army train carrying 1,000 soldiers and heavy weapons, led by Col. Reza, will be arriving in just 3 hours, which will surely overpower the rebel position. John suggests they rig a locomotive with dynamite and send it head on. He requires one other man, but instead of picking Juan, who volunteers, he chooses Dr. Villega. It becomes clear to Villega that he knows of the betrayal. John nonetheless pleads with him to jump off the locomotive before it hits the army's train, but Villega feels guilty and stays on board. John jumps in time and the two trains collide, killing Villega and a number of soldiers.The revolutionaries' ambush is successful, but as John approaches to meet Juan, he is shot in the back by Col. Reza. An enraged Juan riddles the Colonel's body with a machine gun. As John lies dying, he continues to have memories of his best friend, Nolan, and a young woman both apparently loved. John recalls killing Nolan after being betrayed by him to the law. Juan kneels by his side to ask about Dr. Villega. John keeps the doctor's secret and tells Juan that he died a hero of the revolution. As Juan goes to seek help, John has a flashback to his time in Ireland with Nolan and a girl whom they both were in love with; knowing his end is near, sets off a second charge he secretly laid in case the battle went bad. The film ends with Juan staring at the burning remains, asking forlornly: "What about me?" | western, cult, avant garde, action, flashback | train | imdb | It's really the bridge between Once Upon A Time In The West and Once Upon A Time In America,and it contains a great many elements of both films {which let's face it,despite both being Leone films are quite different}.It starts in humorous vein,right from the opening sequence of the dirty,very poor Rod Steiger character Juan being taunted by some rich folk aboard a lavish carriage,the camera showing lots of close ups of mouths and eyes in what almost seems a parody of Leone's style.
Juan is much like Tuco in The Good the Bad And The Ugly,loud,simple and very funny {he's even often accompanied by comical music }.Juan's first encounters with the other main protagonist,IRA man Sean {James Coburn} are treated like comical duels,and as they go to rob a bank it seems the picaresque tone will continue.However,about a third of the way through the film becomes more and more serious.
The change in tone may jar to some people,but one can see the mature,contemplative Leone of Once Upon A Time In America reveal himself before our eyes.Of course there are still some great action scenes,such as the taking of a bank which is superbly cut to Ennio Morricone's music {listen for the cheeky quotes from Mozart!},or Sean and Juan machine-gunning what seems like a whole army.
The film's plot does move rather slowly,with Leone taking his time as usual,but this mean we can more enjoy the mannered Steiger and the laid back Coburn as one of the greatest partnerships in cinema history.Of particular interest are the several flashbacks dotted throughout the movie,shot in dreamlike slow motion and usually set to what is quite simply one of the most beautiful film themes EVER {Morricone excels himself with the score for this film}.
The final one is missing from many versions of this film,a tragedy because as well as being sublimely beautiful {and ambiguous,is it Sean's memory?,a marijuana-enhanced hallucination?,a vision of Heaven?} it adds yet another element to the story.A Fistful Of Dynamite {well,the French Once Upon A Time..The Revolution is the films' best title}is a masterpiece,it's extremely entertaining whilst also being full of complexity.
Coming off the triumphs of his "Man With No Name" series and his frustrations with the cutting of "The Good, The Bad & The Ugly" and "Once Upon a Time in the West," Sergio Leone directed the big budget, epic western, originally titled, "Once Upon a Time in the Revolution".
Likely the same executive choose an advertising campaign reminiscent of "The Good, The Bad & The Ugly," creating caricatures of Sean and Juan (Rod Steiger) adding the caption "...the master of adventure, Sergio Leone".
Rod Steiger, who has been in classic films like On the Waterfront and The Pawnbroker, here is slightly like a maturer version of Tuco from The Good, the Bad, and the Ugly: he's still a bandit, with pillaging and beating and raping his way across the countryside, but he's also got a family to look after, who within his anti-hero heart are the most important things to him.
This time more history is worked into the film- unlike the civil war acting like a harsh backdrop to the more 'fun' elements of the adventure in The Good, the Bad, and the Ugly, the war in this film affects the main character, and adds a serious tone to an otherwise standard genre picture.
Arriving in the town, the bank looks like a simple hit if they can find some way of distracting the masses of soldiers that now control the small town luckily the revolution is in full swing and rebels are in great demand; but it is not long before Juan's idea of a simple bank robbery sees him up to his neck in a struggle that he has no interest in.Many reviewers have said how strong the Leone formula is and I won't be able to add much to their words but for me this is a fine film mainly because it takes apart yet another of the cinema myths of the noble revolutionary fighters and has a fascinating thread of political commentary running all the way through it.
heck, that's the most common complaint about EVERY Leone movie.) Rod Steiger and James Coburn play Sean and Juan, respectively a poor Mexican bandit and a fugitive Irish terrorist...
A Fistful of Dynamite is often seen as the black sheep of Sergio Leone's commercial releases; and there's a good reason for that, as despite the fact that it's still a spaghetti western; it's a completely different kettle of fish to both the Dollars Trilogy and Once Upon a Time in the West.
A Fistful of Dollars features common western themes such as bandits, guns and bank robberies - but, as he did with The Good, The Bad and The Ugly; Sergio Leone has implanted war themes into the plot, and we've also got the bizarre idea of one of the major characters being an IRA bomber!
I saw 'Good, Bad...' and '...West' immediately before I saw this picture and it is very much from the same cloth and in the same league as those two films -- more comic, a bit flawed and crude perhaps; but really it's evidence of an artist working on a grand scale and well worth your time.If you consider yourself a fan of Mr. Leone's, do give MGM an email and demand the DVD release of this neglected, fascinating movieHopefully this picture will get the home video release it deserves.
Duck, You Sucker is Sergio Leone's second best work (after Once Upon a Time in America) and features an unforgettable performance from the great Rod Steiger who is well complemented by James Coburn--in arguably his best role ever.
The film is way too long with far too many scenes drawn out with close ups and that terrible, terrible, oh so terrible music score "sha shong...sha shong...sha shong...sha shong".I love a good western and I can even tolerate a slow western but this piece of Mr. Leone's body of work needed at least a 30-40 percent cut left on the editing floor.
Sure, it's got virtually no plot and just sort of meanders along for two and a half hours, but it's got Rod Steiger as a Mexican and it's directed by Sergio Leone - it's great!Rod plays Juan, a bandit leader who tricks his way onto a lush carriage full of rich folk who treat him like he's some kind of disease (amazingly acted by Steiger as he plays up to their bigoted expectations), before turning the tables on them and robbing them of everything they have - including the carriage.
Take for example the scene where Juan and John discuss the realities of the revolution at the camp you can really believe in these characters.Like his final film, Once Upon a Time in America, this one can be seen as almost being a love story between two men.
Powell himself was one of the best directors of composed films, Robert Wise was another, and so was Leone.A brilliant example of this compositional style, and one of my favourite moments in all cinema is when Juan realises John's potential as a dynamiter, and the Mesa Verde bank logo appears above his head, just as Morricone's music references Bach's Toccata.
Of all Leone's supposed "spaghetti" westerns it is this that is perhaps the most undervalued & least revered, which is a huge shame, because "Fistful of Dynamite" is on a par with the Dollar films and almost reaches the stratospheric heights of the WEST & AMERICA movies.It's interesting how his westerns are like chapters in history - consider WEST as being a true cowboy western of the late 1800s, AMERICA covers Chicago gangsters of the 1920s and 60s; while DYNAMITE acts as a fulcrum between the dying western era of the late 1890s and the birth of a new 20th century revolution of the motor car.And this allegory is visualised quite perfectly by the two main protagonists, Steiger, an old style cowboy cum Mexican bandit unaware that his era is almost over.
If the government had treated people such as himself with these values & virtues then he wouldn't have to resort to such extreme measures.By the end of the film and numerous gunfights, betrayals & escapes they both realise that this particular revolution is too big even for them and they decide to go North and head for America.....A classic Leone film typical of the man, although not quite so operatic or vast as the earlier WEST film and even though we are given enough background on both characters we still feel remote from really caring for them, unlike Bronson, Fonda, Robards & Cardineli in WEST.BUT Steiger gives a wonderful performance as the "little man" fighting for (and against) change, fighting for his family and later, fighting for his people.
This film is not quite as good as Viva Zapata however.It's from the guy who made the spaghetti western and Clint Eastwood popular in the USA, Sergio Leone and stars Rod Steiger and James Coburn and a cast of unknown Europeans mostly Italian.
Leone comes a cropper with his elephantine "A Fistful of Dynamite," a low-brid combination of political revolution, infantile plotting, and dreadful performances.Although "Duck You Sucker" (the alternate title) tries to be a message film, all we get is incoherence, with buckets of blood and one of the weirder musical scores I've heard.
Serving only as a producer when the film went into production & later talked into directing it, this film turns out to be a quite good standalone example of its genre but pales in comparison to what Leone accomplished with his last 4 films.Set in Mexico at the time of revolution, it tells the story of Juan Miranda; a Mexican outlaw leading a bandit family, who meets an IRA explosives expert on the run named John & forces him into his scheme of robbing the Mesa Verde national bank, only to have tables turned around for him when he ends up freeing the rebel prisoners & is hailed by them as a glorious hero of the revolution, thus attracting unwanted attention from the army.Leone's direction isn't as memorable as his previous works & although it features some of his signature styles, it is often too exaggerated (one example being the extreme close-ups of people's mouth while they are eating & talking).
The film tells the story of revolution in Mexico and the lawlessness which unfolds as a result.Steiger who plays Mexican juan is a greedy bandit taking advantage of the revolution for his own self interest but his ways are changed gradually throughout the movie with the help of former Irish Revolutionary Coburn aka Sean.Steiger's performance is brilliant the best I have ever seen him,the close up shots and facial reactions are hilarious and combined with Morricone's greatest film score ever and I mean ever (better than the Mission) make the film what it is...a Masterpiece!.
Within a year "The Good The Bad & The Ugly" also hit the theaters and we were totally immersed in the Leone style and eager for more of the same, I think we may have been under the impression that these films were similar to the James Bond franchise where a successful formula would be repeated over & over."Once Upon A Time in The West" was a totally different animal it did not star Clint Eastwood (which was the way the dollars trilogy was promoted (strike one) it was misunderstood upon release and panned by the critics who did not understand its nature(strike two) it was then re-cut (Strike three) and released widely to a quick demise."Duck You Sucker" not really a traditional Western never had a chance, it was Leone's reaction to the Zapata Westerns that never did have a wide showcase or following here in the US, his quotes & references to these Zapatas would have flown over the heads of most.
While Leones previous "Dollars" films were just fun adventures, and "OUTITW" was an homage Western about Westerns, this film had a Leone message, a statement, it was not only that "Revolution is Confusion" but also to "keep your head down" (Duck You Sucker) and stay out of politics, because only the people who read books survive the poor who do the fighting and make the changes end up dead.There are the comedy elements from his previous films juxtaposed with serious new depths to his characters, the beginning of DYS is very reminiscent to GBU and the cat and mouse games played between Tuco and Blondie are reflected in the Juan/Sean relationship each using the other for opposite purposes.
(Italian: Giù la testa), also known as "A Fistful of Dynamite" and "Once Upon a Time
the Revolution", is the last Spaghetti Western directed by the legendary Sergio Leone and it is also his penultimate film - his last being the gangster epic "Once Upon a Time in America" (1984) with Robert De Niro and James Woods.
Rod Steiger sometimes overacts, yet it is different from anything else he did.So, it is not Sergio Leone's best movie; in fact it is probably not even as good as his basic (if classic) "A Fistful of Dollars" (1964).
yesterday,after viewing the entire film for the first time i posted a negative review.but i must admit the film stayed on my mind and after a second viewing i have an improved opinion of it.it is still far from perfect but is definetely one of those movies that grows on you,with repeat viewings.(the very 1st time i tried to view it i only got half way thru as i found it unwatchable.)perhaps because it is more complex than leone's other westerns,once you know what to expect it is more enjoyable.also,the explosions are spectacular,and although i still think the train wreck scene looked fake it was probably the best f/x available at the time.if you've seen it and didn't care for it i urge you to see it a 2nd time..
Whenever I'm talking about Westerns, I'll always say, "Fistful of Dynamite" is the best western of all time.This movie continues Sergio Leone's tradition of making all other Spaghetti Westerns look like Disney films.
Several versions of this film are floating around,some TV versions are butchered,thus it unfairly got some bad reviews.The best way to view it is BUY the UNCUT long version on DVD.If you are able to pick up the uncut version you are in for a real treat.Everything about it is sensational the cinematography,the soundtrack,the story, the acting,tremendous action scenes, it also makes great use of flashbacks and slow motion shots.This movie is just is as good as Once Upon a Time in the West and The Good Bad and the Ugly.
It was poorly released in two versions and as stated most TV versions are edited so much you can hardly figure out some parts of the movie.Because of the weak theatrical release and butchered TV versions many people have neverseen or heard of this movie,believe me if you like Sergio Leone you will love this movie.It is James Coburn's best film.Haunting soundtrack that you will never forget.I have seen this movie 7 times it is one of the best westerns ever made !!!
I haven't seen all of his movies so I can't say for sure, and I'd want to watch this again before I made any judgments, but Duck, You Sucker may be my favorite Sergio Leone film.
"Duck, You Sucker" (aka, "Fistful of Dynamite") is a film directed by Sergio Leone with music by Ennio Morricone--the same team that brought some amazing Italian westerns to the screen--such as "The Good, the Bad and the Ugly" and "Once Upon a Time in the West").
Amidst the chaos of the 1913 Mexican revolution, explosives expert John (James Coburn) and bandit leader Juan (Rod Steiger) join forces to break into the bank of Mesa Verde, each with their own agenda.Sergio Leone is better known for giving us fistfuls of dollars than dynamite, but in my opinion this criminally under-appreciated spaghetti western is just as deserving of attention as the director's better known Eastwood movies.As its alternative US title—Duck, You Sucker—suggests, A Fistful of Dynamite begins in a rather comedic vein, the film's less-than-exemplary protagonists trading blows and quips in a series of comical encounters; but as the pair slowly form an unlikely friendship, so the film gradually develops into a far more poignant work, exploring numerous intelligent themes—bravery, honour, corruption, politics, betrayal, tragedy, judgement, retribution, heroism, sacrifice.John's back-story, in particular, gives the film much of its profundity and pathos.
This complexity of character, perfectly portrayed by Coburn, and brilliantly realised by Leone, helps to elevate A Fistful of Dynamite above many films of the same genre.Of course, such a film wouldn't be complete without some gratuitous carnage, and Leone doesn't disappoint in this department either, delivering plenty of death and destruction in his own distinctive style and accompanied by yet another unforgettable Ennio Morricone score: sudden outbursts of violence from Steiger's deceptively buffoon-like bandit Juan; brutal executions carried out by the movie's loathsome villain Col. Günther Reza (Antoine Saint-John); a spectacular machine-gun massacre; an explosive train wreck.
Together with Rod Steiger's superb acting as the accidental Mexican revolutionary Juan Miranda and slightly less impressing performance by James Coburn as the IRA revolutionary specialist on the run, director Sergio Leone creates a rugged diamond of film here.
This Sergio Leone western(also known as "A Fistful Of Dynamite" stars Rod Steiger as a Mexican bandit who gets mixed up with IRA explosives expert James Coburn, who then, for their own reasons, become embroiled in the Mexican revolution that is devastating the country, but which both men can use their skills to make a difference.Both actors are good, but film itself is terribly disappointing, being an overlong, heavy-handed, and turgid polemic that will likely bore the viewer into a stupor. |
tt2303077 | Avenida Brasil | Aos 11 anos de idade, relatam os especialistas, a criança tem um senso de justiça bastante aflorado. É também nesta fase em que o olhar crítico se acentua. Rita (Mel Maia), a protagonista desta história, tem exatos 11 anos quando sofre um duro golpe e vê o seu mundo virar ao avesso. Esta rasteira lhe deixa marcas profundas, chaga que Rita carregará pela vida inteira.A menina, órfã de mãe, é criada pelo pai. Amoroso, Genésio (Tony Ramos) jamais imaginou que a sua segunda esposa pudesse representar o pior de seus pesadelos. Carminha (Adriana Esteves), a madrasta, rouba tudo da enteada: os sonhos, a casa, a família e a esperança. Rita conhece um modelo de vida sem esperança, de muitas perdas e solidão. Ela sente, na pele, a amargura da decepção.Mas enganam-se aqueles que subestimam a capacidade de sobrevivência de Rita. A menina não sucumbe ao longo dos anos. De tudo o que lhe foi tirado, restou apenas um único e vital sentimento: a sede por um acerto de contas. É neste momento em que o limite para que os fins justifiquem os meios entra em discussão. Esse limite, por diversas vezes, não se encaixa no formato simples e dicotômico de certo ou errado.Na saga pela sua própria justiça, Rita deixa para trás o passado frágil e se transforma em Nina (Débora Falabella), uma mulher obstinada, firme e blindada para as surpresas que o destino lhe reserva. A vida se encarregou desta metamorfose. Está feito, não há como voltar.Alternative Synopsis in English by Yosra_in_EgyptIn Brazil, a young girl, Rita, knew her father's new wife, Carminha (Adriana Esteves), was up to no good. She tried to warn her father that the same woman, who could mistreat her, planned to rob him. What she didn't know is that her father would wind up dead.Without that good man to protect her, the girl is brought to the garbage dump and abandoned. Rita is befriended by an urchin with the nickname of Potato and is then brought to a kind woman everyone calls Mama Lucinda (Vera Holtz).Rita and Potato have a kind of young love which even includes a pretend wedding ceremony. When Rita gets adopted by a well-to-do couple, she leaves Brazil for Argentina but she does not forget those who helped her and those who hurt both her and her father.As soon as she is old enough to handle the challenge, she returns for revenge against her evil stepmother by using her culinary skills to get a job in her mansion. Carminha has done well for herself by marrying a former soccer star. She's fooling everyone she's a goody-goody but she is a cruel witch to her chubby daughter Ágatha (Ana Karolina Lannes) and anyone who gets in her way.Potato is there too at the mansion but under the name Jorginho (Cauã Reymond) because he was somehow adopted from the dump by Carminha and her new husband Tufão (Jorge Araújo). Rita (Débora Falabella) of course can't use her real name and goes by the name Nina for her ruseCan she exact sweet revenge while at the same time rekindle her first love? | revenge, murder, romantic | train | imdb | A masterpiece of soap operas. Sometimes it's hard to keep a strong story through so long. It usually become boring and always the same, but in this story you'll be always surprised. In the beginning it's very clear that the story is full of secrets, lies, etc. That will be the key for the story to have always something different to develop. The dark past will also be one of the most important thing in the story, because it will always return to try to explain why the things are like that in the present.The actors will be other of the most important things, because their performance will gave credibility to the story, and will be an extraordinary complement for it. For the other hand, I have to highlight the production, that will gave to the story the awesome scenery, and also for the cameramen who did an awesome job with the shots. The soundtrack, which was created exclusively for the soap opera, as good as the film ones.In summary, as much the story, like the actor and also the production were essential to make this strong soap opera, which will keep you always expecting what will happen, and surprising you about the dark past of many characters. You won't imagine how will everything end. Definitely, a masterpiece.. Best Telenovela of the Century!. Avenida Brasil was a true masterpiece of a novela, Adriana Esteves portrayal of Carminha was riveting, impeccable and a true meaning of a villain...
Best Novela with revenge, love, lost and every episode with a climax leaving you breathless.. Truly good and with a good history.. For those who enjoy a soap opera, Brazil is fertile ground, as the overwhelming majority of general TV channels in the country transmit, on average, four soap operas daily. Invariably, much of this material eventually goes around the world, being bought and broadcast in other countries. One of the most permeable markets for Brazilian teledramaturgy is, of course, my country, due to its cultural and linguistic proximity. I watched "Avenida Brasil" twice, the first when it debuted in Portugal around 2012, and the second was about six months ago when it was reprised.The plot follows the path of Rita, a girl who saw her father die because of her stepmother, the cruel Carminha, who later used the mourning to win the heart of former footballer Jorge Tufão and become a millionaire. With her childhood ruined by the pain and difficulties of orphan life, Rita was adopted by an Argentine family but returned years later to take revenge on Carminha and make her pay for her crimes. The story has obvious similarities to Alexandre Dumas' novel "The Count of Monte Cristo" and is very good to watch. There are also several humorous moments to lighten the environment. Débora Falabella is the heroine and does a good dramatic performance, in particular with the great villain, played by Adriana Esteves. This talented actress was truly capable of creating a character worthy of our hatred. Murilo Benício was very well in the role of the former footballer, of good nature and meek temperament. Equally notable were the appearances of Marcello Novaes, Eliane Giardini, Alexandre Borges, Marcos Caruso, Cauã Reymond and Nathalia Dill. Considered one of the most successful soap operas in Brazil, it is undoubtedly a must for lovers of this TV genre. |
tt0095132 | Il fantasma di Sodoma | Tucked away in a isolated country house during World War II, a group of AWOL Nazi soldiers indulge in orgiastic behavior with a few prostitutes. One, young, Aryan-blond soldier films the cavorting with a movie camera. While viewing the film, the Germans revels are brought to a sudden end when Allied bombs land on the villa, destroying it.Present day. Six teenagers are driving to Paris after a touring holiday in the countryside. They are the van driver Mark (Claus Aliot), his friends Paul (Alan Johnson), John (Sebastian Harrison), Anne (Teresa Razzauti), Celine (Mary Salier), and Maria (Jessica Moore). Driving off the main road, the group decends on the house seen in the prologue. Finding the villa abandoned, they break in though the back door and elect to stay for the night. The place is plush, fully furnished, and dotted with erotic paintings and photographs. It's also haunted by the ghosts of the same sex-crazed Nazis. That night, Willy (Robert Egon) the young Nazi soldier whod been filming the orgy seen earlier, emerges from a mirror and seduces Anne as she sleeps alone in a room. Anne responds to his violent sexual overtures. When she wakes up the next morning, she discovers she's unmarked and assumes it was all a bad dream.The six teenagers attempt to leave the next day, but their one attempt to drive away is thwarted when the route leads mysteriously back to the villa. Returning inside, they loiter around until dusk, finally deciding to stay again for another night. The next morning, they decide to try to leave again, only this time their vehicle won't start. They go back inside to phone for help. They are met with sinister responses over the phone by the police station as they attempt to call. Then, they discover that the phone line was cut all this time. What's more, they are locked in the house. The window shutters resist their minimal efforts to break through, plus all the doors are locked shut too. Claustrophoic attacks happen when Maria begins to lose her sanity. Soon, bitter arguments occur between the three guys. Mark gets drunk on the vintage wine found in the cellar. After obnoxiously taunting Maria, he wonders off to explore more of the house.Mark enters a room and finds a group of Nazi playing cards around a table. They invite the inebriated youth to join them. The others disappear and Mark plays Russian roulette with Willy by playing a five-hand of cards with him, being forced to put the revolver to his head and pull the trigger three times with a single bullet in it. Mark survives the game and gets his reward: an assignation with a prostitute in a neighboring room. His desire turns to horror when his hands go right through her body and into a bloody pulp. Running out of the room, Mark sees Paul on the stairs and sees him transform into a Nazi too. Mark lunges at Paul in which Mark falls down the stairs and breaks his neck. The others drag him into the living room where he dies right before their eyes.More supernatural occurrences occur, starting when Maria retreats to a room where a ghost prostitute attempts to seduce her, to reveal her repressed lesbianism and tries to sow sees of anxiety in her by saying that her girlfriend/lover Anne is cheating on her with Celine. Paul then gets approached and seduced by a processed Anne who turns into a rotting corpse. Exploring for a way out, Paul and John find a can of film in the cellar, which apparently holds the key to the ghosts power. As Mark's corpse rots before their eyes, they hear footsteps of the approaching Nazi ghosts. The four surviving teens flee into the parlor where they decide to play the film to find the mystery of the supernatural occurrences. The film is the orgy sequence, which the ghosts attempt to break down the baracaded door. Just when the ghosts break down the door, the film ends with the explosion that killed the Nazis. The marauding ghosts disappear and the youths black out from the massive explosion that rocks the entire building. When they wake up, they all find themselves outside the now-ruined shell of the villa. Their experiences have apparently been nothing more then dreams, and the teens are relived to discover that Mark is alive after all. Having enough of their adventures, the six teens pack up in their car and drive off. | violence, sadist | train | imdb | null |
tt3399484 | The Sand | A group of friends are having a party at the beach with some of their classmates. A girl named Heather (Etalvia Cashin) is videoing the party, when two of the boys, Vance (Hector David Jr.) and Gilbert (Cleo Berry), find a large ball covered in a strange gooey substance. All the teenagers agree to put their mobile phones in the trunk of a car in an effort to ensure that no one will post compromising pictures or videos online.
The next morning two of the friends, Kaylee (Brooke Butler) and Mitch (Mitchel Musso) wake up on the lifeguard shack. Kaylee's boyfriend, Jonah (Dean Geyer), awakens in a nearby convertible next to a girl named Chanda (Meagan Holder). In the back seat are Vance and his girlfriend, Ronnie (Cynthia Murell). Gilbert wakes up, stuck from the waist down in a trash barrel, having been put there as a prank after passing out. A girl named Marsha (Nikki Leigh) wakes up, topless, having fallen asleep on top of a picnic table. The rest of the teenagers, including Heather, are nowhere to be found; there are, instead, a bunch of empty sleeping bags in their places.
Marsha accuses Heather of having stolen her top; she leaves the picnic table to find her. Kaylee, having witnessed a bird getting sucked into the sand tries to warn her, but Marsha doesn't listen. She is immediately immobilized in the sand and is visibly discombobulated when she gets. Vance attempts to help her but he, too, becomes trapped when he touches the sand. Vance and Marsha are swallowed by the creature, as their bodies sink into the sand, much to the horror of their friends. Jonah sees the cracked ball from the night before and concludes that it must have been an egg, and whatever hatched from it has burrowed under the sand and has wiped out everyone, including Vance, Heather, and Marsha.
The group cannot call for help, as their phones are locked in the trunk of the car, and the car's battery is dead from their having left the headlights on all night. Mitch and Kaylee find hot dogs in the lifeguard shack and toss them at different ends of the beach to find out the extent of the creature under the sand. Thus they find the edge of it, and the group is momentarily hopeful until they realize the distance is too great. Jonah uses two surfboards as a bridge to reach the picnic table. He makes it to the table, but not before the creature has slashed his stomach, leaving a painful wound that starts to seep pus. He notes to the others, though, that the creature won't go near the ashes of the previous night's bonfire, indicating that it hates fire.
The sun beats down. Ronnie and Chanda attempt to retrieve the phones from the trunk of the car, but Ronnie becomes trapped, her fingers crushed under the rim of the trunk. A beach patrolman (Jamie Kennedy) drives onto the beach. The group warns him, then are shocked to see him get out of his car and walk across the sand unmolested. Mitch realizes that the man's boots are protecting him. The patrolman, seeing Jonah's and Ronnie's injuries and Gilbert stuck in the trash barrel, assumes the group is on drugs and taunts them.
But the patrolman drops his keys in the sand, and when he reaches to pick them up, his hand is captured. He uses his pepper spray, which temporarily saves him, but in the process, his lower arm has been consumed; the shock causes him to fall, and he is sucked into the sand. Kaylee, however, manages to retrieve his pepper spray. The pepper spray gives Mitch an idea: he thinks he can get to the truck by putting his flip-flops on and wrapping his feet with towels soaked in pepper spray. Chanda throws him a towel from the car, but when Mitch attempts to catch it the banister breaks and he falls to the sand and is devoured by the sand creature in a gruesome fashion.
Kaylee, after a brief moment of sadness, takes charge. She frees Ronnie's fingers from the car trunk, then has Chanda take the broken pieces of the boardwalk and use them as a bridge to get to Jonah on the picnic table. Meanwhile, Gilbert discovers that he has cut his stomach on the edge of the trash barrel during his attempts to escape, thus alerting the creature.
Kaylee and Ronnie each make their way across the makeshift bridge to Chanda and Jonah. At the last step, Ronnie trips and, despite Kaylee's efforts with the pepper spray, she dies and sucked into the sand by the creature. Chanda, in desperation, follows through with Mitch's plan and runs across the sand to the truck with pepper-sprayed towels wrapping her feet. The group celebrates for a brief moment as she succeeds. But just then, Gilbert is attacked by the creature, sucked down through the bottom of the barrel. The creature, having grown much larger tentacles, bangs against the patrol car, knocking Chanda unconscious.
At nightfall, Chanda wakes up and recuperates. She gets to the back of the truck and finds a self-inflatable raft. Chanda inflates the raft, and Kaylee and Jonah use it to reach the patrolman's car. However, the ground erupts, knocking Kaylee out of the open door and onto the raft. A huge glowing tentacle shoots out from the ground and assaults her. She manages to get on top of the car and, finding two gas cans on the rear rack, uses them to set one of the large tentacles on fire.
Kaylee, Chanda, and Jonah lock themselves in the car as the creature's tentacles flail and bash at them. Eventually, the attacks stop; in the silence, Kaylee and Chanda see that Jonah has died from his injuries. The two girls cry for the loss of their friends and fall asleep huddled together.
In the morning, the girls are awakened by a man (Michael Huntsman), who taps on the glass and asks them if they are still alive. Kaylee and Chanda note, incredulously, that the creature is gone. They walk across the sand together, traumatized, as the man calls for an ambulance.
In a closing shot, the creature, revealed as an enormous jellyfish, is seen under the water, faraway and headed towards another beach full of people. | violence | train | wikipedia | I watched it from beginning to end.I didn't have high expectations of the movie but the acting was good.No cardboard wooden acting.Its definitely NOT the worst movie of 2015.Talk about hyperbole.A group of young adults are trapped on a beach where something deadly has spawned overnight in the sand..There is some gore,not a lot.Its positively funny at times not because of cheese factor but because of some of the characters.Think Cabin Fever.The plot is thin but I watched it just to see who would survive.It tries to be more intelligent than it is but at the same time if you have a sense of humor..it makes light of itself at the right times too.I laughed out loud at a couple scenes.I really enjoyed The Sand,although it fails to be The Ruins or Don't Blink.If you like those movies you'll enjoy The Sand.Five stars for an enjoyable viewing experience..
And if you do that, it is a fun little flick.It is a B movie with minimal budget, minimal special effects, filmed in one location and with a cast of unknowns and still it has an interesting premise.I see it as a homage to the 50's man-in-a-rubber-suit monster film.
The first movie I thought of when watching this was Blood Beach(1980) which is similar with a hint of Sand Sharks(2011).
People would have wondered what's going on watching them film this because seeing them trying different ways to cross the sand without touching it was funny like using surfboards and inflatable rafts plus the sand would suck them in after chewing for a bit.
I did like the premise of "something is in the sand", because it reminded me of those 50s horror-SF movies, even the premise is hard to take seriously.
(but hey, that's why so many of us love these movies)."The Sand" isn't a masterpiece of course, nor is it a good horror movie, but it offers some level of entertainment.
Speaking of characters, there's nothing special, they are your usual horror cannon fodder, except the two characters: the fat black guy who's stuck in trash bin for the entire movie and the "oblivious to everything" cop.
No matter how cheap or bad looking it is, everyone's come to see it and the worst thing is if you grace us with CGI and no monster.
Was this a training video on how to take an absolutely horrid idea for a movie, hand it over to a screenwriter and watch the bad idea get even worse?
When it comes down to special effects and you only have 5 bucks left to spend, buy a super value meal at mcdonalds and sit at your computer for the time it takes to eat it with a software program downloaded for such purpose ad read the FAQs. After that hour you WILL be able to do better then they did in this movie.
Plot, touch the sand, it eats you and not in the fun, campy way that it did in "Blood Beach".
But there was just something about the movie's cover with the tentacle that was alluring and interesting, and that made me actually sit down to watch this 2015 horror movie.Naturally I didn't have much of any expectations to the movie, because I had never heard about it prior to actually finding the movie.With this being your typical late-teen / young adult horror movie, then you can expect pointless and tacky nudity, which totally doesn't serve the movie in any way."The Sand" (aka "Killer Beach") actually starts out well enough and doesn't waste any time in establishing a backstory or such.
But still, it does look adequate enough, and it is much better than the special effects in many other horror movies.They actually had some fair acting talents in the movie.
It should be said that people in the movie were actually doing good jobs with their given roles and characters.Writers Alex Greenfield and Ben Powell actually came up with an interesting concept for the plot and script.
And I will say that the storyline was original, so that was a nice and fresh approach.The most disappointing aspect to the movie, aside from the questionable CGI effects, was that you had to wait almost to the very end of the movie before tentacles started to emerge from the sand.
However, I will say that the fluorescent tentacle was really worth the wait, because that was cool and looked good.The atmosphere of the movie was good, and there was a real sense of dread and endangerment to the young people marooned on the beach.All in all, then I actually found "The Sand" to be an adequately entertaining movie, though it is hardly the type of movie that you will watch more than a single time - provided that you actually manage to sit through it the first time.
Further into the night some kids find some large cocoon-type thing.The next morning the beach is pretty empty except for one girl who's topless on a bench, two kids who are in lifeguard tower, three kids in a car and one guy is stuck in trash container.When topless girl steps into the sand, filaments grow out of it and she's sucked into the sand.
In some poor and bizarre editing/directing choice, at the very same time some other guy from the car is also attacked by the sand as he's trying to make his way out of the car.
It's near the end when finally there's some progress.The Sand is then a low-budget horror thriller, with uneven performances, cheesy but not horrible CGI effects, a script with a good concepts but that runs out of ideas.
The problem is that given the main idea and the low budget, the movie should have been more fun and campy instead it takes itself too seriously.
This film has CGI that seems better off as SyFy, TV movie material.
There's parts where it looked like unfinished, horribly placed CGI tentacles, as well as gore, and blood.
The CGI was literally like recycled SyFy material half the times, the film makes us sit through the characters making some of the stupidest decisions, in some of the most obvious of situations, leading to heavy disappointment, and even anger at some points.
The actors are quite likable (most of them anyway), making it tough to watch them bite the dust and my biggest plus was the fact that they acted like REAL PEOPLE.
On the down side, the CGI sucked (there's not much of it though) and the story would veer into 90210 levels of drama at times (is now really the right time to talk about who banged who?)The Sand is an easily digestible horror flick, short and fun to watch on a weekend if the genre mood strikes you..
I had heard that it was bad but never had a problem with bad movies I gave it a try and I must say, this is the worst 2015 flick I've seen so far.The story is laughable, the acting is below zero and that could have made it a so bad it becomes a good movie but once the effects came in this becomes pure trash.
Not worth picking up, better go for the real stuff, Blood Beach from 1980.Gore 0/5 Nudity 0,5/5 Effects 0/5 Story 0/5 Comedy 0/5.
As long as the acting is tolerable and the plot is decent, I can look over a cheesy monster or being able to tell it had a low budget.
If I really enjoy a movie, I'll watch it numerous times after I find it.
They're three movies I desperately want Hollywood to remake and with a budget, with real stars, a genuine script and ABSOLUTELY NO CGI!!
There's this creature that lives under the sand on a popular beach and anyone that wanders onto the beach gets slowly sucked down, slower than quick sand and more devastating as it appears they're being eaten as they hopelessly gets pulled down to their doom.With a right budget, NOOOO CGI and a grander scale, a remake might work and be 10x more effective than the no-budget Blood Beach 1980s movie was.
Once awaken, the hungover models (well, all-but one nerd) realize quickly the sand is somehow alive and any direct contact does not end well.So, most of the movie is them screaming at each other, creating drama that's totally pointless and frustrating to the viewer and for them to get to safety from one un-sandy place to another.
With such bad CGI and shallow characters, it was refreshing to see them sometimes actually acting like real-life humans would.It's a total B-movie and ironically, looks worse than Blood Beach at times due to the horrible, dime-priced computer graphics.
However, I want to present a different point of view that some readers may understand my opinion and appreciate seeing this film in a different light.I stumbled on this movie when I was browsing around various horror movie lists, not knowing anything about it and having spent most of the day marathon watching bad horror movies.
Now, I personally love watching bad horror movies of all types and quality.
It's kind of a hobby for my wife and I to watch several bad horror movies in a row, usually as background noise while we do other things.
The movie wastes very little time in introducing the danger element of being surrounded by killer sand.
The rest of the run time is dedicated to watching the group try to escape their situation, as several people are picked off by the sand.
Now I know this movie doesn't have a deep complex plot or anything like that, but I still want to avoid spoilers.This is definitely a "bad" horror movie, but its the kind of bad that you can just love to put on for a few hours and enjoy every minute of it.
Most of the time the characters are like-able, their actions make sense, and the acting is actually surprisingly good.
The special effects are mostly believable and are quite good for a low budget trashy horror film.
This isn't going to blow your mind like or anything but it wont feel like it was done by a group of college students in a backyard like some bad horror movies do.This movie stood out from the others I had watched in this marathon in that it was the only movie that drew me in so much I stopped what I had been doing and actually gave the film my full attention.
I enjoyed it so much that I think I will watch it again in the near future with my wife, since I know she will enjoy it just as much as I did.Now even with all the good there is of course a list of flaws in the movie.
If you enjoy watching "bad" horror movies or any kind of low budget monster horror / sci-fi horror / thriller, then you should definitely give this movie a chance.
Don't have high expectations or a serious mind set and you can't go wrong here.TL/DR : If you love watching bad horror movies then this is the movie for you.
THE SAND is, in essence, a film version of that 'floor is lava' game you used to play as a kid (you know, where you and your friends - or just you if you had no friends) weren't allowed to touch the floor because you'd die, so you had to clamber over furniture and jump a lot.
This single location movie sees them trying to figure out a way to escape without being eaten by a tentacled nasty.This film's connections with the 1980s monster movie BLOOD BEACH are numerous, although it's much lower key and smaller scale, unsurprising given the lack of budget.
The acting is pretty bad and the CGI effects are really terrible (worse even than in an Asylum film) but THE SAND offers mild suspense all the way through and you can certainly do a lot worse..
A group of twenty-somethings party the night away on the beach only to wake up the next day to discover that a ravenous multi-tendrilled creature lies hidden beneath the sand, waiting to devour them.The Sand draws inspiration from an awful lot of movies, the most obvious of which is Blood Beach (1980), which bore the memorable tag-line 'Just when you thought it was safe to go back in the water - you can't get to it.".
The problem is that The Sand isn't as good as any of the films it so closely resembles (not even Splinter).As soon as one of the characters insists that all mobile phones are to be put in a bag, out of reach, while the friends party hard on the beach, it is abundantly clear that this film is going to be bereft of clever ideas or originality.
It's not a painful watch, the hot babes in bikinis ensuring that there is always something to please the eye, but as a horror film it is definitely a disappointment, with zero tension or scares and some really bad CGI (for both the creatures appendages and the gore)..
Awakening the morning after a beach-party, a group of teens find that the sand around them contains a vicious, unseen creature that pulls them underneath the beach and tries to find a way of stopping the curious creature in order to get away alive.This here was an incredibly fun and enjoyable effort.
It has numerous scenes of the group getting stuck in the sand and then getting pulled under by the fine tentacles poking up to attack them, and the main sequences that stand out are the first few encounters where they don't know it's there as this pops off plenty of great deaths that really let their quick-strike ability and ruthlessness in attacking them are great fun.
Just when you thought it was safe to watch a movie about killer sand....
Because of this, the result is the worst tropes these films have to offer -- Stale, unlikeable characters, generic (and probably ad-libbed) dialogue, nonsensical behavior (Hey, let's bring that big, slimy egg thing back to the party!!!!) and (for the most part) atrocious CGI in lieu of any attempts at practical effects...
This movie is so awful it makes you cringe the entire time, don't waste your time watching this film.
BOTH concepts are way over-used and played out at this point.As the movie goes on, I promise you, you will find yourself actually CHEERING for whatever the hell is in the sand eating people because the actors are really that annoying.
One by one they get eaten leaving only the dumb jock, his girlfriend, and the chick he "cheated" on her with.I'm going to assume that at the end of this crap fest that the jock died, because he was just sitting there with his eyes wide open and the girls walked away unharmed since whatever was in the sand decided to leave that beach and head to another......PLEEEAASSEE DON'T MAKE A SEQUEL TO THIS GARBAGE!!!!!!!I only gave this thing a 1 because I couldn't give it a 0.
The film Blood Beach had a very good advertising campaign and looked like an interesting concept, but went in a strange direction.
It happens to me a lot, a potentially cool horror comes along and it has a cool concept then just takes it in a direction that I just do not care for and I end up being disappointed.The story has a party at the beach where no cell phones are allowed and lots of drinking and general spring break things are happening.
So the group figures there is some creature lurking under the sand and they find the edge where it can't get them, but getting there is going to take all their wits, but they spend a bit too much time discussing relationships...The end of the movie reveals that the creature is basically a large jellyfish that hatched from an egg that the party goers are shown carrying onto the shore.
Honestly, how I would have played it is tiny flesh eating organisms in the sand rather than one big monster that can pull a fat guy through a garbage can, but can't pierce a raft or gets stopped by shoes!So the film had some cool moments and a couple of cool kills.
If you remember Blood Beach (1980), a sparky little thriller about a beach that eats people, you'll know exactly what to expect.It could have done with more editing: It's a miracle that I got past the beach party at the start - it seemed like a bad memory from the 'eighties.
That said, if you read the plot summary and look at the stills, you know a lot about the movie already.
There is a boyfriend issue that doesn't distract us from the sand eating people with blood and gore effects.Acting could have been better, likewise for the dialogue.
And the small factor that they have to contend with a seemingly carnivorous beach that devours anything with a heartbeat that touches the sand.......With a minimal cast, pretty ropey special effects, and a concept that reminds one of the eighties horror Blood Beach, The Sand shouldn't be as much fun as it is, but when the cast put in some surprising performances, and the poor acting crew are killed off, there is just something that is likable about this b-movie fodder.So the aim of the game is to stay off the sand, or else the demons of bad CGI will come and get you, so the majority of the film is seeing the six members of the cast shout at each other, discover things about themselves and the sand, and us guessing who will be next.We have three in the car, two in the outlook post, and a fat guy in a bin, with an appendage scrawled in his face. |
tt0071807 | The Man with the Golden Gun | The pre-title sequence opens with an international assassin, Scaramanga, relaxing on a tropical beach with a woman, Andrea Anders, his lover. Scaramanga and Anders leave the beach, a short time later a gangster, Rodney, arrives and is met by Nick-Nack, a dwarf who works as a servant for Scaramanga. Rodney has been hired by Nick-Nack to kill Scaramanga, who has promised to leave everything he owns to his small servant. The gangster stalks Scaramanga through a funhouse-like wing of his home. Scaramanga has been caught without his gun and must find it first. He does so and is able to kill his would-be assassin first. Nick-Nack jovially tells Scaramanga he will find an adversary that will beat his master; the two seem to have an unspoken agreement that humors them both. Scaramanga picks up the gangster's gun and turns suddenly, shooting the fingers off a nearby wax dummy of James Bond.MI6's top agent, James Bond, has been called to the office of his boss, M. M asks what Bond knows about Scaramanga, to which Bond recites a laundry list of characteristics, the most important being that Scaramanga charges $1 million per assassination, uses gold bullets marked with then name of his target and is known as "The Man with the golden gun." M shows Bond a gold bullet, assumed to be one of Scaramanga's, marked with Bond's service number, "007" and a partial fingerprint of the villain's. Bond is puzzled as to why anyone would want him killed and M orders him to travel to Beirut.In Beirut, Bond speaks with an exotic dancer who is the last person to see a fellow agent 002 alive who had allegedly been killed by Scaramanga. Bond finds that the woman has kept the gold bullet since her lover's death and uses it as a lucky charm which she holds in her navel. A small group of thugs break into her dressing room and Bond, in the middle of kissing the woman's abdomen, swallows the bullet. He takes it back to Q who, along with an metallurgist, is able to identify the manufacturer, a man named Lazar who lives in Macau. Bond is sent there to investigate and, while threatening Lazar, is shown an order for more golden bullets to be delivered shortly. Bond accompanies Lazar to the drop point, a local casino, where they are picked up by Andrea Anders.Bond trails Anders to Hong Kong but loses her at the hydrofoil port. He meets his assistant, Mary Goodnight. Bond finds out where Anders is staying and enters her hotel room and roughly interrogates her, citing the bullet sent to MI6 with his number on it. She admits she works for Scaramanga, both as a courier but also as his lover; Scaramanga, like a bullfighter, uses her for sex before he makes a kill. Bond also finds out that Scaramanga is due to be at the Bottoms Up exotic dancers club that night. While staking the club, Bond sees Nick-Nack nearby. As he watches, a man exits the club and is immediately shot by Scaramanga, who is hiding nearby. The man, Gibson, is a solar energy expert. Bond is arrested by Lieutenant Hip as a suspect in the murder. Hip takes Bond to the rusted hulk of the RMS Queen Elizabeth (actually ruined by fire in 1972) in Hong Kong harbor, which turns out to be MI6's base of Asian Operations; M is there. Bond is informed that Gibson's invention, the Solex Agitator, a small but powerful device used to convert solar energy into electricity, had been stolen from him immediately after the shooting. Scaramanga had been hired to kill Gibson by a Chinese gangster, Hai Fat. Because Fat had never met Scaramanga face-to-face, Bond is able to impersonate the killer; he even has Q supply him with a fake third nipple, one of Scaramanga's known physical characteristics.Bond travels to Bangkok and Fat's home. Fat invites Bond back to his house for dinner that evening, however, Bond is unaware that Scaramanga himself is has already met with Fat in person. Fat arranges for Bond to be killed when he arrives. When Bond shows up at Fat's place, he is subdued and captured by Nick-Nack & two sumo wrestlers. Nick-Nack nearly stabs Bond but is stopped by Fat, who sends Bond to a nearby martial arts dojo. The class' best student engages Bond in combat but Bond defeats him and jumps through a window. Hip arrives with his nieces, who beat the students with their own skill at martial arts. When they jump in Hip's car, they take off without Bond, who must escape using a high-powered canal boat, chased by Thai long-tail boats, and comically assisted by a chance run-in with Sheriff Pepper (from Live and Let Die) who is vacationing in Thailand with his wife.Back at Hai Fat's house Scaramanga kills the gangster (the gun he uses is assembled from personal items such as a ball point pen, cigarette lighter and a cuff link) and takes control of his assets. Bond plans to spend a romantic evening with Goodnight at their hotel room but they are interrupted by Anders. Bond sleeps with her and she confesses she is afraid of Scaramanga. She asks Bond to kill him. Bond says he will do so but only in exchange for the Solex. Bond goes to a kickboxing match where Anders is waiting. She is dead, having been killed in public by Scaramanga, who had discovered her betrayal. Scaramanga introduces himself to Bond, while Nick-Nack covers him with a tiny pistol. Scaramanga tells of his circus up-bringing, and warns Bond not to follow him, while Bond locates the Solex on the floor among the spilled contents of Anders' purse, and covertly passes it to Hip, disguised as a peanut seller. Hip passes the Solex to Goodnight, waiting outside. Scaramanga and Nick-Nack leave the arena, but find Goodnight trying to plant a tracking device in Scaramanga's car and lock her in the trunk. Bond pursues in a stolen car. He chases Scaramanga along a canal and nearly loses him when Scaramanga mysteriously appears on the other side of the water. Not able to find a suitable bridge nearby, Bond drives his car across a wrecked bridge, executing a corkscrew jump and landing on the other bank. Meanwhile, Scaramanga reaches a barn where his car is converted into a plane and takes off, Goodnight still in the trunk.Goodnight's tracking unit informs MI6 and Bond that Scaramanga has returned to his private island off the coast of China (actually the Khao Phing Kan archipelago on the west coast of Thailand). Bond flies there under radar and lands. He is met by Nick-Nack and Scaramanga and given a tour of the facility. Scaramanga shows how the Solex provides power for his compound. Though he doesn't understand the science involved, Scaramanga knows the applications can extend to weapons; he destroys Bond's sea plane with a blast from a laser weapon in his control room. Scaramanga plans to hand over the Solex technology to whomever pays him the highest price for it. He also reveals that he has long desired to duel with Bond to see whom is the better marksman. Bond agrees to the match.The two face off with Scaramanga stalking Bond through his compound and Nick-Nack keeping tabs on the match from a control console. After several minutes of both gunmen evading each other, Bond gains the advantage by taking the place of the wax dummy that resembles him; Scaramanga enters the room and is shot dead by Bond. In the meantime, Goodnight has subdued the bodyguard Scaramanga had posted in the electric generator room and the man falls into a vat of liquid nitrogen. The change in temperature upsets the balance needed to maintain production and the compound begins to self-destruct. Bond is able to regain the Solex and he and Goodnight escape the compound before its destruction.To reach civilization, Bond takes Scaramanga's personal junk and leaves the island with Goodnight. On the boat, finally able to enjoy some romantic time alone, they are attacked by Nick-Nack, who begins a surprisingly furious battle with Bond. Bond is able to trap the diminutive servant in a suitcase and takes him on deck. When he returns, Goodnight is horrified, thinking that Bond threw the midget overboard, however, Bond has locked him in a small cage. As they begin their romantic encounter again, Bond and Goodnight are once again interrupted by a call from M, which the two ignore. | cult, murder | train | imdb | There'a also the most outrageous car stunt ever seen in a motion picture, rendered all the more impressive by the fact that it is not a computer enhanced sequence but was filmed for real (including that infamous loop-the-loop in the red sports car).Bond is played by Roger Moore for the second time.
Everything is a little slower than usual, the film has neither the liveliness of "Live and let die" -the first Moore Bond flick- nor the liveliness of the previous episodes.Here Bond has to face a refined assassin -that's all, there isn't a real thrilling intrigueOn the other hand landscapes and John Barry score are fantastic.
Maybe this tensions had an influence on "The man with the golden gun", who knows...Luckily in 1977 Bond came back with one of the best films of the series -"The spy who loved me", a real classic, the definitive Roger Moore entry as Bond..
Hailed by many Connery fans as the film that marked the downfall of the 007 franchise, 'The Man With The Golden Gun' turns out to be one of the most pleasant surprises of the entire series and one of the 'better' Roger Moore films.
All-in-all, 'Gun' is another good 007 adventure and is quite possibly the 4th best Roger Moore Bond film.
The most stunning scenes are at the end, when Bond flies to Scaramanga's secret base.The other great thing about GOLDEN GUN is casting Christopher Lee as Scaramanga.
The abrupt "kick to the head" joke was even copied years later with Indy shooting the big man with the big sword in RAIDERS OF THE LOST ARK; the arena scene (excellent direction there); the whole 1970s look; a confident Roger Moore who gives his best performance as 007 and says some of the funniest one liners of the series with impeccable timing.
This is mainly due to the fact I just think they could have crafted a better story around the assassin whose skill set matches Bond and they could have and should have omitted a return character from the previous Roger Moore film.
Bond soon finds himself in Hong Kong where he soon learns that he is not Scaramanga's target and that a solar energy device is at the center of everything.This film has some good action in it and some great scenes, but as I said, they could have crafted a better story around the man with the golden gun.
Also, it makes little sense that Bond goes, "Oh no" when he sees the sheriff as he had virtually no interaction with Bond in Live and Let Die. Pepper ruins what should have been an awesome car chase scene with his lame humor and he just drags the film down.Overall, I enjoyed this film.
While some can never get over Sean Connery not being Bond, and while 'Live and Let Die" may be more fun, "The Man With the Golden Gun" may be one the of the best made of all Bond Films.No, this movie did not have many of the tell-tale eye-candy and explosive action of other Bond films, it had a thorough story, instead.
Scaramanga is played aptly by Christipher Lee and has all the genteel education and affectations as Bond, but with a 180-degree moral view.The movie is quieter and much subtler that the explosive "Live and Let Die" which preceded it and the return to the more-formulaic cheesy-super-villain Bond films which followed ("The Spy Who Loved Me" and "Moonraker.") The lone weakness of this film is the one formulaic character of the clumsy and scattered-brained female agent.
This is Roger Moore's second time portraying Agent 007, where he meets hit man Scaramanga (Christopher Lee), aka the Man with the Golden Gun. Bond decides to go track down Scaramanga and find a device that can make harnessing the sun's energy possible.
Overall, another descent Bond film, which I thought wasn't as good as the Live and Let Die (the first 007 adventure with Moore), but certainly one to enjoy on a Saturday night.
The year after Roger Moore first appeared in the role of James Bond in 1973's "Live and Let Die", marking the beginning of his twelve-year stint in the role, he returned for the ninth film in the franchise, and his second of seven.
After that, a lot of suspense takes place on the island.Like "Live and Let Die", this second Bond film starring Roger Moore is rather polarizing with Bond fans, but both films, while not the best, I have found to be reasonably satisfying, and in my opinion, while Moore can't quite match Sean Connery (the first actor to play Ian Fleming's famous character, as I'm sure you know), he was a decent replacement, unlike George Lazenby, who was only in one film in the franchise (1969's "On Her Majesty's Secret Service"), in between Connery's last two (1967's "You Only Live Twice" and 1971's "Diamonds Are Forever").
Bond is back and he has to out smart a hit-man who charges $1,000,000 a shot (Christopher Lee) is the man with the golden gun, and he has the usual delusions of world domination and a thirst to pit himself against the best spy in the business.The plot in this one does have its holes and the script has a little too much silliness and comedy to make it a classic bond film, but if it's entertainment your after then this hits the mark without question, and it still has one of the most awesome car stunts ever.It's not the best in the series, but there's enough here to entertain you, and Christopher Lee makes a great Bond bad guy.7/10.
As Bond films go, maybe this isn't the best of the lot, but, hey, it deserves points for giving us ROGER MOORE in another good turn as James Bond.
In my opinion The Man with the Golden Gun is a solid Bond film with great action and a good theme song.
Lee is a master of his craft and takes a role here that could have been great, but wasn't written very well -- yet still manages to elevate it to outstanding.If you're looking for great performances by a Bond girl, Britt Eklund's turn as Agent Goodnight may be the best of any Bond film.
In this movie he was matched against an opponent who could be considered his equal.The great Christopher Lee played Scaramanga-the assassin who had already killed several British agents and who performed hits for 1 million dollars.
Maybe the plot is more absurd than the usual one at time but as the best villain, Christopher Lee (easily his best performance and one of the best performances of the series!) plays Scaramanga with such charm and style- you can tell he loved making the film.
This film boasts a fine performance by Christopher Lee as the lead baddie Francisco Scaramanga, but Moore is obviously unsatisfying in this entry and Britt Ekland only manages to steal a scene in the last half hour in her sexy bikini, otherwise she's totally useless.
Because The Man with the Golden Gun is not a fitting film for them to part on, their fall out most likely impacting on why this is a pretty unadventurous entry in the James Bond franchise.
The Man with the Golden Gun takes on 007 one on one to see who is the best killer.This movie does have a few things that helps it out - a good car chase with a wonderful car stunt, Britt Eklund in a bikini and the return of Clifton James as Sheriff J.W. Pepper but those are off-set by the stagnant plot and the arrival of diminutive Herve Villechaize as the main bad-guy's chief henchman - OddJob, he is not.6 (out of 5) stars and you can take that to the Bank (of Marquis).
Ignoring about 99.2% of Ian Fleming's weakest novel, as Bond (antihero in the book, turned into suave super spy in film) is both searching for, and being hunted by, Scaramanga (villain in the book, turned into anti-villain in the film, he even jovially offers Bond a glass of champagne at one point) and his gold-plated .45 and bullets.Bond's search for Scaramanga takes him to Macau, Hong Kong, and ultimately Thailand (all replacing the books rather dull setting in Jamaica) and an anticlimactic duel in Scaramanga's very own personal island fun park, in an ending possibly inspired by the ghost town sequence in the book Diamonds Are Forever, and which can be guessed from five minutes into the film's run-time.Potentially good mystery/ action thriller is drenched in one-liners and gags, but it is still fun to watch Roger Moore, clearly having a good time with it, in all of its splendid locations, that it is easy (for me, anyway) to overlook its goofball contrivances and just sit back and enjoy the ride.
Even Scaramanga's wildly improbable flying AMC Javelin (actually a scale RC model) was far more interesting even though it's time on camera was very short; the "gun", on the other hand, is regularly and tediously displayed time after time, looking for all the world like a Lego toy that's been spraypainted gold.As if all this wasn't bad enough, we're treated to a return appearance of J.W.Pepper, the redneck sheriff who first appeared in "Live and Let Die" (itself a dog of a Bond film), who, um, "dogs" (sorry) Bond periodically throughout this picture, most notably during the by-now obligatory spectacular car chase.
Indeed, as spectacular as the 360 degree roll performed by the stunt car was, even this scene misfires through the use of a cartoonish sound effect."The Man with the Golden Gun" remains, as of this writing, one of the poorest grossing Bond films yet made, and one look at the finished product will tell anyone why.
OK If you have seen Live and Let Die and you did not like Roger Moore in that then I am going to fail to convince you but this really is the best bond movie.
But everything in the middle, especially all instances of Sheriff J.W. Pepper (yes
.he's back), and the clichéd villain lair (Scaramanga's solar power plant
totally unnecessary addition that comes with the solex plot) ruin what could've been something fun and different.THE MAN WITH THE GOLDEN GUN was Roger Moore's second film as James Bond and he had pretty much found his groove by now.
Moore nicely grows into his role as 007 in this second outing of his.The storyline is intriguing and most of the actors (especially Lee)are rather good.The movie has some amazing stunts and Moore's humor starts to shine through more and more.The film does tend to be a bit boring in certain parts, but it's never the less an improvement over the previous one.Not the most successful Bond film financially, it took one more film for the audience to forger Connery and to take Moore to their hearts as James Bond..
Hervé Villechaize is on hand as Scaramanga's little assistant, Nick Nack."The Man with the Golden Gun" (1974) was Moore's second outing as Bond.
There's also the aforementioned Adams as Andrea and a cameo by Chew Mee. Memorable moments include an entertaining martial arts academy sequence; the amusing return of redneck Sheriff JW Pepper (Clifton James), who's vacationing in Bangkok with his wife; a great car-jumping stunt; and Scaramanga's secret solar power plant operation.The film runs 2 hours, 5 minutes and was shot in Thailand (Phang Nga Bay and Bangkok) and Hong Kong/ Macau, with additional work done in England.GRADE: B.
"The Man with the Golden Gun" is Roger Moore's second film as secret agent 007, James Bond.
Christopher Lee plays the rival hit-man, Scaramanga, with typical charm and menace, making him almost appear as Bond's 'dark side.' There's plenty of near misses between the two in what could be described as a 'cat and mouse' type affair until the inevitable climax.So, the plot is simple and deadly in nature, but it wouldn't be a Roger Moore Bond film without humour.
James Bond (Roger Moore) is led to believe that he is targeted by the world's most expensive assassin (Christopher Lee) while he attempts to recover sensitive solar cell technology that is being sold to the highest bidder.The highs and lows of this film.
I find the new machinery to be one of the funnest and most unique aspects of every Bond film, and not bringing in any this time around left me underwhelmed.The story is also extremely by the numbers, there is no plot point that is unexpected or exciting, it feels as if it's all going through the motions.More so than the action, the performances are what stand out in The Man with the Golden Gun, and I feel that is the main thing that makes it a worthwhile watch, I would recommend it to anyone looking for a good adventure film.
There's nothing wrong with a comical Bond adventure, pretty much every Roger Moore film was made for laughs, maybe with the exception of For Your Eyes Only, Roger Moore even said so himself that he played the role for laughs.The Man with the Golden Gun is not supposed to be taken seriously, and if you accept that, you'll find it to be quite a fun adventure that is a nice way to spend a couple of hours!
An Eye For An Eye. After the Connery films sadly took a bit of a tumble in quality towards the end, Roger Moore really picked the franchise back up with a few gems in my opinion, Live and Let Die and The Man With the Golden Gun. The latter took a slightly different approach to its villain.
A lot of the elements from this film are retreaded from previous entries, especially the speedboat chase, but I think watching Moore and Lee go mano y mano for the last 20 minutes makes it all worth while.+Scaramanga was another great villain+Goodnight+Action-Retreads same plot points as other Bond films-No need for J.W. Pepper7.5/10.
But one of the major flaws in the film is that all of the characters are ill tempered, and most of them are dosey eg Sheriff Pepper and Hip.Christopher Lee who played Francisco Scaramanga was superb and Roger Moore was superb as well.
The Man With the Golden Gun was Roger Moore's second Bond movie.
The second Bond film starring Roger Moore is not only the worst I've seen of the whole series, but it's also the total opposite of what a good James Bond-movie should be like.
However, Christopher Lee does a reasonably good job as Scaramanga, stealing the show from Roger Moore.By the way, this isn't the first time we see a golden gun in a Bond movie.
Watched The Man With The Golden Gun Starring Sir Roger Moore(Marverick) as James Bond/007, Bernard Lee(Percys Progress) as M , Herve Villechaize(Fantasy Island) as Nick Nack ,Desmond Llewelyn(Chitty Chitty Bang Bang) as Q , Soon Tek-Oh(Hawaii Five-0) as Lieutenant Hip, Britt Ekland(Get Carter) as Mary Goodnight, Maud Adams(Rollerball) as Andrea Anders ,Lois Maxwell(The Adventurers) as Ms.Moneypenny and Sir Christopher Lee(The Horror Of Dracula) as Francisco Scaramanga The films Main Villain.This was one the best bond films while i still consider Skyfall to the best i really enjoyed a game of cat and mouse between Bond and Scaramanga also Scaramanga respected Bond who is one the best bond villains also his endgame was Logical yet sinister also really enjoyed the 70's aesthetic of the film as well and the character was great even though it was thin at times overall a top 3 Bond Film.
Those are my thoughts on the film,first,I'll start with the pros.The acting is decent,Moore isn't as good as last time,but he's still pretty good.Christopher Lee and his character,Scaramanga,are great,and a great idea for a Bond villain.The henchmen Nick Nack is fun too.The action is decent,with amazing stuntwork and good choreography.The climax is pretty good and the very ending is very creative.The locations,are,okay,not much excitement,but they include some interesting scenes.I also thought Moore's quips were decent at best.Now,the cons,for one,I thought the Bond Girl,wasn't very good,she wasn't insanely dumb,but she was a bit annoying.I also thought that the interrogation scenes well interesting,didn't fit Moore at all,and felt awkward.Also the character of JW Pepper returned...moving on.Another bad thing is how slow the movie is,I was kind of bored,but I never fell asleep or anything.The biggest and last flaw is how generic and unmemorable.Everything that happens in a Bond movie,happens in this,and is not well done.The Man With The Golden Gun is a boring,uninteresting movie with great villains..
James Bond is sent to retrieve the Solex Agitator device— which pits him against expert assassin Scaramanga also known as the Man with the Golden Gun. Amongst the usual clichés synonymous with Bond, director Guy Hamilton delivers some interesting visuals and great moments usually between Scaramanga played wonderfully reserved and refined by Christopher Lee and Roger Moore's comfortable looking 007, these few scenes touch on what they stand for, and give the characters deeper meaning.
"The Man with the Golden Gun" is the second Bond film starring Roger Moore.
Especially the car chase scene should be mentioned, which includes one of the most amazing stunts made in cinema history.Roger Moore delivers his usual witty performance as Bond, but it's Christopher Lee as the villain Scaramanga who steals the show.
(I actually feel sorry for her in one particular bedroom scene.) The much better Bond girl in this film is Maud Adams as Scaramanga's mistress.Roger Moore returns to play James Bond for the second time.
The Man with the Golden Gun, released in 1974, is the ninth film in the James Bond series, and the second to star Roger Moore as the fictional British secret agent James Bond.
The Man With The Golden Gun is Roger Moore's second Bond film, but doesn't quit live up to his first.
Bond meets him while chasing his enemy, and, well, it makes for some GREAT laughs!Because of that scene, I give The Man With The Golden Gun a 7 out of 10 for having some good laughs, and interesting features in the film.. |
tt0088011 | Romancing the Stone | Joan Wilder (Kathleen Turner) is a New-York based writer of cheap romance novels. She's a bit clumsy in real life, although in her novels she writes about strong-minded heroines and sexy male adventurers falling in love passionately. One day, she finds her condo, where she lives with only the company of a cat, in a mess. Right away she has a frightening call: her sister Elaine (Mary Ellen Trainor) has been kidnapped in South America. She decides to go there to save her. There is a map which leads to a huge treasure which is the price which the kidnappers ask for to free Elaine.She has to take a bus to Cartagena, in Colombia, but she has trouble with the language spoken there, Spanish. She gets on a coach, but she is afraid she has taken the wrong one, so she asks the driver (Camilo García) while en route. The driver gets distracted because he can't understand her and has an accident. The bus is wrecked.Joan asks adventurer Jack T. Colton (Michael Douglas), to take her to the place in the map. He accepts because he wants the money to buy a ship. They are followed by some mysterious Latin men and soldiers, commanded by corrupt policeman Zolo (Manuel Ojeda). Ralph, (Danny DeVito) is organizing their capture from far away, because he wants the map as well. He is even less equipped to life in a poor Latin American country than Joan is.Joan and Jack fall down a spring, they have to cross a wide river, and eventually they get lost. They find a crashed airplane with boxes of marijuana, and they spend the night there, because outside it's pouring down with rain. When they leave the next morning, after Jack has saved Joan from being bitten by a poisonous snake, they arrive at a small village. They ask for a phone or a car there, but several dangerous-looking men tell them there is not any. Asking at a mansion, they are helped because Juan (renowned film director Alfonso Arau) recognises Joan. Juan calls her Juanita Wilder, and says that he always reads her novels aloud to the thugs. He invites Joan and Jack, and inside, the town cottage looks like a hacienda mansion with all the amenities of a luxurious manor house. Juan lends them his 4x4. That way they ran away.Ralph will find Joan and Jack eventually, dressed up in Colombina-like outfits for the party. Zolo also pursuits them. They fight each other, they run after one another, and there is the suspicion that Jack is going to betray Joan at any moment because of the treasure. They are about to be eaten by crocodiles all the time, which is a funny moment in the film. All the main characters are about to fall in the crocodile pond while fighting and going back and forth in pursuit of the treasured green diamond.Finally, Joan and Elaine are together again. Soldier of fortune Jack and Joan must face their mutual attraction, although they are completely opposites in many respects.A true modern classic!================================================The movie opens in the middle of a Western cowboy story where a beautiful blonde woman is confronted by an evil man named Drogan. Drogan has come for a treasure of considerable value and demands it and sex from the woman. As she prepares to undress, she throws a hidden knife at her foe, killing him, proclaiming that Drogan had killed her dog, raped and murdered her sister and stole her Bible. After she's dressed, she packs up her horse and rides out, only to stop at the sight of Drogan's men on horseback. Suddenly her hero, Jesse, shown only in shadow, appears and shoots all the men dead. Jesse and the woman embrace and she says they'll be together forever.The scene shifts to Joan Wilder, an author of bestselling romance novels, crying as she types out the scene she'd just narrated. It's the finale to her latest book. Joan is happy that she's completed what could be her biggest selling novel yet. In her kitchen, she hears a noise behind her and greets someone she calls "Sweetheart" -- it's her cat, Romeo. She gives him a can of Bumblebee tuna to eat and celebrates with him. She looks up at a poster on her wall of Jesse from the cover of one of her books and hopes aloud that she'll one day find a man like the one she's created.Joan leaves her apartment, late for a meeting with her editor. On the way, she meets an elderly neighbor who gives her a package that the mail carrier couldn't fit in her box. The package is from her brother-in-law and has arrived from Colombia. At the meeting with her editor, Joan presents the manuscript. Her editor has had them meet in a bar thinking that it'll be good for Joan to see single men in a social setting. Joan remains reluctant because none of them can match her vision of Jesse. Joan also mentions to her editor that she'd gotten a package from her brother-in-law, Eduardo, who'd recently been found dead and mutilated in Colombia.In Cartagena Joan's sister, Elaine, is leaving her apartment in a hurry. Outside, a boy is playing with a bola and as Elaine drives her car out of her garage, the boy throws the bola at her, knocking her unconscious. The boy drives Elaine in her car to a nearby fortress where Ralph, a small-time crook, sees him arrive. He talks to his cousin, Ira, telling him that they should leave Colombia because things have gotten too dangerous. Ira tells Ralph that they have one more treasure hunt to go on & they'll leave.Joan arrives home to find that her apartment has been ransacked. Earlier, a shady character had been standing at Joan's front door and had killed the building's janitor. Joan finds her cat safe and suddenly gets an unexpected call from her sister Elaine. Elaine sounds upset and asks Joan if she'd gotten the package from Eduardo. Joan finds a treasure map inside. Elaine tells Joan to bring the map to Cartagena. Joan is reluctant, thinking that Colombia is too dangerous. Elaine is able to convince Joan to come. Joan packs up and leaves her cat with her editor, who tries to talk her out of going.Joan arrives in Colombia and looks for a bus that'll take her to Cartagena. The shady character that ransacked her apartment, Colonel Zolo, tells her that the bus, which is really going to a remote town in the mountains, will take her to Cartagena and joins her on the bus. Ralph also happens to be at the airport and spots Joan on the wrong bus just as it leaves.Joan wakes up on the bus, which is winding it's way through a mountain pass surrounded by rainforest. When she asks the driver when they'll arrive, the driver is distracted and crashes into a parked Land Rover. The bus is wrecked and the passengers continue on foot. Zolo tells Joan she can wait for another bus & soon draws a pistol on her, demanding her purse. Just then a man appears at the top of a ridge. Zolo fires a warning shot at the man, who raises his hands and suddenly grabs a shotgun from a scabbard on his back. The two men shoot at each other until Zolo runs out of ammo and retreats. Joan, hiding under the bus, hears the mystery man cursing in English about the wrecked Land Rover and losing a bunch of birds. He eventually finds her hiding under the bus. Still angry about losing his vehicle and the birds he'd been collecting, he acts very callously toward Joan, who asks him to take her to a town with a phone. The man demands $500 & Joan talks him down to $375 in American Express traveler's checks. He also refuses to carry Joan's suitcase.In the meantime, Zolo is picked up by Ralph, who had been following the bus. The two go to the nearest police station where Zolo orders the chief to assemble his men. Ralph calls Ira & tells him where he is, also spotting a police notice with his picture on it. He tears it down just as Ira tells him to get the map Joan is carrying.Joan and her rescuer continue on foot through the mountains. The man asks Joan if she has anything truly important in her suitcase and throws it into a ravine so they can move faster. Joan is furious and about to berate him when the ground beneath her gives way and she falls into the ravine. The man watches her for a moment, irritated, and the ground collapses under him as well. The two end up sliding down the side of the hill until they land in a marsh. Soaking wet, the man seems to have enjoyed the ride while Joan sits whimpering. He asks her what her name is and gives her a hearty welcome to Colombia.After they are able to clean themselves up, the man uses his machete to chop the heels off Joan's pumps so she can walk more easily. Suddenly, they are shot at by Zolo and the small police force he's gathered. They take off through the jungle, finally stopping at a deep ravine. There's a bridge across but it's too dilapidated to use. The man plans to fight, while Joan tries desperately to cross the bridge. Halfway across, a plank gives way and, grabbing a large creeper vine, swings across, landing safely on the other side. The man manages to do the same, narrowly escaping shots from Zolo.The two continue through the jungle, with the man giving Joan the opportunity to learn how to use his machete. She's startled when she finds a wrecked cargo plane with the rotted body of a pilot sticking out of a cockpit window. The two take refuge in the fuselage which is filled with hundreds of pounds of marijuana. Near the dead pilots they find a small bag with food and a bottle of tequila. The man, wanting to build a fire, looks in Joan's purse for matches & finds the map. Also in the pilot's bag is a fairly recent copy of Rolling Stone magazine -- the man is exasperated to find out that the Doobie Brothers had broken up. Joan is curious & man tells her that he'd come to Colombia as a mate on a boat but decided to go into catching and selling exotic birds. The man also tells Joan that her sister's life doesn't depend on the map itself -- that the treasure it leads to is more important. The treasure, whatever it is, is called "El Corazón" Spanish for "The Heart." He also tells her that it's located in Cordoba province, which they are in the middle of. Joan is angry with him for suggesting that they should greedily get the treasure first. When he appears not to be listening, she begins another tirade and he suddenly kills a large snake near her shoulder with his machete.Later, while the man explains his business, collecting and selling exotic birds, Joan asks him his name. He tells her it's Jack T. Colton. When she asks him what the T stands for, he tells her "trustworthy", one of the characteristics she looks for in a man.The next morning, Joan & Jack arrive in a tiny village. The locals regard them with caution and hostility. At one point they seem ready for a confrontation when Joan politely asks them if there's a car in the village. One of the men tells her that a man named Juan, the bell maker, has a car. Jack and Joan go to his house and find the man just as unfriendly as the others. When he points a gun at them both and they find themselves also facing the villagers, Jack lets Joan's full name slip and Juan recognizes her -- she's his favorite author and he reads her books to the local men each week. He invites them both inside where they find he has an elaborate and luxurious home. When they ask him about his car, he's amused saying the vehicle is his "little mule, Pepe."Just then, Zolo and his men arrive looking for Joan and Jack. Suddenly, Jack, Joan and Juan all burst out of Juan's garage -- "Pepe" is actually Juan's sport Ford pickup truck. The trio roar out of town with Zolo right behind. They charge through several fields until they head directly for a nearby stream. Juan has set up a ramp that carries them across the stream which he activates with a remote. After they've crossed, he rigs the ramp so that Zolo's men crash into it and are unable to follow them. Some time later, in a field overlooking a nearby town, Jack spots a tree that looks like a pitchfork. It's one of the markers on the map called El Tenedor del Diablo, the Devil's Fork. When they arrive in town, Jack checks them into a hotel and buys some clothes for Joan. He also plans to steal the map and make a copy of it for himself. Also in the town is Ralph, who spots Jack and Joan, and calls his cousin to tell him.At a town festival, Jack & Joan have dinner together and dance. Ralph tries to steal Joan's purse, only to be beaten up by a large woman who thinks he's trying to molest her. Jack and Joan go back to their room and spend the night together in bed. Jack tells Joan he'd like to take her around the world on the sailboat he dreams of buying. Joan suggests they use the map to find the treasure -- Joan is convinced that finding the treasure will give her more leverage to free her sister from Ralph and Ira. They both agree to do it and split the take from the treasure 50/50.In the morning, sneaking out of the hotel ahead of Zolo, they steal the very car that belongs to Ralph, not knowing he's sleeping the back seat. They follow the map back into the countryside. After finding another of the landmarks they continue only to stop when the road seems to run out. Joan listens for a bit & hears falling water. She also discovers that the map has a hidden clue: when folded, it shows the waterfall she heard and an X marking the resting place of the treasure. The two find the waterfall & a cave under it. In the cave is a final clue, a marker saying "Leche de la Madre", "Mother's milk". Jack spots a small pool under a few white stalactites that drip white-colored water. They dig in that spot for a few minutes & right after Joan tells Jack that she's enjoyed the adventure they've gone on, they find a bundle. In the bundle is a cheap ceramic bunny statue. Jack is frustrated until Joan remembers that in her 1st book the treasure was hidden inside the statue. They break it open and find El Corazon, a large green emerald. Jack quips that they're "in a lot of trouble" and Ralph suddenly appears and demands the emerald at gunpoint. Outside the cave, he accuses Jack of sweet-talking Joan into finding the jewel when he really wanted it for himself. Ralph tells them he's going to steal it for himself and tries to leave, only to find that Zolo and his men have found them all. Ralph runs off, but Jack and Joan easily catch him in their car and take the jewel back. They wind up in the river and tumble over a large waterfall. Both of them surface, but on different sides of the river, which is uncrossable. Joan is upset but, as Jack tells her, she still has the map & can still trade it for her sister. He tells her to head for the setting sun & she'll reach Cartagena and that he'll meet her there.Joan arrives in the city & goes to the hotel. She calls Ira, who tells her to meet her at the fort across the bay. Joan goes there and is met by Ira and his men. After seeing that her sister is alive, she hands Ira the map. He looks it over, sees that it's genuine and frees Elaine. As they walk away, a burst from a machine gun stops them. Jack steps out of the shadows; he's been captured by Zolo. Zolo tells Ira that the map is worthless since they have the stone -- among his captives is Ralph, who's been beaten and has likely told Zolo about the emerald being found. Zolo takes Joan to a nearby marsh where Ira had been keeping crocodiles. He slashes her hand and threatens to let her be eaten alive if they don't hand over the emerald. Jack tells them its in a safe place and when he keeps silent on the location, one of Zolo's men hits him in the crotch with his rifle butt. Jack then slides the emerald out of it's "hiding place" and kicks it to Zolo, hoping he'll choke on it. Zolo catches it over the water in the marsh, thanks Jack and loses the jewel when a crocodile suddenly bursts up and closes it's jaws on his hand.Jack grabs a machine gun from a guard and opens fire. Ira's men show up and a large gunfight ensues. Ira escapes, leaving Ralph behind. Jack chases after the croc that swallowed the jewel, eventually holding it by the tail over a drop into the bay. Joan and Elaine are pursued by Zolo until Joan, having stolen Zolo's stiletto, throws it at him. He blocks the blow with a board. Eventually, she is able to throw him off and when he lunges for her, he falls through a wooden grating and into another crocodile pit. Jack, unable to stop the croc from diving into the water, had tried to scale one of the fortress' walls and finally catches up to her. He tells her to go to the American consulate & tell them the whole story -- the Cartagena police are approaching and he doesn't want to be arrested. He dives off the wall after the croc.Some time later, back in New York, Joan is meeting with her editor. She's written another novel about her experiences and her editor is ecstatic. Joan is a changed woman, much more confident and longs to be with Jack again. Outside her apartment building, she sees a large sailboat. Jack is aboard and wearing boots made from the croc that ate the emerald. He and Joan share a kiss as the boat is pulled on a trailer up Joan's street. | mystery, cult, action, romantic | train | imdb | Maybe in "Peggy Sue Got Married" or in "Prizzi's Honor" perhaps even in "Body Heat", but, it's safe to say that without her enormously captivating, thoroughly fabulous performance as Joan Wilder opposite Michael Douglas' career best comic performance as Jack Coltin, the movie wouldn't be such the modern-day classic it is and always will be.As far as I'm concerned, Turner was robbed of the Oscar for Best Actress in 1984 for this film.
It's a mystery why she's never really been a bigger star before now, with her groundbreaking, Emmy Award-winning work on "The Practice" at least giving us a taste on what we've been denying ourselves by not making a big noise in support of her landing bigger, juicier starring roles.So 16 years later, "Romancing the Stone" is still unequivocally the best of its genre and makes you wish the Turner would get the chance to work far more than she's been in recent times.
Great action comedy adventure from the mid 80's starring Michael Douglas, Kathleen Turner and Danny De Vito.
Sadly like most sequels it wasn't nearly as good as this, actually its not really worth bothering about unfortunately, Douglas, Turner and De Vito also teamed up again in another film "War of the Roses" but that film has no connection with this or Jewel of the Nile.
Kathleen Turner stars as Joan Wilder, a romance novelist who flies to the South American country of Colombia to rescue her kidnapped sister.
There's Zolo (Manuel Ojeda), an evil colonel who's on to Ms. Wilder (and is the real nasty bad guy of the bunch); Ira (Zack Norman), one of the crazed kidnappers who's obsessed with crocodiles (he's always saying "Look at those snappers!"); and Ralph (Danny DeVito), Ira's bumbling cousin who goes to the airport to pick up Ms. Wilder, see's at the last second that she got on the wrong bus, and is forced to go into the jungle to find her.
This is one movie that's a must-see for people who like a mix of action, suspense, adventure, romance, thrills, and lots of comedy.
Kathleen Turner stars as a romance novelist who receives a mysterious map from her murdered brother in law and then must go to Columbia to save her kidnapped sister by giving up the map for ransom.After getting on the wrong bus she meets up with Michael Douglas and the adventure begins..as Douglas seeks the treasure also..A fast paced adventure that features great chemistry between Douglas and Turner (they would make two more movies at least after this...including a sequel "jewel of the nile").
It is everything: entertaining, exciting, thrilling, great fun, hilarious, involving, dark, sometimes scary, very pleasant and a timeless classic.Adventure is something which isn't missing in this movie by any means.
The backgrounds/landscapes are simply brilliant: forests, mountains, rivers, waterfalls, clouds, etc...This film features the talents of actors such as Michael Douglas, Kathleen Turner, Danny DeVito, Zack Norman, Alfonso Arau, Manuel Ojeda, Holland Taylor, Mary Ellen Trainor, Kymberly Herrin, Ted White and others.
There's also a Shelby Cobra replica in this film (a fantastic and charismatic car) driven by a boy who looks like Joaquin Garay III but I don't know for sure if that's him."Romancing The Stone" is one of the best movie choices to watch on a Saturday afternoon.
This film has a good plot, lots of adventure and action but in a way that makes it so much fun to watch and without excessive noise, action and violence (although there are ultra-violent scenes).
The exotic settings are beautiful and inviting.Michael Douglas and Kathleen Turner shine as the lead actors (Jack Colton and Joan Wilder), with a flawless chemistry.
Zolo and his army are feared even by Ralph and Ira. Nevertheless, the fact that Zolo is so bad only means that the actor is good because he is quite convincing.Even the actors who play minor roles were selected by finger, including the very few children seen in it, such as the kid who kidnaps Elaine and drives her car.'Romancing the Stone' is a movie filled with charm.
Robert Zemeckis directed this great movie but refused to make its follow-up, 'The Jewel of the Nile' which stars once again Michael Douglas, Kathleen Turner, Danny DeVito and Holland Taylor.
This exciting adventure tale concerns about a romantic,feisty writer named Joan Wilder-Kathleen Turner-who becomes involved in a dangerous journey to Colombia.He goes to rescue her sister,being kidnapped by a sympathetic mobsters-Danny DeVito-.Into lush jungles of Colombia,she finds a soldier of fortune named Jack Colton-Michael Douglas-who becomes to her ally.This agreeable comedy-adventure blends unstopped action,rip roaring,love story,cliff hunger,tongue in cheek and is extremely funny and entertaining.For comic relief with delightful bit of humor are supplied by Danny DeVito and continuous jokes about relationship between both stars: Turner and Douglas.The picture contains spectacular scenarios,some nice stunts and funny lines.Colorful cinematography by Dean Cundey,Zemeckis's usual cameraman(Back to the future trilogy,Who framed Roger Rabbit).Noisy though catching music with synthesizer score by Alan Silvestri,posteriorly he made an excellent symphonic soundtrack,he's also Zemeckis habitual(Polar Express,Castaway,What lies beneath,Forrest Gump).The motion picture is well directed by successful director Robert Zemeckis.It's followed by an enjoyable sequel directed by Lewis Teague: Jewel of Nile.The film will have you on the edge of your seat but the adventure and action never let up.It's a winner for Douglas and Turner fans.Worthwhile seeing it but will not displease those seeking likable and rip-snorting stories..
I just wish that the movie company would put out a special edition DVD with commentary by the stars...I'd love to hear what Michael Douglas, Danny DeVito, and Kathleen Turner have to say about the making of this film.
Romancing The Stone plays like a modern-day Indiana Jones film, but can also be seen as something very different - a kind of eighties classic - eighties musical score, eighties clothes, and that common eighties film combination of all genres in one film - comedy, action, adventure, romance.
Michael Douglas and Kathleen Turner are "Romancing the Stone" in this 1984 adventure film, well-directed by Robert Zemeckis.Turner plays romance author Joan Wilder, who in order to ransom her sister Elaine, flies to Colombia to deliver a map sent to her by her late brother-in-law.
Jack talks Joan into going after the treasure themselves to give her more of a bargaining chip.This is a very fun film, with lively performances by Douglas, Turner, DeVito and the rest of the cast.
I certainly wouldn't call Romancing the Stone the best adventure film ever or anything, but it is a truly entertaining and fun one at that.
Michael Douglas is quite world-weary here and his character is nothing special but he also has a lot of charm about his performance, while Danny DeVito is great fun as the inept kidnapper.
As an action/comedy/romance, it struck gold in a market hungry at the time for Indiana Jones type adventures, and succeeded by delivering non-stop, fourteen carat entertainment from start to finish.OK, enough with the "precious stone" analogies :) Seriously, more than anything, this movie is just plain FUN.
The amazing leading cast members, composed of Michael Douglas, Kathleen Turner, and Danny Devito, turned this into one of the all time great hidden gems.
I saw something on TV about Robert Zemeckis, and it showed some clips of this film, so I decided to check it out, since it looked pretty exciting.Joan Wilder (Kathleen Turner) is a romance novelist in New York.
Enroute she takes the wrong bus and ends up in the jungle with a rugged adventurer/rogue (Michael Douglas) who joins her in her search for her sister.The pace is breakneck, the pratfalls and laughs are continuous, the lines are witty and the performances are all great.
However, I still always see this film as an 'action' movie, rather than luvvy-duvvy stuff!A writer (Kathleen Turner) finds her sister has been kidnapped in a South American country and sets off to rescue her (or rather just pay the desired ransom).
The film itself got an Oscar nod for Editing.Some others in this gifted cast are Mary Ellen Trainor as her sister, Holland Taylor as Turner's editor, Alfonso Arau who is a drug dealer fan of her work, and Manuel Ojeda as the army colonel obsessed with that big green jewel.Romancing The Stone is a lushly photographed and vigorous satire on all those old action/adventure films.
Romancing the stone (1984) starring Kathleen Turner, Michael Douglas and Danny DeVito is an immensely entertaining film that is full of romance, action, and some comedy is even thrown in the mix for the audience to enjoy.
It was director Robert Zemeckis' first financial success, and was essential to his career, paving the way for Back to the Future and Who Framed Roger Rabbit.Kathleen Turner portrays Joan Wilder, a meek romance novelist who has yet to find any adventure in life and must save her sister from smugglers.
I remember loving this movie on its original release back in the 80's and didn't want to miss its being shown here as part of an 80's movie season, but sadly learned that like so much other popular culture from that particular decade - music and fashion come just as prominently to mind - "Romancing The Stone" definitely shows its age.It has its charms, notably the chemistry between leads Douglas and Turner and a little Danny De Vito (or should that just be little Danny De Vito!) goes a long way, but it wasn't the rip-snorting adventure packed, fun-filled romantic romp I remembered, instead now coming across with as much flair and pizazz as a moderate TV adventure episode, a la "Heroes" or the like.Now my critical eye discerns that the prologue just seems to hold up the action, Douglas takes too long to make his appearance, the baddies aren't bad enough and the supposed excitement, danger and intrigue served up en-route just isn't exciting, dangerous or intriguing enough.It's still likable, I still laughed at Douglas' throwaway comment about The Doobie Brothers disbanding and I was still pleased to see the couple sail off, if not into the sunset, then certainly down the boulevard, but on reflection I wished I hadn't watched it at all and thus preserved intact my youthful happy, I dare say more innocent recollections of a popular family entertainment which hasn't aged at all well..
A classic romantic action adventure, Kathleen Turner and Michael Douglas masterpiece!.
Plot: Kathleen Turner is Joan, a romance novelist who gets caught up in a real life South American adventure when she is forced to find a mysterious treasure in order to rescue her sister.
Directed by Robert Zemeckis, it stars Michael Douglas, Kathleen Turner and Danny DeVito.
The film was followed by a 1985 sequel, The Jewel of the Nile.10/10 Grade: Bad Ass Seal Of Approval Studio: 20th Century Fox Starring: Michael Douglas, Kathleen Turner, Danny DeVito, Alfonso Arau Manuel Ojeda, Zack Norman, Holland Taylor, Mary Ellen Trainor Director: Robert Zemeckis Producer: Michael Douglas Screenplay: Diane Thomas Rated: PG Running Time: 1 Hr. 46 Mins.
Michael Douglas & Kathleen Turner have never been involved in a more entertaining movie & almost certainly never will again.
Colton (Michael Douglas).Director Robert Zemeckis has made a fun adventure romance.
An all star cast is assembled with Kathleen Turner as Joan Wilder, Michael Douglas as Jack T Colton, Danny DeVito, Alfonso Arau and Manuel Odeja.
The couple, however, need to get on because there are others after the map...Holding up surprisingly well on a revisit these days, well except for Colton's white dance attire that is, Zemeckis' romantic adventure is one of the most telling and fun films of its type to follow in the slipstream of Indiana Jones.Everything works here, from the screenplay that is infused with mud- slides, grumpy banter, bandit dodging, water peril, snakes, treasure, gun fights, colourful villains and crocodile wrestling!
I still liked this movie despite that because it has charm, adventurous spirit, and likable actors.This film is about a romance novelist, Joan Wilder who travels to South America to rescue her sister from kidnappers and along the way she must enlist the help of the adventurous Jack T.
Michael Douglas, Kathleen Turner, and especially Danny DeVito are really entertaining.
Romancing the Stone is one of many action/adventure films that followed in the wake of Raiders of the Lost Ark; from Michael Douglas's rough and ready hero, who looks like the only raiding he's been doing is of Harrison Ford's wardrobe, to the regular action set-pieces, the influence of Spielberg's mega-successful blockbuster is plain to see (as is the lower budget, unfortunately).But although Romancing the Stone occasionally comes across as 'Raiders-lite', lacking that film's relentless verve and spectacular special effects, it does possess a unique charm all of its own thanks to a witty screenplay blessed with genuine heart (or should that be 'genuine corazon'?), and an incredible on-screen chemistry between stars Douglas and Kathleen Turner (something that is sorely missing in many a modern adventure movie).Being an avid Kathleen Turner fan ever since seeing her all sweaty and nekkid in Body Heat, I could be accused of bias, but I rate Romancing the Stone 8/10— its a fun slice of good old-fashioned escapist action (one that just happens to benefit from the gradual transformation of Turner from plain-Joan to sizzling sex bomb)..
Kathleen Turner stars as a romance adventure novelist who ends up on a romantic adventure of her own "Romancing the Stone." Naturally, fans of romance adventures will most enjoy this one, but to its credit there's a good balance of action to make this film enjoyable for just about everyone."Romancing the Stone" is a writer's fantasy about a writers' fantasy that comes true.
Joan flies to Columbia where another man interested in the map sends her off into the jungle instead of straight to her destination where Indiana Jones more or less in the form of Michael Douglas as Jack Colton finds her and helps her begrudgingly.The film certainly capitalizes on the popularity of "Raiders of the Lost Ark" only targeting itself at women.
He also brings a healthy sense of humor that makes the movie easier to enjoy, knowing that even its maker wants this to be nothing but light-hearted entertainment."Romancing" is predictable adventure with even more predictable romance, but Zemeckis finds a way to make it inherently more likable than even Turner or Douglas as talents do.
A young Kathleen Turner plays a romance writer in over her head when she flies to Columbia to rescue her sister from kidnappers.An equally youthful Michael Douglas demands money from the damsel-in-distress before he'll assist her, and manfully chops the high heels off her shoes with his machete.A fun treatment of romance novels and novelists - paired with a mildly serious exploration of the gulf between fictional adventures and dangerous, grimy reality.
Not Indiana Jones, But a Pretty Good Runner Up. A terrific action adventure film obviously modeled after the Indiana Jones films.Michael Douglas and Kathleen Turner have boatloads of chemistry together as a cocky diamond hunter and a pampered New York writer, respectively, trekking through the jungles of Colombia in search of treasure.
"Romancing the Stone" is about a timid novelist (Kathleen Turner) joining forces with a soldier of fortune (Michael Douglas) on a fantastic adventure in Columbia in search of priceless jewel.
STONE also features a memorable supporting turn from Danny DeVito, who manages to effectively serve as comic relief without interfering with the surrounding romance and action.Although nominally an exotic jungle adventure involving a mysterious treasure map and a priceless jewel, ROMANCING THE STONE is actually a perfectly structured showcase for the amazing Kathleen Turner, in a terrific, Golden Globe-winning performance.
This is a fun movie to watch, as the writer (Turner) runs into Michael Douglas and the interplay between these two is great to watch.
It's lifted out of pure romantic comedy rut by a young and feisty Michael Douglas playing a hard-bitten, coarse adventurer by name of Jack Colton and young, sultry Kathleen Turner playing naive New York romance novelist Joan Wilder.
It's about a mousy novelist (Kathleen Turner) who travels to Colombia to find her sister, but met and fell in love with an American fortune seeker (Michael Douglas) on a treasure hunt to find her and stop a con (Danny DeVito) who kidnapped her.
Danny DeVito is really very funny and Michael Douglas and Kathleen Turner are solid in the lead roles.
As I said before, "Romancing the Stone" is good Romantic/Comedy/ Action movie.
It combines both Michael Douglas' and Kathleen Turner's great acting with Indiana Jones type action.
It also helped Michael Douglas make the jump from television to A-list movie star and shot Kathleen Turner's career into the mainstream.Ms. Turner plays romance author Joan Wilder, who in order to ransom her sister Elaine, flies to Colombia to deliver a map sent to her by her late brother-in-law.
Their constant bickering is funny and they definitely have chemistry.Danny DeVito (who directed "Roses," incidentally) co-stars and handles the short, funny comedic relief role quite well - he returned for the sequel as well, but in this one he actually seems to make sense (whereas in "Nile" he didn't seem to serve much of a purpose).If you enjoyed the "Indiana Jones" series or any other serial adventure-style movies, you'll love "Romancing the Stone.".
Especially Danny DeVito does a nice job playing the role of one of the criminals, but Michael Douglas and Kathleen Turner are sometimes very funny to watch too.
Romancing the Stone is a classic film that has a great cast including Michael Douglas, Kathleen Turner, Danny DeVito, Zack Norman, Alfonso Arau, Manuel Ojeda, Holland Taylor, Mary Ellen Trainor, Kymberly Herrin, and Ron Silver!
If you like Michael Douglas, Kathleen Turner, Danny DeVito, Zack Norman, Alfonso Arau, Manuel Ojeda, Mary Ellen Trainor, Kymberly Herrin, Ron Silver, the rest of the cast in the film, Alan Silvestri's great score and Robert Zemeckis great directing, Action, Adventure, Family, Thrillers, Comedy, Romance, Dramas, and interesting films then I strongly recommend you to see this film today!. |
tt0790636 | Dallas Buyers Club | A son of Texas, Ron Woodroof (Matthew McConaughey) is an electrician and rodeo cowboy. In 1985, he is well into an unexamined existence with a devil-may-care lifestyle. He gets rodeo-goers so pissed off that he has to run away from them. The presence of a cop (Steve Zahn) who pretends to arrest him is what saves him. He is knocked out by electricity when trying to save a Latin illegal worker who got his leg caught up in a machine. Through all these experiences, Woodrooff continuously coughs a lot. After being knocked out, he wakes up at hospital, and doctor Vass (Griffin Dunne) and Dr. Eve Saks (Jennifer Garner) tell him that his inmunitary defenses are so low that it's a miracle he's still alive. Suddenly, Ron is blindsided by being diagnosed as H.I.V.-positive and given 30 days to live. Yet he will not, and does not, accept a death sentence.After receiving the news, he participates in an orgy, like those he used to like so much. He also takes drugs, but he looks at a calender and feels down. His crash course of research reveals a lack of approved treatments and medications in the U.S., so Ron crosses the border into Mexico. There, he learns about alternative treatments and begins smuggling them into the U.S., challenging the medical and scientific community including his concerned physician, Dr. Saks. She notices the gold watch on the speaker who talks about the virus and the medicines. She is being told that, after all, medicine is a business. Meanwhile, Ron goes to the library and checks medicine literature on the subject, coughing all the time. He remembers the time when he probably caught it.Ron goes to hospital again and Eve tries to help him because he is giving a hard time to nurse Frazin (Donna Duplantier), but Ron is an ass to her, shouting that he doesn't need a nurse but a doctor. Eve Saks helps him as much as he can anyway; she tells him that the medicines he heard on the TIME magazine in Germany are not available in the USA. She sends him to a support group, but he doesn't want to be seen with "faggots".His own friends don't even want to sit near him anymore, and a bar brawl almost ensues. The first time he goes to the support group, he just takes leaflets about the matter and threatens one of the members of the audience who tried to hug him. When he goes to the oil field, his boss in line and the rest of the workers want him out of there, so he doesn't even get out of his car. A Hispanic orderly (Ian Casselberry) steals the drugs and sells them to him. Ron passes out.An outsider to the gay community, Ron finds an unlikely ally in fellow AIDS patient Rayon (Jared Leto), a transsexual who shares Ron's lust for life. They share the same hospital room and Saks is both their doctor. On the 29th day, Ron looks like crap, but not necessarily like somebody who is about to die - he picks up a gun and thinks of committing suicide but cries and doesn't give in.On 30th day, he reaches Mexico. Dr Sevard (Denis O'Hare) speaks to him. Ron pulls down his hospital dress in fear any gay man looks at him.Rayon also shares Ron's entrepreneurial spirit: seeking to avoid government sanctions against selling non-approved medicines and supplements, they establish a buyers club, where H.I.V.-positive people pay monthly dues for access to the newly acquired supplies. Deep in the heart of Texas, Ron's pioneering underground collective beats loud and strong. With a growing community of friends and clients, Ron fights for dignity, education, and acceptance. In the years following his diagnosis, the embattled Lone Star loner lives life to the fullest like never before. The Mexican doctor who gives him proteins and DDC, which may help him, has lost his license in the USA; as those drugs have not been approved by American doctors, so he isn't supposed to take them with him.Ron tries to smuggle them by he is caught by a border agent (Sean Boyd). Ron disguises himself as a priest and says that he is taking vitamins, not medicines. He sells the medicines on the streets. The drugs take a lot of time to be approved, so meanwhile, USA's doctors are prescribing medicines which can be considered poisons.Rayon wants to buy a cocktail of drugs from him, but finally relents because she says that Ron doesn't deserve that money, as he is a homophobic ass. Ron drives after Rayon and sells her the drugs. Rayon suggests Ron to sell the cocktail within a gay bar. At first, nobody pays attention to him, and Rayon tells him to smile, so he makes his first sale there.Soon Ron and Rayon strike up a partnership and they start selling admittance to a buyers' club, not anymore selling the drugs anymore. Dr Saks is worried about Rayon, who has just disappeared and changed address without telling her. They were on such friendly terms that Eve was even questioned about Rayon's fashion and dresses choices. She is appalled when Ron's address comes out as Rayon's new address.Eve visits Rom's apartment and she is appalled that he is giving treatment to so many people. Ron has even began to care about Rayon's health and eating habits. At the supermarket, Ron comes across T. J. (Kevin Rankin) and introduces him to Rayon. Ron has to force him to shake hands with Rayon.The queue of sick people is visible from the road. Not everybody can pay the 400 dollar membership fee anyway. Ron doesn't want Rayon to sell when high. She is a bit unpredictable because of her addiction to cocaine.He travels to Japan to talk to Dr Hiroshi (Joji Yoshida), who tells him that he was not aware of the regulations against exporting drugs. Mr Yamata (Scott Takeda) who would sell the drugs under the counter. At the airport, he is about to inject himself but passes off. His cop friend learns that Ron has AIDS.The doctor tells him to stop selling unknown drugs which have provoked a heart attack to him. An FDA Customs agent (Carl Palmer) tells him that he'll bust him if he can. Saks has even referred some of his patients to Ron.Ron makes love to somebody while everybody is waiting up. Rayon's addiction increases. A news Anchor (Rachel Wulff) talks about demonstrations demanding medicines to be approved sooner. The FDA confiscates many drugs present at Ron's apartment, but they let him go with only a fine. Ron tells Rayon to stop shooting up or it will kill her.Eve and Ron have a date and they talk about their pasts. Frank Young (Himself) appears to TV to address the problem but he doesn't say anything important and even Rayon dismisses his words. Rayon is extremely thin; she starts coughing and a friend of hers (Sunny, played by Bradford Cox)) takes him to hospital. Eve Saks sees her on hospital with nurse Frazin. Eve holds Rayon's hand, while Ron fakes Eve's signature on prescriptions. Nurse Frazin calls security when Ron storms in Rayon's hospital room and threatens his doctor - Rayon's dead.Ron calls in a stripper (Neeona Neal). Both Ron and Eve are very affected by Rayon's death. The FDA keeps on putting pressure on him taking away his drugs. He goes to a conference by the FDA, which will allow him to use drugs for personal use, something which is considered a success.Ron dies in 1992, 7 years after he was first diagnosed. | dramatic, inspiring, flashback | train | imdb | In The Dallas Buyers Club, we actually get two incredible transformations that lead to two stunning performances.Matthew McConaughey and Jared Leto each lost approximately 40 pounds for their respective roles as Ron Woodroof, the redneck, three-way loving, alcoholic, drug-addicted electrician/rodeo cowboy; and Rayon, the sensitive, street-savvy, would-be transsexual so desperate for a kind word.
A raw, gritty, and incredible true story about a HIV diagnosed man who went to extraordinary lengths to survive at a time when the AIDS epidemic was at it's worst.Matthew McConaughey who lost a significant amount of weight to play the role gives the performance of his career along with Jared Leto who's equally as good here.
During the process, Ron battles the medical field and the law in order to prove how beneficial his buyer's club is.Based on the true story of the real Ron Woodroof, Dallas Buyers Club follow one man's actions on his mission to survive and how he started a revolution in a time when HIV/AIDS was a major issue.
The film does jump around quite a bit, but it does so for the sake of the story and the events that are to come, and through every major point in Woodroof's life and battle with HIV.Among the cast is Matthew McConaughey who easily gives the performance of his career as the blunt and clever Ron Woodroof.
In addition to the organized group protests, individuals also did their part and the determination of one unlikely crusader, electrician Ron Woodroof (Matthew McConaughey), a homophobic "good ol' Texas party boy," is the centerpiece of Jean Marc-Vallée's gritty and hard-hitting Dallas Buyers Club.Written by Craig Borten and Melisa Wallack and based on real events, it is the story of Woodroof's personal struggles after being diagnosed with AIDS and his efforts to spread public awareness of the disease and help reduce the suffering and extend the lives of AIDS patients.
Though the film's depiction of Rayon does little to break the gay stereotype, their mutual engagement in helping AIDS victims helps Ron see his business partner in a different light than on their first meeting.With the help of a sympathetic doctor, Eve Saks (Jennifer Garner), Rayon and Woodroof work together while dodging Food and Drug Administration enforcers and the wrath of the pharmaceutical companies.
Undoubtedly in the most outstanding performances of their careers Matthew McConaughey and Jared Leto are my favorites thus far for bringing home the goods at the Oscars for the nominations of Best Performance of an Actor in a Leading role and supporting roles respectively in the bio-drama DALLAS BUYERS CLUB.If you had suddenly being told that you have only 30 days to live and that you have to make peace with this information how would you react?
May it be money, may it be his human instinct to live, Woodroof along with Rayon (Jared Leto) did not give up which invariably resulted in the opening of the DALLAS BUYERS CLUB ; a business that dealt the FDA unapproved medication to HIV patients.Canadian director Jean-Marc Vallee has difficulty in controlling the rhythm of the screenplay and is wobbly at first.
- McConaughey and Leto respectively won the awards for Best Actor/ Supporting Actor at the 2014 Golden Globe Awards.TITLE: DALLAS BUYERS CLUB DIRECTED BY: JEAN-MARC VALLÉÉ STARRING: MATTHEW MCCONAUGHEY, JARED LETO &JENNIFER GARNER RATED: R RATING:07/10 RUNTIME: 117 MINUTES.
The film, based on a true story, tells the story of Woodroof's fight to stay alive against the ravages of Aids in the mid-80s: he refuses to lay down and die, as all the doctor's predict, and goes on a one man crusade to identify and bring into the country - against the US Food and Drug Administration's approval - experimental drug combinations that will prolong his life.
This sets up a devastatingly powerful and emotional story.Also of note are McConaughey's two supporting actors: Jennifer Garner as his doctor friend Eve and (particularly) Jared Leto as his transsexual friend Rayon: receiving a well-deserved Supporting Actor Oscar nomination.A word of caution for those easily offended: Dallas Buyer's Club features extensive sex and drug taking scenes, and whilst not as extreme as "Wolf of Wall Street", this is also perhaps another one not to take your maiden aunt or squirming teenage son/daughter to see.
Matthew McConaughey is barely recognizable as Ron Woodroof, an electrician/womanizer who ends up finding out he's contracted HIV/AIDS and has 30 days left to live.
After searching deeper for information on a relatively unknown disease (at the time), he finds out that there is existing medication that is not yet approved in the U.S.A. that could help him survive longer.However, after running into red tape when trying to obtain medication, he decides to smuggle massive amounts of pharmaceutical products and starts selling them to other HIV/AIDS infected patients, creating the "Dallas Buyers Club".First of all, what a film.
'DALLAS BUYERS CLUB': Five Stars (Out of Five)Another likely Oscar contender is this biographical drama film starring Matthew McConaughey as an electrician/rodeo bull rider, named Ron Woodroof, who contracted AIDS (in Dallas in 1985) and started a business supplying many other victims of the deadly disease with the (unapproved) medication they needed.
The film begins in Dallas in 1985 when Ron Woodroof (McConaughey) is told by doctors, while seeing them about a work injury, that he is HIV+ and only has 30 days left to live.
Dallas Buyers Club (2013)What starts as an interpersonal drama with Matthew McConaughey leading the way, ends up as a more hard-hitting social message film with historical roots.
Beautifully rendered and truly filled with drama.If the two actors deserve the most credit (and by extension the leading woman, a doctor played by Jennifer Garner, does not), the director needs to singled out here for capturing the feel of the times and the place (Dallas, filmed in New Orleans) so well.
Playing Ron Woodroof, a homophobic electrician that contracts HIV in the 1980's, the 43-year-old actor has tapped into an extraordinary and found humanity within a character that is often times unlikeable but continue to root for.Vallée's direction of the story is impressive.
Two co-stars, who are always great to see as the expand the filmography, is Denis O'Hare and Steve Zahn, both impeccable in their minimal roles.As a whole, "Dallas Buyers Club" is competent filmmaking executed by two outstanding performances by Matthew McConaughey and Jared Leto.
With outstanding performances of Jared Leto and Matthew McConaughey, "Dallas Buyers Club" is definitely a must-see!.
Our anti-hero plans to show the public they're being poisoned, cheated, and lied to by an agency driven by profits and not the greater good of the American people.Our anti-hero is Ron Woodroof, played, once again, by a stellar Matthew McConaughey, who has finally earned enough money where he can partake in films with ambition and a fabulous storyline (kind of like the opposite of Robert De Niro).
He is assisted by the likes of a transgender female (Jared Leto, in perhaps the riskiest role of his career) and viewed uncertainly by his physician (Jennifer Garner), who is conflicted whether or not to allow him the luxury of running a buyers club, providing people with unapproved but helpful drugs, or to keep patients coming back to her hospital to provide them with sub-par care and assistance.The writing team of Craig Borten and Melisa Wallack rarely take a wrong step in portraying Woodroof as a contemptible, but admirable man hungry for life, not survival.
In a country driven more by pharmaceutical sales than ever before, the case should be made for several kinds of alternative medicine, and having Woodroof's story portrayed on film is liable to spark conversation and even a debate about the benefits and the need for other options.A scene in Dallas Buyers Club explains why this was tricky then and is even more tricky now, with corporate profits being at the forefront of concerns most of the time.
Between a fearless and completely believable McConaughey as the lead, to Jared Leto's sensitive and heartbreaking performance as a man already ostracized in society with additional huge problems, the talents writing team, the equally intelligent director, and the softly-colored visual palette of colors, the film succeeds on nearly every level in terms of a biographical piece, an interesting drama, and, once more, the story of an anti-hero we simultaneously love and hate.
The film's trailer included an amazing song by the band The Heavy titled "What Makes a Good Man?" and I simply can't think of a better song to summarize this movie's subject matter and greatness in terms of intimate focus on a character with a poor personality but a strong mentality.Starring: Matthew McConaughey, Jared Leto, and Jennifer Garner.
When the movie started I was blown i saw Matthew McConaughey this much skinny,it reminded me of Christian Bale from The machinist.The lead character Ron Woodroof represents a local hotshot who lives careless bachelor life and doesn't give a damn what other people think about him.When he diagnosed with AIDS,everyone thought he might've engaged in homosexual activity and they all started to keep their distance from him which actually happens in our real life.You know when i first heard about AIDS,all i heard was it occurs because of unprotected sexual activity and other stuff.Very few people accounted the other facts like sharing the same injection syringe with other people.In this movie we actually see how society reacts to this kind of problems and only look for the worst fact.This film also portrayed our hatred toward homosexuals in the 80s.Jared Leto played Rayon's role incredibly,i don't think anyone could've done it better.I'm eagerly waiting to watch him in suicide squad.Ron is a self motivated and optimistic man.When he found out that he has AIDS,he researched and began to try every possible med or treatment he could find.Thus,He went to Mexico and when he started feel better and saw that people like him are dying because of wrong treatments,he decided to stand against the FDA.We see that how pharmaceutical companies bribe Drug Administration to push their drugs despite its lots of dangerous side effects.its pity that this kind of corruption actually happens around us and we are the victims of it.Eve(Jennifer Garner) represents those doctors who value the patients life more than anything and protest against pharmaceutical company's conspiracy.It was very clever of Ron that when he came to know that he cant sell those approved drugs,he established "Dallas Buyers Club" with the help of Roney.Later he became less concern about money and tried to provide treatment with his money.In the end he fought for legal right to take protein but the judge couldn't do anything but admonished the FDA for their corruption.
Much of the credit for giving this factual based film 9 out of 10 is due to the amazing acting from the leading role man Matthew McConaughey, portraying the aids infected alcohol and sex addict Ron Woodroof in a most convincing way.
Most actors try their best with every role they take on, but then there's that rare opportunity that requires a physical transformation into the character, and Matthew McConaughey and Jared Leto take on the challenge by taking off nearly 80 pounds between the two of them.
Leto is a revelation too and deserves the accolades coming his way.Dallas Buyers Club may not be the authoritative story on the AIDS scare of the 1980s, but it's as good as any.Ron died in 1992, seven years after he was diagnosed with HIV.
Dallas Buyers Club is a fantastic movie with a very well developed storyline and an outstanding cast.The movie is certainly depressing and emotional as we are taken on a very serious journey with Ron Woodroof.It's based on a true story and both Matthew McConaughey and Jared Leto convey a sense of real people,even with the weird and unique characters they played,and they both very much deserved the Academy Awards for Best Actor in a Leading Role and Supporting Role.Acting and story is certainly the main factor of this movie,there isn't a huge budget,which is what impressed me the most with these actors taking a huge risk doing this very different film.Unique and dramatic,Dallas Buyers Club is an outstanding movie that will surely withstand the test of time,I would recommend it to anyone looking for a good drama or biography.
McConaughey lost an amazing 47lb to take on the role of real-life Texan electrician Ron Woodroof and deservedly won the Academy Award for Best Actor for totally inhabiting the part.
But it's McConaughey and Leto that deserve all the praise, which thankfully they got.The movie is based on the real life story of Ron Woodroof.
Dallas Buyers Club certainly deserved all of its Oscar nominations and wins, it has powerful performances and an emotional story, one of 2013's best movies.
Thanks to a thoughtful approach by director Jean-Marc Vallée and career defining performances by stars Matthew McConaughey and Jared Leto, it transcends bio-pic clichés and "disease of the week" melodrama to deliver a story that is ultimately about the strength of the human spirit and the importance of taking matters into your own hands.'Dallas Buyers Club' is not a great film, but it is a very good one, and one worth watching for reasons beyond mere entertainment value.
There's no question the bulk of his praise comes unwarranted from simple-minded audiences who believe it's impressive and brave for a straight man to play a transgender character, but he does a lot of things well in the role that the attention isn't completely misguided.Nothing that director Jean-Marc Vallee ("The Young Victoria") does is especially noteworthy, but "Dallas Buyers Club" is a tight and well-told package of a film that utilizes strong storytelling technique and editing and provides some insight into a period of all-too-recent history.
Both Jared Leto and Matthew McConaughey achieved perfection in their roles, playing parts from malnourished drug-addicts to suave and charismatic businessmen.These, among other masteries and small perfections were what made Dallas Buyer's Club such a joy to watch..
Directed by Jean-Marc Vallée, Dallas Buyers Club is undoubtedly one of the year's best films.Ron Woodroof is an electrician, as well as a rodeo cowboy.
With the help of a trans-gender named Rayon(Jared Leto), Ron Woodroof starts the Dallas Buyers Club to help all AIDS patients in America.
'Dallas Buyers Club' tells the true story of Ron Woodroof and his efforts to get alternative medication to AIDS patients in America.
This heart wrenching chronicle of one man's desperate attempts against all odds features marvelous performances by Matthew McConaughey and Jared Leto.It is 1985 in Dallas, Texas, and rodeo rider, Ron Woodroof (Matthew McConaughey), has an accident and ends up in the hospital where he learns he has the HIV virus which causes AIDs, a death sentence which, according to his doctor, gives him thirty days to live and put his affairs in order.
I also liked Jennifer Garner and Jared Leto in the supporting role.Dallas Buyers Club belongs to Matthew McConaughey who leaves no stone unturned with a brave performance.
As has been said, Dallas Buyers Club is a movie that depends on the hard hitting performances of Matthew McConaughey and Jared Leto.
But nothing is straightforward and the disease that will end his life just might save his soul.Based on the true story of Ron Woodroof, Dallas Buyers Club is an insightful reflection of the good that came out of something and someone rotten.
The final scene is ludicrously over-the-top but perhaps forgivable as an attempt to end this morbid movie on a brief high.DALLAS BUYERS CLUB succeeds at every level, entertaining us with the sheer pace of its story, overwhelming us with the mesmerising acting by Matthew McConaughey (who deserves all the awards that are coming his way) and vividly reminding us of the fatal ineptness with which successive administrations and the pharmaceutical companies responded to the challenge of HIV/Aids..
Dallas Buyers Club is a very compelling film about Ron Woodroof, a homophobic, yet intelligent redneck who is diagnosed with AIDS and has only 30 days to live.
But as AZT makes sufferers worst, the DEA and FDA targets Woodroof and his Buyers Club.Dallas Buyers Club is a superbly acted film, deserving of the nominations McConaughey and Jared Leto have received.
Jennifer Garner too was excellent in the film as a doctor who supports Woodroof and Rayon (Leto) and it is a shame she has not received a nomination for Best Supporting Actress.Director Jean-Marc Vallee and writers Craig Borton and Melisa Wallack do an excellent job at showcasing the period and culture of the time, showing the rampant homophobia and lack of understanding about HIV and AIDS with people thinking only gay people catch the disease and people can catch the disease in the most minor way possible.
Discovering that AZT is actually harmful, he switches to other non-FDA approved drugs ddC and peptide T and partners with Rayon, a transgender woman (Jared Leto), and creates the Dallas Buyers Club, providing drugs to patients for a membership fee.Making his resurgence this year with a return to dramatic roles, Matthew McConaughey dives into the Ron Woodroff character with an incomparable passion and commitment in years.
I was amazed to learn that the movie is indeed based on a true story, and fortunately there was not a significant degree of artistic license used for the film.Matthew McConaughey is amazing in the lead role, and Jared Leto delivers an equally powerful performance in a supporting role.
Dallas Buyers Club (2013) **** (out of 4)Rather remarkable story of Ron Woodroof (Matthew McConaughey), a homophobic Texas man who learns that he's got AIDS and the doctors are only giving him a month to live.
Matthew McConaughey delivers an Oscar-worthy performance as Ron Woodroof, a real-life Dallas electrician homophobe who was diagnosed with AIDS during the mid 80's.
But no doubt the strengthening endurance of the movie was the lively performance from McConaughey and from Jared Leto who plays Ron's homosexual business partner Rayon.
So for the most part, medicate yourself with acting greatness from McConaughey & Leto in the "Dallas Buyers Club". |
tt0082010 | An American Werewolf in London | Hiking on a road on the Yorkshire moors of Northern England, American college students David Kessler and Jack Goodman come to a small village. They go into the local pub, called the Slaughtered Lamb, where they're coldly greeted by the locals. One of the regulars tells an off-color joke and while everyone, including David and Jack, laughs, Jack asks why the bar has a sort of shrine with candles and a pentacle. The bar is immediately silenced and the locals become even more unfriendly, prompting David and Jack to leave. Before they leave, the locals tell them to stay on the road outside and not to wander into the moors.As Jack and David walk along the road it begins to rain and the fog surrounding them grows thicker. Subsequently, they drift off the road and find themselves disoriented on the moors. They hear the ominous baying of an animal in the distance and Jack suggests they return to the village. They then hear a low growling nearby and catch sight of a large animal, which is circling them. They hurry off in the opposite direction, only to find that the creature has flanked them. Hurrying faster, they break into a run and David trips and falls. While they laugh over David's accident and Jack helps him up, Jack is attacked by a large wolf, which savagely mutilates him. David had run off but runs back when he hears Jack screaming. He finds Jack's body ripped apart and is himself attacked by the wolf, which bites and scratches him on his face and shoulder. Gunshots are heard; the villagers from the Slaughtered Lamb have appeared and have shot the wolf. Before he falls unconscious, David sees the bloodied body of a naked man lying next to him.David wakes up in a London hospital. His doctors and nurses inform him that he's been unconscious for three weeks since the attack and that Jack is dead. The police have also informed his parents about his condition. David is distraught at the thought of Jack's murder and the doctors sedate him. Later, he's visited by a chief of police and a representative from the American Consulate. The question him about the incident where Jack was killed. David doesn't have much to tell them except that Jack was killed by a large and powerful animal.The policeman tells David that he'd talked to the patrons of the Slaughtered Lamb and they'd told him that Jack was killed by a recently escaped murderer.David begins to experience strange dreams that become nightmares; in one, he runs nude through the forest and comes to a bed. He sees himself lying in the bed; when the bedridden David opens his eyes, they appear animal-like and he snarls. After a few days in the hospital, David sees an apparition of Jack, still mutilated. Jack has come back as a spirit to warn David that they were attacked by a "lycanthrope" a werewolf. Worse, David will be doomed to transform into a werewolf himself at the next full moon, a few days from then. Jack also tells David that he must kill himself to break the werewolf's bloodline, or he may attack others and continue the cycle. Jack is incredulous, thinking that his trauma from the experience is affecting his mind. Jack assures him that the curse is very real.One of David's nurses, Alex, becomes very attracted to David and invites him to stay with her at her London flat after he's released. The two become lovers. Late one night while Alex is asleep, David wakes up to use the bathroom. He is startled by Jack, whose spirit form has begun to decay. David is still unwilling to believe Jack's warning, even when Jack tells him that he may harm Alex. Jack disappears and David is left still believing he's losing his mind.David is left alone in Alex' apartment when she goes to work. That night, David suddenly begins to scream in pain and he slowly transforms into a wolf. Loose in the city, he first stalks a man on the London Underground. The man hears David's growling and begins to walk quickly away, eventually running as David chases him. He makes it to an escalator and slips, and David kills the man. In another part of the city, David attacks a group of homeless men and kills them all. He also lures a couple out of their house and attacks another couple on the street killing them as well.David wakes up, thinking he suffered another nightmare and finds that he's naked and in the wolf's pen at a zoo. He steals some balloons from a child & an overcoat from a woman. He rides back to Alex' flat on the Tube.In the meantime, David's doctor, Hirsch, travels to East Proctor. Having been suspicious of David's wounds when he was admitted, Hirsch questions the townsfolk there, asking them why David's injuries were fully cleaned & dressed when they turned him over to the medical professionals. The townsfolk are reluctant to answer the doctor's questions, however, one of them meets the doctor outside the pub and tells him what happened and that David is cursed. The doctor returns to London and asks Alex about her new relationship with David. He tells her to keep an eye on him and that she might be in danger.Alex and David go out for a day in London. While they're out, David spots a paper that tells of the murders he committed and how they're going unsolved. David realizes that Jack is right and tries to have himself arrested, even shouting statements that are offensive to Brits. Eventually he becomes so upset that he runs off, leaving Alex behind.David winds up in a porno theatre at Piccadilly Square. Jack visits him again and introduces him to the ghosts of the people he murdered. They're all quite angry with David and all try to convince him to commit suicide immediately. David suddenly transforms into the wolf again and bursts out of the theatre, attacking people on the street and causing several violent car crashes. He's hunted by the police to a dead-end alley. Hirsch and Alex find him there and Alex tries to calm David down and help him transform back. With some recognition of Alex in his eyes, David leaps at her, feigning an attack. The police shoot him dead immediately.===================2 american Backpackers are touring around europe and have arrived in a desolate part of the UK .
Before long they are warned by the Locals of The Slaughtered Lamb to avoid the moors at night.
Shortly afterwards they are attcked my a mysterious beast which kills one of them and wounds the other. the beast is subsequenlty killed by the locals and then the fun really begins.
After coming round in Hospital David meets Nurse Price and begins to have disturbing dreams .
He is visited by his now dead friend Jack who tells him that they were attacked by a Werewolf and that David will soon become one himself.
Shortly after leaving hospital and Moving in with Nurse price a Series of grisly Murders takes place .
And David realises that his dead best friend maybe right . | comedy, gothic, murder, cult, violence, atmospheric, humor, satire, suspenseful, entertaining | train | imdb | null |
tt0288114 | The Mark of Cain | Sailing ships, stars, angels and executioners The Mark of Cain chronicles the vanishing practice and language of Russian Criminal Tattoos. Captured in some of Russias most notorious prisons, including the fabled White Swan, the film traces the animus of the flowers of this carnal art by way of the brutality of its origins- the penitentiary and the criminal environment. Incisive interviews with prisoners, guards, and criminologists reveal the secret language of The Zone and The Code of Thieves of the vory v zakone. As early as the 1920s, Russian prisons and Gulag began to attract the attention of researchers. The prisoners of the Stalinist Gulag, or "Zone," as it is called, developed a complex social structure that incorporated highly symbolic tattooing as a mark of rank. The very existence of these inmates at prisons and forced labor camps was treated by the state as a deep secret, and their tattoo art was considered a forbidden topic. In the last decade, Russia's prison population has exploded; overcrowding has reached unimaginable proportions. Few other nations have had such a massive prison population. The most conservative estimates suggest that in the last decades, over thirty million of Russia's inmates have had tattoos even though the process is against the law inside prison. According to The Book of Genesis, God placed a mark on the world's first murderer before sending him into exile. The mark of Cain proclaimed its bearer as a criminal and social outcast; for centuries, prisoners and those who broke social codes were forcibly tattooed. In Russian prisons, tattooing emerged as a visual mode of communication linked with social division. The Mark of Cain tells the story of a fading art form and how that practice's death reflects transition in broader Russian society. | dark | train | imdb | null |
tt0133751 | The Faculty | One evening at Herrington High School in Ohio (home of the Hornets), several teachers and Principal Drake leave after discussing the school's budget. When Drake returns to retrieve her keys, Coach Willis becomes increasingly erratic and stabs a pencil through Drake's hand when she attempts to leave. Drama teacher Mrs. Olsen emotionlessly stabs Valerie with scissors as Drake flees the school.
The following morning, the students arrive, including Casey Connor, the dedicated but perpetually harassed photographer for the school newspaper. Connor is the unappreciated assistant to spiteful Delilah Profitt, the paper's editor-in-chief and head cheerleader. Delilah's mistreated boyfriend Stan Rosado is contemplating quitting the football team to pursue academics. Zeke Tyler is an intelligent yet rebellious student repeating his senior year. Tyler sells, among other illegal items, a powdery ecstasy-like drug he manufactures and distributes; he is confronted by Miss Elizabeth Burke, who expresses concern for him over his illegal activities. Naive transfer student Marybeth Louise Hutchinson, befriends self-styled outcast Stokely Mitchell. Delilah has spread rumors that Stokely is a lesbian though she has a crush on Stan. Marybeth develops a crush on Zeke.
Casey notices a strange creature and takes it to science teacher Mr. Furlong, who believes it is a new species of cephalopod-specific parasite called a mesozoan. Delilah and Casey hide in the teachers' lounge to find a story. They witness Coach Willis and Ms. Olsen force one of the creatures into the ear of school nurse Ms. Harper. They also find the body of Mrs. Brummel. Casey and Delilah flee, and Casey calls the police. Principal Drake claims nothing is wrong and that Casey is seeking attention.
The next day, Casey tells Delilah, Stan and Stokely he believes the teachers are being controlled by aliens. After Zeke and Marybeth tease them about their theory, Mr. Furlong confronts them. Furlong suddenly becomes defensive and attempts to infect them. Zeke cuts off Furlong's fingers and injects his homemade drugs into Furlong's eye, apparently killing him. Zeke takes the five to his house, where he experiments on Casey's specimen. He discovers it needs water to survive and can be killed by his drugs. Zeke makes everyone take his drug to prove they are uninfected humans. Delilah is revealed as infected, and she destroys Zeke's lab and most of his drug supply before escaping.
Acting on Stokely's speculation that killing the alien queen will revert everyone to normal, the group returns to the school, where their football team is playing and infecting opposing players. Believing Principal Drake to be the queen, they isolate her in the gym and fatally shoot her. Stan confronts the coach and team to see if it worked but becomes infected. Zeke and Casey retrieve more of Zeke's drugs from his car. Casey leads infected students away from Zeke, who encounters Miss Burke in the parking lot and seemingly kills her while escaping.
At the gym, Stokely becomes suspicious of Marybeth during a conversation about pretending to be what one is not. Marybeth subsequently reveals herself to be the alien queen. Earlier on, she faked taking the drug. Casey and Stokely flee to the swimming pool, where Stokely is injured and becomes infected. Zeke and Casey hide in the locker room, where Marybeth reverts to her human disguise. She explains she is taking over Earth because her own planet is dying. Marybeth transforms back into her true form and hurls Zeke across the room into the lockers, knocking him out. Casey seizes the drug and tricks the queen into following him into the retracting bleachers, trapping her. Casey stabs the drug into the queen's eye. The queen infects Casey with her dying breath, but Casey almost immediately returns to normal upon her death. Casey returns to the locker room and finds Stokely and Zeke alive.
One month later, everyone has returned to normal. Stan and Stokely begin dating, and Zeke takes Stan's place on the football team (while Miss Burke affectionately watches him practice). Mr. Furlong has miraculously survived the attack, now sporting an eyepatch and bandages on his hand. Casey begins dating Delilah and is considered a local hero. | mystery, violence, cult, horror, flashback, satire, suspenseful, entertaining | train | wikipedia | Cameos from Usher, Summer Phoenix and a seemingly pointless role for Harry Knowles (he's been bought!) don't spoil this.Overall as a sci-fi horror it's pretty good if not great there are better films around.
But what really makes this film special are the main characters: a delightful group of funny and interesting students, who have to cope with the trials of high-school life as well as the demands of defending the Earth against an insidious alien invasion.If you know the other films of Robert Rodriguez (Desperado, From Dusk Till Dawn) you will find another film which displays the same wit and assured lightness of touch that makes this director's work such a pleasure.Great Stuff!.
Fun and Interesting characters and cool visual effects are the key to this Sci-Fi Thriller, which is largely based on 'The Invasion of the Body Snatchers' I won't introduce the characters here, as the movie introduces (Clea DuVall, Laura Harris, Josh Hartnett, Shawn Hatosy, Jordana Brewster and Elijah Wood's characters) really well as the students at Herrington High, they each have their own individual personalities that evolve as events in the film unfold.The Faculty is littered with top names like Robert Patrick, Famke Janssen, Bebe Neuwirth and Salma Hayek who all begin to behave strangely, un-nerving the students.A small pocket of students begin to believe in a conspiracy among the teachers and it's up to them to save the world from invasion.Great performances from the cast (Josh Hartnett in particular), a fun script and a cleverly re-written story all conspire to make the Faculty a cracking 100 minutes of all out entertainment.7/10.
Anybody who *doesn't* know this but saw and enjoyed the Scream flicks or the "I Know ..." movies is likely to enjoy this.No, it doesn't really have the same underlying Red Scare theme of the original Bodysnatchers (or Arthur Miller's Crucible), although it *is* about what every modern high school movie seems to be about: how much their presumed roles imposed on teens makes their lives painful, and how great it is to unleash those strictures.
Oh, and any 'homophobia' attributed to the movie (as opposed to some of its high school student characters, just as occurs in real life) is questionable at best."The Faculty" is no more and no less than another entry in 'new geek cinema,' slightly more intelligent and self-referential than your standard SCI-FI Network fare.
However, after about 20 minutes of set-up, the faculty really starts to become an alien species, as they are assimilated by water-loving parasites with very bad attitudes and a kind of group consciousness straight out of Invasion of The Body Snatchers and Star Trek's Borg.
Especially impressive are Elijah Wood, Piper Laurie, Robert Patrick, Josh Hartnett and Clea DuVall.Like most of Rodrigues' films, The Faculty never loses its sense of humor, and pulls off its own absurdity with artful visualization and a tight, driving pace.
So, that's where I started my obsession with horror flicks, but on to another subject...I also enjoyed Kevin Williamson's I KNOW WHAT YOU DID LAST SUMMER and as you could probably tell, I was equally excited to see what this movie would be like.
Originality is not The Faculty's strongest suit, the basic plot being a reworking of Invasion of the Bodysnatchers (with a touch of Night of the Creeps and The Thing chucked in for good measure), its characters your typical high-school movie stereotypes (The Jock, The Nerd, The Outcast, The Stoner, The Head Cheerleader, The Hard-ass Coach, The Tough Principal etcetera etcetera.) and even the movie poster displaying very little imagination.But although this kind of thing has been done many, many times before, the film still proves to be hugely entertaining thanks to a sharp script by Kevin Williamson, assured direction by Robert Rodriguez, great special effects (particularly the practical MUFX by KNB), and a cool cast including Bebe Neuwirth (40 and fabulous), Jordana Brewster, Salma Hayek, Elijah Wood, Robert Patrick, Clea DuVall, Famke Janssen (hubba, hubba), Usher, Laura Harris (naked!) and Piper Laurie.
Hell, even Josh Hartnett and his bad hair didn't rankle me that much, which is a change.The movie opens brilliantly with an amazingly tense scene (Williamson having had prior experience in writing such scary openings with Scream and Scream 2), and the excitement continues unabated until the spectacular finale which features one hell of a cool monster, a Cthulu style alien with lots of gnarly teeth and thrashing tentacles.
Probably the best cast of any sci-fi horror that comes to mind.Its entertaining but not that scary.This movie is about a group of students that attend high school.
Taken over by alien parasites, this time it's high school teachers who can't be trusted anymore with a small group of students – amongst them soon-to-be famous faces of Josh Hartnett and Elijah Wood – discovering the terrifying truth.
Now some say this film is for Teenagers who don't know any better than to think this is a great sci-fi film, but the biggest fan of this film that I know is my 63 year old mother, and I am surely not a teenager anymore.This film is a classic, and yes, it does feature teenagers as the main cast (not the actors.) But the adult characters make a great performance, and even Jon Stewart is pretty entertaining as the science teacher.One film that you should stay for the cast credits just for Jon's appearance!.
Finally after the appalling "I Know what you did Last Summer" franchise, writer Kevin Williamson comes back strong with this enjoyable slice of movie literate, sci-fi black comedy.Cult director Robert Rodriguez skilfully mixes shocks with laughs in this pseudo-remake of "Body Snatcher" movies.
The script has some wit, the cast is great, and the story moves; though, it doesn't really achieve the above ordinary status obviously intended -- it's no "Scream".Of the adults, coach Robert Patrick is the main villain; he and the other adults play their roles with a good amount of creepy teacher edginess.
Josh Hartnett (Black Hawk Down) plays the druggie/secret genius who has a major affection for nerdy teacher (Famke Janssen); Elijah Wood (The Lord of the Rings) is the geek who gets his groin crunched by the flagpole who thinks that his alien paranoia has come to life; Clea Duvall (no relation to Robert Duvall) is a student who has people questioning if she's a lesbian; Laura Harris is the new student taking interest in Josh Hartnett; Shawn Hatosy is a jock who wants to concentrate on academics while Jordana Brewster (The Fast and the Furious) is the "It" girl.
The film is directed by Robert Rodriguez while the screenplay is written by Kevin Williamson in which like Scream has big references to everything.Overall, a cool flick..
Its references range from "Invasion of the Body Snatchers" (the film's primary inspiration), to "Pod People." But this is no surprise -- the film was penned by Kevin Williamson, the guy behind the self-aware horror hit "Scream" One and Two, as well as "I Know What You Did Last Summer." (One of my least favorite horror films of all time, surprisingly.)This is one of his best efforts.
We have The Nerd (Elijah Wood), The Criminal (Josh Hartnett), The Jock (Shawn Hatosy), The Princess (Jordanna Brewster), The New Hot Babe (Laura Harris), and The Basketcase (Clea DuVall).As I sit at my keyboard and recall the plot and characters, I realize just how routine and clichéd the film really is.
The Faculty hardly breaks new ground thematically--from Invasion to the Body Snatchers to Night of the Demons, you've seen it all before--but it's reasonably talented young cast and well written screenplay lift this one head and shoulders above Scream, I Know What You Did Last Summer, or any of the Friday the 13th movies..
After the discovery of a strange creature, the students at a small- town high school start to suspect it has something to do with their teachers' sudden strange behavior and soon realize it's part of an alien plot to take over the world and must find a way to stop it.This here was quite an enjoyable and entertaining effort.
The biggest problem with the film is the fact that the beginning here takes awhile to get going as all the great work done to build up the threat of the aliens around the school doesn't feature any action to do that.
If this were a term paper and I were part of the Faculty marking it: A+ Nothing short of brilliant and still an enjoyable romp to this day, bringing an old premise into new territory (a talent of screenwriter Kevin Williamson, whom in my opinion is wasting the amount of awesome movies he could be writing on television shows I have no interest in).Robert Rodrigues' best work (to me), and I've never seen him rise above this gem in anything else he has done.The score by Marco Beltrami, the various artist's soundtrack, the actors and actresses, the colouring of the film, the dialogue, the characters, the twists, the turns...everything is like lightning in a bottle.Watched this in High School and it will go down as one of my all time favourites..
Directed by Robert Rodriguez (El Mariachi), it's The Breakfast Club meets Invasion of the Body Snatchers, as six disparate students from Herrington High School band together when they discover that an alien life form is invading both the student and faculty bodies, with plans to take over the world.
Each of the heroes represents a different high school type: popular babe (Jordana Brewster), picked-on geek (Elijah Wood), goth girl (Clea DuVall), sensitive jock (Shawn Hatosy), new kid in town (Laura Harris), and bad-boy rebel (Josh Hartnett).
The young cast doesn't have a weak link among them (with special kudos to Wood, DuVall and heartthrob-in-the-making Hartnett), and Rodriguez gets maximum mileage from the titular faculty, which includes Jon Stewart, Piper Laurie, Salma Hayek, Bebe Neuwirth, and Robert Patrick of Terminator 2.
From the get-go one can figure the Robert Rodriguez directed film of Kevin (Scream) Williamson's The Faculty is like Invasion of the Body Snatchers given a dose of full-blown 90s High School horror movie without it being too compromised.
What struck me more though than the characters- even through some notable turns from its main teen cast (Elijah Wood, Josh Hartnett, Clea Duvall, Shawn Hatosy and Jordanna Brewster) and choice teacher bit parts (Jon Stewart, Salma Hayek, Christopher McDonald)- is Rodriguez's fun with the material.
It differs from those earlier works in that: (1) there are a half dozen high-school-age protagonists, and (2) the aliens initially co-opt the bodies of teachers.The personalities of the teenagers are well-developed, particularly the Elijah Wood and Clea DuVall characters.
Robert Rodriguez's direction is woefully uninspired and Kevin Williamson's script is his worst yet.It appears that with the release of this film, coupled with the recent and terribly executed remake of Psycho, John Carpenter's Vampires, and I Still Know What You Did Last Summer - that the fairly recent and much talked about "re-birth" of the horror genre has come to an abrupt (and welcome) end.
A bunch of kids - Elijah Wood, Josh Harnett, Clea DuVall and Jordana Brewster - of various levels of social standing within the social hierarchy (whether they accept it or not) begin to suspect that something is seriously amiss with their teachers and fellow students; whether the general mellowing of personalities is necessarily a bad thing in the jungle of High School politics is open to debate!There's a checklist of classic sci-fi films and 1990s cultural references.
Set in the fictional town of Herrington, Ohio, the film introduces high school students Casey (played by Elijah Wood), a photographer of the school's yearbook who is constantly a target of meat-headed bullies, Delilah (played by Jordana Brewster), the vindictive editor-in-chief of the yearbook, Stan (played by Shawn Hatosy), Delilah's boyfriend and star quarterback who's quitting the football team run by his tough-as-nails coach Joe Willis (played by Robert Patrick) to focuses on his academics, Stokely (played by Clea Duvall), a goth girl who is rumored to be a lesbian, Zeke (played by Josh Hartnett), a rebellious punk who is repeating his senior year while selling drugs and IDs to his fellow classmates, and Marybeth (played by Laura Harris), a new student.
As for the cast, everyone is mostly solid, nothing really memorable -- unless considering the creep demeanor of Robert Patrick displaying a sinister portrayal of a football coach who always feels like he is on another planet.The Faculty is fun, campy science-fiction horror bound to please teens and adults thirsty for a gory alien invasion scarefest not meant to taken seriously.
The movie revolves around a group of students, one of whom discovers the remnants of an extra biological entity that comes to life upon being placed in a fish tank, coming to the realization that aliens had gained control of their high school teachers and their attempts to uncover the queen alien in a concerted effort to search for an effective method to annihilate the queen so as to vanquish all alien parasites inhabiting their human hosts and to restore life back to normalcy; and introduces two attractive actresses, one assuming the role of heroine (namely, Jordana Brewster) - who will take you breath away, and the other the role of villain/alien (namely, Laura Harris) - who will knock the breath out of you.The best thing about the film is its cast.
They each fit a common stereotype: The Loser (Elijah Wood), The Outcast (Clea DuVall), The Stoner (Josh Hartnett), The Jock (Shawn Hatosy), The Cheerleader (Jordana Brewster), etc.As could be expected with a Robert Rodriguez venture, there was clearly some fun had with the casting choices.
All of those elements make The Faculty solid entertainment that's Robert Rodriguez at his best.Set in Ohio,The Faculty tells the story of High School teenagers Casey(Eiljah Wood),Zeke(Josh Hartnett),Delilah(Jordana Brewster),Stokely(Clea DuVall),Stan(Shawn Hatosy)and Marybeth(Laura Harris)who find out that their teachers and fellow students have been taken over and possessed by Aliens.
The Faculty is a terrific and memorable SCI-FI-Horror-Thriller that would be described as The Breakfast Club meets Invasion Of The Body Snatchers with a dash of John Carpenter's The Thing and is a movie that gives viewers a fun and interesting take on the Alien invasion genre with High School and with teenagers dealing with adults even though the movie isn't serious.
This is what happens when a random cluster of students at an ordinary high school discover that their teachers aren't what they appear to be.Directing this movie is Robert Rodriguez who has a story in the genre of horror for the second time - before that was From Dusk Till Dawn (1996).
The plot is hardly original, being that old science fiction/horror standby about alien parasites trying to take over the world by controlling people's minds and bodies, in this case starting with the pupils and staff (sorry, "faculty") of Herrington High School.
The Movie starts out OK and has a Creepy (yes that Invasion of the Body Snatchers/Puppet Master Thing is still unsettling to this Day) Set-up, but by the Time the Invaders turn into CGI Octopi all Tension gives way to Ho-Humness.The Film has a good Cast of Adults and Teens Spouting the usual Stuff that these B-Movie Adults and Teens Spout with all the Comfortable Clichés, but in the End with a very Forced and Facile Script, the Movie just sort of Lies there Gawking with Self-Referential Sadness.Slightly better than Average as these Things go, but considering the Talent Involved it can't help but be a Fizzle that Never seems to be Amped Up on its Own Stimulants..
The Faculty The most awkward aspect of attending high school as an alien is showering with your mono-penised classmates after gym.Fortunately, only the administrators in this horror movie appear to be aliens.When Casey (Elijah Wood) uncovers a strange creature at school, he takes it to his science teacher, Mr. Furlong (Jon Stewart).Eventually, like other faculty members (Famke Janssen, Salma Hayek, Bebe Neuwirth, Robert Patrick), Furlong hosts a species dependant on Earth's water.To prevent a town-wide assimilation, Casey and his classmates (Josh Hartnett, Jordana Brewster, Shawn Hatosy, Usher) must use a homemade narcotic to overthrow their alien oppressors, and return their teachers to normal.An archetypal teen horror movie from the late-1990s, the only thing separating The Faculty from the era's other slasher schlock is its done to death secret invasion premise.On the bright side, with their numerous appendages, alien educators are well equipped for today's overcrowded classrooms.Yellow Light vidiotreviews.blogspot.com.
It seems there is an alien plot to take over world and only a rag-tag group of students can save us.When you pair Robert Rodriguez {director} and Kevin Williamson {writer} what sort of movie do you really think you are going to get?
Well in this film is a take-off of the Invasion of the Body Snatchers in a small town high school with a first rate cast like Piper Laurie, Bebe Neuwirth, and even Jon Stewart is probably doing his finest acting moments as a professor/scientist.
It's a fun film with a mix of action, sci-fi, and some horror thtown in for good measure.I liked the actors in this too Clea Duvall was wonderful as the goth girl Stokely and Elijah Wood as the nerd of the group, but neither overdo their part, nor do they unplay it.
Casey is the nerd that nobody likes, there's a new girl from somewhere, a school news reporter, and a lesbian (!) or is she?They all suspect that their teachers are aliens, and one day when 2 of the students go into the faculty, they are shocked to see what happens.I highly recommend, that you go hire this movie NOW!!!!!!!9/10Typical teen horror movie!
FACULTY, THE (1998) *** (D: Robert Rodriguez) Surprisingly effective update of the BODY SNATCHERS theme, set in a high school where alien parasites take control over teachers and other authority figures. |
tt0986263 | Surrogates | The movie opens with an intro explaining the back-story in detail. In 2017, humans live in near-total isolation, rarely leaving the safety and comfort of their homes, thanks to remotely-controlled robotic bodies that serve as "surrogates," designed as better-looking versions of their human operators. Because people are safe all the time, and damage done to a surrogate is not felt by its owner, it is a peaceful world free from fear, pain, and crime.We next come upon a young teenage man taking to someone over the phone. After a weird nightclub scene, we then see the teenager making out with a girl he had met in there. They're about to get it on when they're interrupted by a mysterious man wearing a motorcycle helmet, who proceeds to shoot the two surrogate-controlled civilians, then cause a massive car accident while making his escape on his motorcycle.Agent Tom Greer (Bruce Willis) is an FBI agent who, through the use of his own surrogate, investigates the first murder in years. Turns out the teenager was none other than Jarod Canter, the college student son of Doctor Lionel Canter (James Cromwell), the man who invented the surrogates, and who uses multiple surrogates himself. Geer and his partner Peters (Radha Mitchell) visit the home of the female surrogate's owner, only to find that she was actually a man, and that he is dead in his own operator chair.After the bizarre and horrifying turn of events, it's revealed that Greer had a son who had died in a car accident, causing a strain in he and his wife Maggie (Rosamund Pike)'s relationship. Since then, Maggie despondently restricts most of her daily activities using her surrogate.The case grows more complicated, however, when several humans are murdered when their surrogates are destroyed, something which is not supposed to happen, as the human operator is normally safe from the damage done to his/her surrogate. Greer begins investigating the murder and is lead to the Dreads, a group of humans led by a mysterious man known only as The Prophet (Ving Rhames) who are against the use of surrogates. With the help of the system administrator, who does not use a surrogate, Greer and Peters determine the identity of the murderer is a Dread named Miles. Miles used a unique weapon to kill Jarod as well as five cops tracking him with the weapon. Greer barely escapes death by the weapon. He survives by disconnecting himself from his surrogate as the weapon is fired, and then resumes his connection to the surrogate afterwards. Although his surrogate is physically damaged, it is able to pursue Miles before his surrogate is destroyed by the Dreads. Greer is badly hurt by the weapon despite disconnecting. Maggie finds him in his apartment. Greer is then taken to the hospital and survives, although his boss suspends him, Stone, and is not allowed to use a surrogate while his actions are investigated.At the Dread Reservation, Miles is approached by The Prophet who demands information about the weapon. Miles is apparently killed by The Prophet or his lackeys. When Greer goes into the Reservation, he stumbles upon Miles' funeral and then approaches The Prophet, asking about the weapon Miles used. As Greer leaves the Reservation, it is revealed that The Prophet has the weapon. Greer meets with Dr. Canter, again using one of his surrogates, who suggests the weapon was manufactured by the military. Greer meets with a member of the military and learns that the weapon sends a computer virus into the surrogates that shuts them down, but it also disables the failsafe mechanisms and kills the operator.A mysterious surrogate goes to the home of Greer's partner Peters and kills her, then transfers control of her surrogate to an unknown party who uses it to go through the financial records of the FBI. The Peters surrogate learns that Stone is apparently behind the death of Jarod, having been assigned by the company that creates the surrogates to kill Dr. Canter, which he in turn assigned to Miles. Jarod was using one of his father's surrogates and as such was mistaken for him. At the Dread compound, The Prophet orders delivery of the weapon to Peters just before the military attacks. The Prophet and his men are killed, but The Prophet is revealed to be a surrogate of Doctor Canter. The Peters surrogate tricks Greer into getting information about the weapon from Stone's computer. The Peters surrogate then flees from Greer, taking the information and the weapon. Greer chases her, but she escapes and goes to FBI headquarters where she hooks the weapon up the surrogate network to kill all the surrogate operators.Greer calls the system administrator who reveals that Peters has taken him hostage. Greer heads to Canter's home and forces his way into Dr. Canter's home to find him. At the FBI building, the Peters surrogate forces Stone to come talk to her. Dr. Canter reveals that he is now controlling the Peters surrogate. Stone confirms he did try to have Canter assassinated, and Canter kills Stone with the weapon and returns to uploading the weapon's virus to all the surrogates. Greer makes his way through Canter's mansion and finds Canter's many surrogates, which includes the one that killed the real Peters. Greer then finds Canter (who disconnects from the Peters surrogate) who then reveals he wants to destroy the surrogates so that real humans can return to their prior lifestyle. Canter has already started the process through the Peters surrogate, and then he kills himself. Greer takes control of the Peters surrogate. With the assistance of the system administrator, Greer insulates the surrogate operators so they will survive even if the surrogates go down. He is then given the choice of whether or not to save the surrogates. FBI troops storm the room as Greer decides not to cancel the transmission before the Peters surrogate is killed. The virus from the weapon uploads and destroys every surrogate worldwide, leaving his or her operators alive, but having to go back to using their real bodies again.Greer goes home and connects with his pale and unattractive wife in her real body. In the final shots, media broadcasts reveal the surrogates are down worldwide and no one knows if they will ever be able to be recreated again. | murder, thought-provoking, alternate reality, psychedelic, action, revenge, sci-fi | train | imdb | null |
tt0088172 | Starman | In 1977, Voyager 2 was launched containing a gold, phonographic disk with messages of peace embedded within it and inviting visitors to come to the planet Earth. The Voyager probe is intercepted by an alien space ship which sends a small observational scout vessel in response to the invitation in order to establish first contact with Earth. However, instead of being greeted by its human hosts, the spacecraft is promptly shot down by the US government. The ship crashes in Chequamegon Bay, Wisconsin and the alien, a blue ball of energy, emerges from the wreckage. It stumbles upon the house of recently widowed Jenny Hayden (Karen Allen). There, it finds a lock of hair belonging to deceased Scott Hayden in a photo album and uses it to clone a new body in the likeness of Scott, which the stunned Jenny witnesses.The Starman (Jeff Bridges) is seen to possess seven small silver spheres which he turns into pure energy to perform miraculous feats. He uses the first one to send a message to his people that his craft has been destroyed, that the environment is hostile, and that he will rendezvous with them at "Landing Area One" in three days, located in Arizona. He then uses the second one to create a holographic map of the United States in order to compel the dumbstruck Jenny to help him get to Arizona. However, Jenny is frightened of the Starman and reacts with hostility towards him, doing what she can to avoid traveling with him. After repeatedly and unsuccessfully attempting to escape, she finally implores the Starman to shoot her with her pistol. Instead, the Starman releases the pistol's magazine and tells her he means her no harm. As they continue on their journey the Starman, who developed a rough understanding of English syntax from the Voyager 2 disk, learns to communicate exactly who he is and what his purpose is to Jenny while she tries to teach the Starman that humanity is not completely savage.The Starman explains to Jenny that he has three days to get to the rendezvous point, Arizona's Barringer Crater, or he will die. She teaches him how to drive a car and use credit cards, intending to leave him self sufficient enough to continue the journey alone. However, while they are stopped at a small diner, they connect on a more emotional level with Jenny attempting to explain to him what love is. She also witnesses the Starman revive a dead deer that had been tied to the front of a hunter's (Ted White) car. Deeply moved, she resolves to help him.Meanwhile, the US army, after discovering the crash site of the Starman's ship, is tracking the couple's trail to Arizona. The army battilion is led by the cold-blooded NSA Chief George Fox (Richard Jaeckel) who is reluctantly assisted by SETI scientist, Mark Shermin (Charles Martin Smith). Shermin is clearly a more understanding and empathic man and, after he finds the Voyager 2 disk in the Starman's ship, Shermin deduces that the Starman was invited to Earth peacefully and discovers that the alien has taken the form of Scott Hayden through collected pieces of evidence around Jenny's house.Once news of the fugitives becomes publicized, a couple of cops (Dirk Blocker, M.C. Gainey) intent on becoming local heroes, discover Jenny and Starman residing at a motel. They decide to hold position outside until the government arrives but, when Jenny and Starman attempt to escape, despite employing a distraction, the cops pursue them by car and one shoots Jenny. Starman crashes their vehicle into an overturned gas tanker, protecting himself and Jenny from the ensuing explosion with one of his spheres. Under cover of the chaos, he seeks refuge in a mobile home being transported on a trailer bed.Jenny never regains consciousness but Starman, down to his last two spheres, uses one to revive her, gently kissing her as her wounds heal. He then leaves her and attempts to reach the Crater alone; afraid she will be hurt again. Jenny regains consciousness and heads off to find him, aware that they were being pursued by the government. Meanwhile, the Starman hitches a ride with a local truck driver, telling him that his name is Scott and he's headed for Arizona. A large traffic jam awaits them. Several miles back, Jenny manages to hitch a ride with another truck diver and, after a while, are met by the same traffic jam. Police have barricaded the road and are interrogating people. When she locates Starman standing anonymously within the crowd, and knowing it's only a matter of time before he's revealed, Jenny employs the truck driver to stage a distraction for her. He explodes a gas can which incites the police to chase after him, enabling Jenny to reach Starman. They escape in the panic and continue their journey, stowing away on a train boxcar.En route, they become close and consumate their feelings for one another. Starman tells Jenny that he gave her a baby, despite Jenny's insistence that she is infertile. Starman assures her to believe what he says and tells her that the child will be the son of her husband, since he is a clone of Scott. He explains that the child will know all that Starman knows and will grow up to be a teacher. However, he gives her the option of taking it back but Jenny refuses, joyfully accepting his gift.The couple mistakenly travel too far on the train and arrive in Las Vegas and, to make matters worse, Jenny has lost her wallet. The Starman uses their last quarters in a slot machine which he manipulates with his powers in order to win a $50,000 jackpot. The couple use their winnings to buy a new car to complete the drive to Winslow, Arizona, which is near Barringer Crater.Meanwhile, Fox has received information from NORAD that the trajectory of The Starman's Observation Craft, prior to it being shot down, was to Barringer Crater, and concludes that the Starman, along with Jenny Hayden would be in that general vicinity within the next 24 hours of that determination.Near the end of the journey, the Starman, growing weaker, and Jenny are confronted in a cafe in Winslow, where Mark Shermin interviews the dying Starman. The Starman explains to him that his people had previously visited Earth and are interested in humans because, out of all the many savage intelligent races in the universe, humans are at their best when things are at their worst. Confronted with this, Shermin decides to ruin his career to help the Starman and Jenny escape.The couple reach the crater as Army helicopters buzz them. Suddenly, the aliens' large, spherical mothership appears in the sky and descends into the crater. A blue light surround the couple and the Starman is instantly restored to health. He tells Jenny he will never see her again. Jenny confesses her love and begs him to take her with him but he says she would die on his world. He then gives her his last silver sphere, telling her that her son will know what to do with it before asking Jenny to tell her son about him. He asks her to tell him how to say goodbye and they kiss one last time before the Starman walks away into the beam. As Jenny watches in silence, the mothership rises, carrying the Starman away. | comedy, suspenseful, boring, cult, violence, clever, psychedelic, revenge, home movie | train | imdb | His gentle alien comes in the form of a human clone (Jeff Bridges), and as we watch him interact with the rest of our race, we see both the good and the bad in all of us.
John Carpenter directed "Starman" in 1984, hot off the mega-success of the landmark horror movie "Halloween" in 1978 and the cult science fiction/adventure flick "Escape from New York" in 1981.
"Starman" was a significant departure and change-of-pace from all of Carpenter's earlier works.While essentially a science fiction story involving all the essentials - aliens, the United States Army, government cover-ups, a countrywide chase adventure and what's this, an intergalactic love story?
And who can forget that awesome synthesizer score by Jack Nitzsche (strange since Carpenter usually composes his own film scores)?Evans and Gideon's script, taking its cues from "The Day the Earth Stood Still" (1951) and "E.T. the Extraterrestrial" (1982), concerns an alien who has come to Earth after answering an invitation he found on the Voyager II space probe.
After sampling DNA taken from a lock of hair of her late husband, the alien grows into a human clone of him, where he is now played by the actor Jeff Bridges.After overcoming the obvious speech barrier when he learns to speak in English, Starman then requests that Jenny Hayden drive him from Wisconsin to Arizona, where he will meet the mother ship that will take him back to his home planet.
Along the way, Jenny grows from being fearful of this visitor from another planet, to respecting him and finally loving him, while he gets to learn about human beings and BEING human.It's not enough to say that both Jeff Bridges and Karen Allen are this film's magical centerpiece.
We see no trace of the actor "Jeff Bridges" in there, all we see is "Starman," defined largely by his awkward mannerisms and patterns of speech, and it is a skillful, humorous, and touching performance that is the pure anti-thesis to Carpenter's earlier "The Thing" (1982).John Carpenter, unfortunately, has not received a whole lot of recognition for this picture.
The focal point comes in the diner where our alien asks Karen Allen to "Define Love." If everyone would take this definition to heart, this world would be a much better place!This is what movie making should strive to achieve.
The achingly gorgeous Karen Allen and the sublime Jeff Bridges star in this story of love and innocence.A magical movie, with a poignant, otherworldly score sees John Carpenter direct a movie outside his usual genre.
The spacecraft crashes in Chequamegon Bay, Wisconsin and the alien wanders in a form of energy to the house of the young widow Jenny Hayden (Karen Allen), where he uses the DNA from a hair of her husband Scott (Jeff Bridges) to take his human form.
In `Starman,' directed by John Carpenter, Jeff Bridges stars as the alien who responds, only to be met with a less than cordial greeting once he arrives.
As it is, it's a good film, better than the average sci-fi offering (especially for it's time, 1984), but given that Bridges brought so much to this with his creation of such a memorable character, the movie as a whole could have been so much more.
Although it is not what you would call a `great' or `classic' movie, `Starman' does succeed in making us take pause to reconsider some of our possibly preconceived notions of the way things are or should be; in the end, it's a call for understanding and love between all people everywhere, and a proposition put forth for universal peace.
A strong story, that succeeds in avoiding all the predictable jokes about a stranger getting to know the customs of a new environment (like e.g. Crocodile Dundee, or Blast from the Past), good actors, strong directing and great special effects (Bridges' transformation from a baby to an adult!) that never predominate the rest of the story.
Carpenter who tends to write his own music for films left it to Jack Nitzsche although I assumed for years it was Carpenter's music with that stirring theme.I was mesmerised by this film when I saw it 30 years ago and it's lost nothing of its charm and power since then even though the film has of course aged.The alien who arrives on Earth takes the form of Jeff Bridges the late husband of Karen Allen who still mourns him.Allen is of course uneasy about this arrival and Bridges needs to get to Arizona in three days so he can be reunited with his spacecraft and get back home.
He starts out as almost infant like when he arrives, learns to speak, move and navigate with a sense of wide eyed wonderment.The film is essentially a road/chase movie as the government and military are on the hunt for our alien with Allen wondering whether to abandon him.
John Carpenter's Starman is a wonderful film!Jeff Bridges and Karen Allen are really good in this movie!The beginning is scary and the film is never boring and its very in interesting and yet sad and the same moment.It has great effects and a good ending!If you like alien films then check Starman today because it is a fantastic movie!.
The film talks about a widow (Karen Allen) who solely lives in a countryside cottage and embittered for his husband's death when suddenly crashes a craft appearing an alien that takes shape from him (Jeff Bridges).
Being the only John Carpenter film to have an Academy Award nomination , Jeff Bridges as Best Actor .
Another unpredictable film from John Carpenter with an Oscar-nominated performance by JEFF BRIDGES, at a time when his career was in high gear.JEFF BRIDGES is an alien with the ability to transform himself into the exact duplicate of KAREN ALLEN's husband Scott who has died.
Carpenter does express his shock tactics and trick photography he employed on classics like Halloween, The Fog and The Thing, and even though Starman isn't a horror movie, these tactics seem more suitable to this Sci-Fi/Romance.The two vital components in making Starman work are Jeff Bridges and Karen Allen.
Bridges gets to grips with the Alien he is playing but plays it so gentle and mesmeric that when the love affair between Starman and Jenny Hayden [Karen Allen] blossoms, you are at once cheering it on.
A sweet, tender & heartwarming portrait of love & sympathy, Starman offers John Carpenter an avenue to try his hand at romance and though it comes pierced with elements of sci-fi, the film functions as a surprisingly warm & thoroughly human love story led by a wonderful chemistry between its two leads.The story follows a young widow who's grieving the loss of her husband.
Her life spirals out of control when an alien, who's visited Earth to establish first contact after intercepting the Voyager 2 space probe, crash-lands near her house, takes the form of her deceased husband, and asks for her help while being hunted by the government.Directed by John Carpenter, the film marks a new territory for him but his careful approach to the subject matter in addition to his innate ability to build tension & suspense from nothingness makes it an engaging sit.
With more emphasis on the bond that develops between the two characters, the film turns out to be a silent meditation on love, loss & companionship.Treated more like a cross-country road trip than a conventional sci-fi, the film is a departure from what Carpenter is best known for but he shows that he can revel in any genre if given the creative freedom and it's a fine addition to his directorial oeuvre.
And this story is further uplifted by smooth camerawork, relaxed editing, steady pace & an intimate score that surprisingly isn't from Carpenter.Coming to the performances, Starman is steered by a terrific showcase from Jeff Bridges who portrays the confusion, adaptation & growth of his alien character in human skin in a deft & relatable manner and his chemistry with Karen Allen is the core ingredient that makes this film work.
If my memory hasn't failed me, it seems that most of the science fiction movies I've seen -- going back to "The Day the Earth Stood Still," and some even older, and including this one -- one common situation usually occurs.Some earthlings are intent upon whacking the good-intentioned alien (who always possesses knowledge light-years beyond ours), instead of receiving him and making him welcome and learning a few things.Also, there is usually some guy in-charge (Richard Jaeckel here), a mid-level or minor functionary, or an army bird colonel (perhaps lower).
Despite this, the story and performances here are engaging, the two main characters thoroughly likable, and I do realize the presentattion would have to have been different if the "Starman" weren't being pursued by those intent upon offing him.Jeff Bridges has always been a particular favorite of mine, so when he appears in a truly outstanding flick, it's doubly enjoyable for me..
Original and heartwarming sci-fi romantic thriller with extraterrestrial Bridges (winning in his Best Actor nominated performance) visiting Earth after an open invite via a satellite and takes form of Allen's recently deceased husband.
Starman is an excellent and underrated SCI-FI-Fantasy-Romance that combines terrific direction,wonderful performances,an amazing score and great special effects.
All of those elements make Starman a great film that is John Carpenter and Jeff Bridges at their best.Starman tells the story of am Alien,a Starman(Jeff Bridges)who's space ship has crash landed on the property of widow Jenny Heyden(Karen Allen)and takes the form of her dead husband.
While on the trip Starman and Jenny get to know each other and fall in love.During his career,master Director John Carpenter has made five films dealing with Aliens with Horror,Action and SCI-FI,his funny feature film debut Dark Star(1974),the excellent and terrifying The Thing(1982),the brilliant and thrilling They Live(1988)and the underrated and entertaining Ghosts Of Mars(2001).
In between those four films came Starman in 1984,a wonderful SCI-FI-Romance that was a modest success at the Box Office,earned an Academy Award nomination for Jeff Bridges,spawned a short lived television series and next to Big Trouble In Little China is Carpenter's lightest film that remains underrated and gives people a different side to Carpenter that wasn't seen before this film.
If you watched Carpenter's other films you should already know he's never been the most sentimental or Romantic filmmaker but he does a great job with the Love and Romance in the movie.
Great special effects.In final word,if you love John Carpenter,Jeff Bridges,SCI-FI,Romance or Fantasy,I highly suggest you see Starman,an excellent,underrated SCI-FI-Romance-Fantasy that you will never forget.
It's a lovely film headed up by Jeff Bridges' wonderful turn as the alien from outer space teaming up with Karen Allen for a road trip to a Nevada crater, where he will be picked up by his own species and taken home.Taking on human form, that of Allen's deceased husband, much of the humour is derived from how the alien tries to adapt to a human lifestyle.
While Jack Nitzsche's synth based musical score is a sci-fi great, perfect.A vastly under valued picture on Carpenter's CV, Starman would like to come and see us, if only we would give it the time.
1984 was a good year for John Carpenter, and this film is evidence of that...Its now 2014, and yet I can still sit and watch this highly enjoyable film.Who needs billion dollar effects if you have a great story?OK!
The result is the director's most under-rated work to date and proof that the man can handle more than one genre at a time with the greatest of ease.Jeff Bridges stars as an alien who finds himself side-tracked upon landing in the backyard of a Wisconsin widow, played by Karen Allen.
Of course, no sci-fi love story would be complete without interference as the two find themselves being pursued by scientists and military personnel alike who -- you guessed it -- don't have the alien's best interest in mind.Although "Starman" is admittedly predictable from beginning to end, Carpenter keeps it fresh throughout by keeping the pace going and making sure we are engaged in the ride the whole way through.
Jeff Bridges plays an alien who lands on earth and materializes in the form of a woman's (Karen Allen) deceased husband.
This sort of sci-fi nonsense was (and still is) beaten to death by everyone from Steven Spielberg to John Carpenter (with this film) to Joe Dokes making his home video down the street.Actually, to be fair, even though we get the predictable alien-is-hero theme, this is more of a love story than anything else.
In one of life's great injustices, it is the only John Carpenter film to have received an Academy Award nomination, and it is an even greater injustice that Jeff Bridges did not win.
But it is the growing relationship between the Starman and the widowed lady from Wisconsin that is the heart of the film, and it is one of the great love stories of all time.
I am not a big Karen Allen fan, yet I think this was her best work.From allmusic.com:"Nitzsche's thoughtful melodies and arrangements capture the wonder and mystery of life beyond the stars as well as deeply human emotions like love and loss.
Almost everything about this movie was fantastic except for the fanaticism of the government in hunting down the alien; in my opinion, I would think the Powers That Be would try to be more diplomatic with regards to a new intelligence.Karen Allen is fantastic, and Jeff Bridges was surprisingly effective as the alien.
The story is part alien encounter, part road movie, part romance and manages to mix its elements competently and switch gears expertly, propelled by two great performance by a young Jeff Bridges (this was his first Oscar nomination) and Karen Allen.
The movie is also graced with a spectacular score by Jack Nitzsche, elevating scenes like the finale into levels of otherworldly beauty.When it comes to Carpenter films, I consider this to be his finest, even compared to such gems as The Thing and Halloween.
This movie came out in 1984 since then is one of my top ten favorites of all time.First the acting of Jeff Bridges was "out of this world" he really deserves the Oscar Karen allen was Amazing too she really are the vision of the public in the movie the reason on why trust in Starman.Is hard to believe that the movie is directed by the "master of terror" John Carpenter...YES!!!...That John Carpenter the director of Halloween,The Thing,The Fog,Christine and many others great classic of terror cinema so extra point to him and the movie.The plot is very simple:An alien take human form to learn about humans,he try to learn to pain ("Why kind of being kill other for sport?")to love ("You have something that are only in your kind:LOVE")so the way he learn is to say in one word uniqueIf you think this an horror movie you are very mistaken...This is one of the most moving you ever see..
John Carpenter is known for directing famous alien encounter movie The Thing, but Starman, for some reason, is not so well remembered or referenced.
If you're a fan of Jeff Bridges & John Carpenter, or just want a solid Sci-Fi film to watch, this is a good selection7.5/10.
Then the ship crashes to Earth, and a beam of light (very intriguing, one of the best ideas in the film that is raised about life elsewhere not being in a concrete physical form upon arrival) finds its subject: Scott (Jeff Bridges), who died some months early, and left a widow (Karen Allen), who sees this beam of light take shape into her dead husband, from birth until adult-form and bleating out alien language.
Jeff Bridges got an Oscar nomination for his role in the film, but it was Karen Allen that drew me to watch it.Bridges was a space explorer that got stranded, and took the form of Allen's ex to get help to get to Arizona for his ride home.The story is basically about how he learns about love and caring and helping others at Allen's hands.This was Allen in her prime, just three years after Raiders of the Lost Ark. She was fantastic.Some call this an adult ET, and I certainly would not argue with that.
It is the only John Carpenter film to get an Oscar nomination, and it is worth visiting again, not only for the tender story, but to see Allen at her best..
'Starman' directed by John Carpenter is a good film in all aspects, but far from being great.
Jeff Bridges (Oscar-nominated) stars as an alien who has taken the form of a widow's (Karen Allen) late husband.
Evans & Raynold Gideon, he makes the important point that humans can often be at their very best when things get their worst."Starman" is a beautiful story, a heartwarming tale that combines science-fiction, romance, and the road movie into one effective package.
"Starman" works as the flip-side to Carpenters' other classic alien-visitation yarn, the much bleaker and more horrific "The Thing".Bridges and Allen are simply wonderful.
Earth is forever in need of a Saviour, or at least some direction and here We have an Allegorical Alien, once again, to remind us that you gotta have Heart, miles and miles and miles of Heart.This is a beautiful Movie with a much lauded Performance from Jeff Bridges and a slight diversion from Director John Carpenter.
But this movie is just lovely and it has that Sci-Fi mystery feel to it.Now Jeff Bridges as Starman is just magnificent, he definitely deserved the Oscar he won for this.
I saw this in the theater during it's initial release not because it was directed by John Carpenter, although I had seen and liked five of his 15 previous films, but because I liked Jeff Bridges and Karen Allen and felt they would be good together. |
tt0106489 | A Bronx Tale | In 1960, Lorenzo Anello lives in Belmont, an Italian-American neighborhood in The Bronx, with his wife Rosina and his 9-year old young son Calogero, who takes a fascination with the local mobsters led by Sonny LoSpecchio. One day, Calogero witnesses a murder committed by Sonny in defense of an assaulted friend in his neighborhood. When Calogero chooses to keep quiet when questioned by NYPD detectives, Sonny takes a liking to him and gives him the nickname "C". Sonny's men offer Lorenzo a better paying job, but Lorenzo, preferring a law-abiding life as an MTA bus driver, politely declines. Sonny befriends Calogero and introduces him to his crew. Calogero earns tips amounting to $600 working in the Mafia bar and throwing dice, and is admonished harshly by Lorenzo when he discovers it. Lorenzo speaks severely to Sonny, returns the money, and angrily warns him to keep away from Calogero.
Eight years later, Calogero has grown into a young man who has been visiting Sonny regularly without his father's knowledge. Calogero is also part of a gang of local Italian-American boys, which concerns Sonny, who warns Calogero to keep away from them and focus more on his schoolwork. Later on, Calogero meets an African American girl named Jane Williams, and is smitten with her. Despite the high level of racial tension and dislike between Italian Americans and African Americans, Calogero arranges a date with Jane. He asks for advice from both his father and Sonny, with the latter lending Calogero his car. Later, Calogero's friends beat up the black cyclists who ride through their neighborhood, despite Calogero's attempts to defend them. One of the cyclists is revealed to be Jane's brother, Willie. Willie mistakes Calogero for one of the assailants. He then accuses "C" of beating him up when Calogero and Jane meet for their date. Calogero loses his temper over the accusation and Willie's lack of gratitude, responding by accidentally addressing him with a racial slur. He instantly regrets it, but it's too late. Heartbroken, Jane walks back to the car with Willie and leaves Calogero.
At home, Calogero is confronted by his father who just saw him driving Sonny's car. An argument ensues and Calogero storms out. Shortly thereafter, Calogero is confronted by Sonny and his crew, who found a bomb in Sonny's car and suspected Calogero of planning to assassinate him. Calogero tearfully proclaims his love for and dedication to Sonny. Sonny recognizes Calogero's innocence and allows him to leave. Lorenzo emerges to defend his son, but is held back by Sonny's men. The African-American boys egg the Italian-American boys' usual spot in retaliation for the previous beating, and Calogero's friends make a plan to strike back using Molotov cocktails. They try to force Calogero to participate, but Sonny stops the car and orders Calogero out. Calogero catches up with Jane, who tells him that Willie had since admitted that the boy who beat him up wasn't Calogero. Jane and Calogero make amends, but Calogero suddenly remembers his friends' plans to attack Jane's neighborhood, and the two rush to stop them. Calogero and Jane arrive to find the Italian-American boys' car in flames. During the attack, someone threw one of the Molotov cocktails back into the car window, igniting the remaining bottles. The resulting crash and explosion killed everyone in the vehicle.
Calogero rushes into the crowded bar to thank Sonny for saving his life, but an unnamed assailant shoots Sonny in the back of the head before Calogero can warn him. Calogero later learns that the assailant was the son of the man Sonny killed in front of Calogero's house eight years earlier. At Sonny's funeral, countless people come to pay their respects. When the crowd disperses, Carmine visits the funeral, claiming that Sonny once saved his life as well. Calogero does not recognize Carmine until he sees a scar on his forehead and realizes he was the assaulted man whom Sonny had defended eight years ago. Carmine tells Calogero that he will be taking care of the neighborhood for the time being, and promises Calogero help should he ever need anything. Carmine leaves just as Calogero's father unexpectedly arrives to pay his respects to Sonny, thanking him for saving his son's life. Lorenzo later says that he had never hated Sonny, but merely resented him for making Calogero grow up so quickly. Calogero makes peace with his father, and the two walk home together as Calogero narrates the lessons he learned from his two mentors. | violence, murder | train | wikipedia | null |
tt0111048 | S.F.W. | Cliff Spab and his friend Joe Dice go out one evening to buy beer from a convenience store, where a group of masked and heavily armed terrorists take them and three other people hostage. The terrorists, who call themselves S.P.L.I.T. Image (a play on "Split Image"), have a video camera with which they tape their hostages' every word and action. During a month-long standoff with the police, S.P.L.I.T. Image's only demand is that their broadcasts be televised live worldwide TV, or else the hostages will be killed. S.P.L.I.T. Image makes good on said threat by killing two of the hostages. Cliff, Joe, and a beautiful teenage girl named Wendy Pfister are the only surviving captives. After 36 days, Cliff becomes indifferent to being killed. He says repeatedly, "So Fucking What?", in reply to his captors' death-threats. The coverage of this makes Cliff a media icon.
The movie skips forward to a hospital. Cliff has shot his way to freedom, taking a bullet in the shoulder while Joe has been killed. Despite his friend's demise, Cliff is branded a hero for saving Wendy and killing the terrorists. He's picked up from the hospital by his brother Scott. He is welcomed awkwardly by his domineering father and weak-willed mother. Cliff soon becomes disenchanted with the reporters camped on his front lawn and moves out.
Back on the street, Cliff finds his life changed forever by the convenience store incident. His line – abbreviated as S.F.W. – is on banners, newspapers, CDs, and billboard advertisements. At Burger Boy, the fast food restaurant where he works, Cliff finds his name and image posted alongside a "Special $.36 Spaburger" (named after him), being marketed in commemoration of his 36 days in captivity.
Cliff visits Joe's older sister Monica. She resents the media idolization directed at Cliff, while her deceased brother has gotten neither sympathy nor attention. Cliff spends a night of empty passion with Monica. He visits another friend, Morrow Streeter, who lets Cliff hide out at the elegant home of his lawyer-sister Janet. She advises Cliff to exploit his notoriety for personal gain. Completely lacking in any sense of purpose, Cliff hitchhikes out of Los Angeles. He gets a ride with a disaffected couple, who confide with him about their marital troubles. Realizing that running from his problems is pointless because they will follow him everywhere, Cliff discovers the inspiration he has been seeking. Using his celebrity status to his advantage, Cliff checks into a fancy hotel; when he offers to promote the establishment, he is given a free suite. Cliff holds press conferences, makes public appearances, holds autograph signings, and generally portrays himself as a rebel.
More than anything, Cliff aspires to reunite with Wendy. She has been featured on the news, but refuses to make any statement regarding her ordeal in the convenience store. Cliff reaches out to her and soon a romantic attraction develops, but their relationship is hampered by the reporters and paparazzi who shamelessly tail them. They evade the media and revisit the convenience store, which has been closed down and boarded up as a crime scene. After reminiscing how he and Joe overpowered and killed their captors in a huge gunfight, Cliff tells Wendy he'd like to leave his notoriety behind him, just so the two of them can live out their lives together in a quiet romance.
A few days later, Cliff and Wendy make a public appearance at a local high school. They receive a standing ovation from a crowd of adoring students, who chant Cliff's line: "So Fucking What!" One distraught-looking student, Barbara "Babs" Wyler, does not join in the cheering. After a minute of sitting in angry silence, Babs produces a gun from her book-bag and stands up. With a yell of "EVERYTHING matters!" she fires on Cliff and Wendy, seriously wounding them both. Media attention switches to Babs as she is arrested, booked, and indicted for attempted murder. Her line of "Everything matters" becomes the new public catchphrase, replacing Cliff's "S.F.W.". Reporters and other media people cannot stop talking about Babs' actions. Sharing their own hospital ward, the recovering Cliff and Wendy are elated that their media ordeal is over. They slip away to get married, and to celebrate their newfound privacy. | comedy, cult, violence, psychedelic, absurd, satire, tragedy, romantic | train | wikipedia | I just watched S.F.W. and was amazed at how, at least five years before the major trend of 'reality TV' became the in-thing, this movie satirized it, and showed it for how wrong and un-real it is.
I believe her role in this movie was slightly under-rated, she played your typical romantic interest but she also was the reason that Dorff's character didn't lose his mind.
It is ostensibly a hostage-drama set in a Fun-Stop convenience store, but rapidly reveals itself as more; a biting attack on the media circus and the hype machine, a revealing portrayal of suburban life in America, and a comment on the nature of heroes.
The leads are played effortlessly by Stephen Dorff (who seems to not be acting at all)and Reece Witherspoon, with excellent support from B-movie stalwarts Joey Lauren Adams and Jack Noseworthy.
The arrangement of the story (flashbacks are employed heavily) lets you build up a rounded picture of the events that made Spab a hero, not revealing the true account of what happened in the store until near the end.
Up to this point the events are clouded by the media and gossip surrounding the "Fun-Stop Hostage Crisis" and although we are led to believe Spab did something spectacular, the later flashbacks reveal why he is unwilling to assume the mantle of hero and why he seems to be in a bad mood most of the time!.
Way, way ahead of it's time (similarly themed films made years after were Natural Born Killers, Mad City, Truman Show), this is, quite simply, a life-altering, mind-altering film which zeroes in on and then embodies the zeitgeist of the nineties.
Stephen Dorff does a great job, which is important, since the movie is mostly watching him walk around and deal with the stresses of his fame.
S.F.W.Aspect ratio: 1.85:1Sound format: Dolby StereoA feckless young man (Stephen Dorff) becomes an unlikely celebrity after surviving a televised hostage ordeal in his local convenience store, but he's unable to reconcile the tragedy of the siege - in which his best friend (Jack Noseworthy) was killed - with the exaggerated version of events peddled by a ratings-hungry media.Jefery Levy's cult-movie wannabe pairs Dorff alongside relative newcomer Reese Witherspoon in a vicious assault on the contemporary media, depicted here as a soulless entity concerned solely with ratings and money (yeah, so what else is new?).
The message is obvious, but Levy and co-scriptwriter Danny Rubin (GROUNDHOG DAY) revel in their own daring: Dorff and Witherspoon play ordinary characters who emerge from an extraordinary situation and are forced to confront their unexpected (and unwanted) fame.
However, Levy's unflattering view of modern journalism (symbolized by John Roarke as a variety of thinly-disguised real-life TV celebrities who feed off other people's misery, and Gary Coleman in a fleeting, self-deprecating cameo) seems a little distorted and misleading, though clearly filtered through the lead character's personal viewpoint.
The movie doesn't say anything new, but the execution is invigorating.Look out for an early appearance by Tobey Maguire as a young stoner who thinks he's died and gone to heaven when he and his buddy (Dana Allan Young) encounter their idol Dorff on an empty street (a truly hilarious sequence).
I personaly really liked this movie ,i thought Stephen Dorff was great this movie got me interested in him and his other movies!I like the plot its different and doesnt really hide anything its better for a younger crowd 15-21 it can be related to easily by them as it contains a lot of anger and confusion the catch frase is "So F*****g What" which tries to make us c that nothing really matters !
S.F.W. the concept was interesting the plot once watched was lame and boring a true waste of a casts time and a industry's money.Once you see it you will soon forget it!!Stephen Dorff & Reese Witherspoon just waste there time & talents in a really wasted script.
With a better more talented screenwriter and a more talent director the movie could have been so much more mabey even some underground cult film.
But what happens to a story about 5 people that are being held hostage in a convenience store for 36 days, & one of them demands from the hostage takers that all TV-stations should broadcast the entire situation live, turns into a boring little movie with nothing more than a loud soundtrack and really bad over the top acting in a really bad made for Tv movie of the week for the big screen.Whats funny is that Reese Witherspoon is billed as a main character, she is on the cover of the DVD box but she is hardly in the movie, and when she is on screen she shows what talent she does have, but how much of it is wasted.
Stephen Dorff is a great actor, another of the under-rated talents in Hollywood today who seems to find really bad scripts that just really under-rate his talent and "S.F.W." is just another film that is a big mistake on his acting resume.Rounding out the rest of cast that sseem to waste there talents is both Jake Busey and the very laughable not so talented Natasha Gregson Wagner.One film I'm adding to my "Worst Films of 1994" list!!!See it once, if you don't fall asleep, and once the credits roll you will soon forget it..
Cliff Spab (Stephen Dorff) and his next door neighbor best friend since childhood Joe Dice are slacker fast food workers.
It would have been great to have Cliff and Wendy together but it takes a long time for the characters to reunite.
It seems like this movie was made just for Stephen Dorff to act self-important in and appeal to the not-so-bright kids of the grunge generation..
The fact that the whole hostage thing is never explained and barely touched on just shows it is nothing but a poor plot device to get to where the makers wanted to be to make their point.It manages to come across as just an angry youth movie with it's anger not directed anywhere in particular.
The only point that the film manages to make clearly is that no matter who is the 15 minute celeb or news story that night, TV is all the same.
He should have made SFW instead, As for Stephen Dorff's career, well I guess he can re emerge, Rocky-like and make a film called THE POWER OF TWO a sequel to the only intelligent film he has yet made.
I am 40 years old and can still enjoy watching this movie, it's just so dam good.
The soundtrack is a slice of the music of the time with Soundgardem, L7, Hole and others and its deep cynical undercurrent is straight out of the Kurt Cobain handbook.Stephen Dorff and Reese Witherspoon are both young and as good as I've seen them in any movie, though Dorff has the majority of the screen time, and does a perfectly solid job as a cynical, disaffected youth disgusted with his instant fame derived in a hostage crisis.
I wasn't crazy about Doirff in Blade, but he does a riveting job in this film, pulling off a crass, cynical character who is a natural class clown, but wants to be deeper and is.Again, I find it interesting that a movie that has a bunch of uncomfortable commentary about America and its ruthless media and weapons-saturated culture gets panned on these media boards.
This is not an effects movie, and you may not find it 'exciting' enough if your thing is CGI, but its a totally competent and ambitious indie/starter film (I don't know where in the directors career this movie came out).This is the kind of movie a historian would go for, it was made by someone with ideas in the context of their time, and not some overwrought, over-positioned Hollywood puff piece.
Witherspoon, as always, is extremely beautiful, and seems like the only character in the film that has any depth.
Neat premise, some nifty acting by Dorff and especially Reece Whitherspoon, but unfortunately, this film takes itself WAY too seriously to be taken seriously.
With a lead character like Dorff's, one would assume there would be a little old fashioned, punk rock humor to the proceedings.
Stephen Dorff's character cliff is great its every teenagers dream to ride off into the sunset, not giving a damn about anything and have everyone thinking your a god for doing it.
Its a great film and Reese Witherspoon plays a good part to it......all in all i love it.
The most intriguing thing about this movie is that watching it puts you in a specific time and place, a short lived style in the early to mid 90's that seems like a twilight zone dream.
By the end of the movie, he's lost any redeeming quality and Joey Lauren Adams character's continual whining becomes like nails on a chalk board.
I don't know why more people haven't seen it but if you love cool 90's movies with awesome soundtracks like Soundgarden, Manson and GWAR , then this is a movie you should really check out!
I like Stephen Dorff, he's a cool actor with a great future.
Even more than "Singles," this movie tries to cram grunge music into every nook and cranny to remind you how street-level Reese Witherspoon and Stephen Dorff's character are (along with their friends), but then they make a weird, Disney-moment every time Dorff's character ("Cliff Spab"...AKA the worst name to be repeated EVER) reminisces about their friend.
I'm not going to say what happens, but every time Spab contemplates what went down with his friend, music bussed in from the movie "E.T." gets played, and we're supposed to feel bad for some reason (why, i don't know because Spab wasn't all that close with him in the beginning of the movie or in other scenes either).Secondly, the objective seemed to make sense, that the media and relatives try and cash in from those around them who become famous...but the message easily becomes turned around on the movie itself for cashing in on the attitudes of cynical youths who are biting the bait that this movie produces.Third, it should stay a cult movie and nothing more.
The subjects of this movie became lucky in the film to be celebrities due to a minor news story that realistically would never had happened in real life, and if they would have, people wouldn't give the story more than a week of exposure after-the-fact.
I liked the addition of the music to commemorate the times, but as a movie, there isn't a lot of groundbreaking material to lump it into a deeper category of film or re-release it on Criterion or anything.If you're a fan of grunge music or slacker-movies that let you kill 1.5 hours while you're downing a 6-pack, this might be a fun watch once, but I don't think I'll be owning this..
How the likes of Stephen Dorff and Reese Witherspoon (one of my all time favorite actresses) got messed up in this I'll never know, but I hope they fired their managers afterward.
How the likes of Stephen Dorff and Reese Witherspoon (one of my all time favorite actresses) got messed up in this I'll never know, but I hope they fired their managers afterward.
She might have had a very very small role, but it wasn't worth my time watching this movie for a blink.
I have never been a Reese Witherspoon fan, but I love Renee Zellweger and I rented "Dazed and Confused" (1993) just to see her, but just like this movie, I was disappointed to find out that she is only in it for a moment.
I felt the film would have been better if the first half had dealt with the hostage situation and the second with Spab's elevation to generation spokesperson.
Stephen Dorff is quite good as the slacker cum hero, however the rest of the cast are fairly marginalised and have little to do.
S.F.W is not a great film, but it is not a bad one and is worth a look if you're bored of teen comedies..
A great movie about the hypocrysy of the american media.
Stephen Dorff is brilliant in his role as the anti-hero Spab who has to run away from the media because he has no interest for them, leading him into more and more problems until there is no escape then to just play along with them.
Stephen Dorff and Reese Witherspoon generally choose their films well (with the notable exception of Space Truckers) and serve them well.
This movie will look great on their C.V. though will taint Dorff particularly with the Gen-X tag.
The film is edited so as to lack any real time-scale and is conceptual in nature, with only character sketches and brief insight into the people involved.
i've seen this movie for the first time when i was like 17 or 18, but it's still one my favorites.
The right ideas seem to be there, which makes some of the choices the film-makers made with this movie seem all the more odd.
Characters literally pop up out of nowhere and then disappear again and the story is lacking a real point and a good clear main plot line.The movie basically tries to be a social commentary about today's youth (well 1994's youth of course but it's not like much has changed ever since) and the influence and behavior of the media.
Also as a comedy/parody it falls terribly short.Thing that still kept this movie somewhat going for me was Stephen Dorff, who was perfectly cast for his role.
His characters was about still the only good and interesting thing about this movie.
Reese Witherspoon and Jake Busey are also in this movie but I wonder why.
It's not like their characters get to do much in this movie.
Another thing that makes this movie disappointing and lacking is its rushed ending.
Needless to say, it doesn't work out all that well.I really can't think of any good reason why anyone should ever watch this movie.
This is a must see for everyone, young and old and yes I do believe the media can be this screwed up especially in America.There were some parts of this movie where I just couldn't stop laughing and it portray's how pathetic people try to feed off someone else's success.Never seen anything like it and it will be a long time before something in this genre will even come close.Performances by Stephen Dorff and Reese Witherspoon are out of this world.Just brilliant..
I saw this movie on release ages ago and it's not hard to fall in love with it at first.Stephen Dorff's performance is really amazing.
You never think for a moment he isn't Cliff Spab, with all the pent-up rage, pain, hostility and hilarity that it entails.For the first half of the movie, it's really "the Cliff Spab/Stephen Dorff Show." He goes on a sort of Jack Kerouac road trip, bumping heads and rubbing noses with a variety of characters (and some wonderful actors who play them): Jake Busey (a good movie for once), Joey Lauren Adams (always terrific and smokin' hot here), and Pamela Gidley (quite a complex little cameo).But after his odyssey ends, there doesn't seem to be much of a place to go...the film just stalls.
I was hoping for more of a connection between the final scene, Spab's revelations, and the rest of the movie leading up to that point, but it didn't happen.Never read the book, but it sounds like that ending would have made more sense.
The thing people appear to have missed is that it is entirely tongue in cheek - it is a satire about just this sort of movie.
Someone is projected to movie like fame for no reason, and the apparent lack of order (it is suggested the hostage takers are simply anarchists) is the main premise of the film..
This film, while not the greatest story about media ever told, must be seen...
I guess the idea is cool (I'd like to read the book) but I didn't really enjoy the movie.
He's done pretty well with that so far until a hostage situation turns him into a national hero, which is the last thing he needs or wants.
No, the only one who gets it and proves is his fellow hostage Wendy who during their ordeal understands him and he loves her for it.It's a great film.
The Real Meaning- A Good/Bad Movie.
Quoting Chuck Palahniuk, "On a long enough time-line, the survival rate for everyone drops to zero." Our existence in our solar system, in our galaxy, in the universe is a spec of dust on a spec of dust on a spec of dust, hence SFW (nothing really matters).The black comedy and satire of this movie comes from the doting media and fans of Cliff Spab.
Cliff escapes it all, only to find himself being pushed further away from Wendy when he needs her most....Once you get past the fact that Dorff sounds uncannily like Christian Slater, you get another one of those films from the mid nineties that tried to define good old 'generation X'.
And for the most part, it works.Dorff is great as the guy who is having his fifteen minutes of fame, but cannot decipher why people are not mentioning his friend who was killed.
But this was a time when media only really dwelled on the good stuff, to sugar coat the public, to get more money behind their new 'celeb'The film doesn't know what genre it belongs to.
The hero in the movie is not a hero, that person, his best friend was killed on tape live for the whole world to watch. |
tt0903747 | Breaking Bad | Season 1A struggling high school chemistry teacher, Walter White (Bryan Cranston), is diagnosed with inoperable, advanced lung cancer. On a ride along with his DEA agent brother-in-law Hank Schrader (Dean Norris), Walter sees a former student of his, Jesse Pinkman (Aaron Paul), fleeing the scene of a meth lab. He later contacts Jesse and devises a scheme to become partners in an attempt to combine their skills to manufacture and distribute methamphetamine, with Walter cooking the product and Jesse using his street connections to distribute it. Walter says he wants to provide financial stability for his pregnant wife, Skyler (Anna Gunn) and disabled son, and to pay for his expensive cancer treatment. During Walter and Jesse's first days of selling Albuquerque's finest meth, they encounter a series of problems with local drug dealers. He continues to produce meth despite these setbacks using the alias 'Heisenberg'.Season 2Walter continues to find himself facing insurmountable medical bills from his cancer treatment. Despite having had several bad experiences while producing meth with Jesse, Walter agrees to rejoin his partner. The two begin producing meth but run into multiple problems. Jesse's friend Badger (Matt L. Jones) is arrested while selling meth in a sting operation. Walter hires a lawyer, Saul Goodman (Bob Odenkirk), to help Badger. Walter and Jesse drive a recreational vehicle into the desert and produce meth for four days. Later, Combo, another of Jesse's friends and distributors, is killed by a rival gang for selling meth in their territory. Saul suggests the two find a new distribution model. Throughout this, Jesse has been building a relationship with his neighbor and landlord, Jane Margolis (Krysten Ritter). Jane, who is a recovering addict, relapses and the two begin doing heroin. Saul finds them a new business partner, Gus Fring (Giancarlo Esposito), who is willing to pay $1.2 million for the 38 pounds of meth they produced. Walter hastily delivers the product to Gus, but misses his daughter's birth. Walt withholds Jesse's half of the money because of his drug use, but Jane finds out about it and blackmails Walt. Walt visits Jesse's house and witnesses Jane overdosing and choking on her own vomit, but perceiving her as an enemy, sits idly beside her and lets her die. Skyler confronts Walter about his frequent absences and excuses. She begins to piece together his secret life and demands that they separate.Season 3Walter wishes to reunite his family, but Skyler is still suspicious of Walter's second life. Walter believes he can mend the tension between them by confessing to her that he has been producing meth. Skyler is appalled by the confession and demands a formal divorce. Meanwhile, Gus offers to pay Walter $3M for three months of his service. He even offers to provide Walter with a state-of-the-art production facility and a brilliant lab assistant, Gale (David Costabile). Jesse is continuing to produce and sell meth by himself.Hank is working with the DEA to investigate Jesse and is slowly gathering evidence to make an arrest. He survives an assassination attempt made by Tuco's twin cousins and manages to kill one of his assailants and critically injure the other, who later dies in the hospital. Hank suffers critical wounds but survives.Jesse threatens to report Walter to the police if he is arrested, but Walter offers him Gale's position at the lab. After obtaining the position, Jesse begins stealing meth from the lab and selling it in secret on the side. Jesse gets romantically involved with a woman he meets in his rehab group and learns her kid brother, age 11, was put up by Gus and his street dealers to kill Combo. Jesse decides to avenge Combo. Walter aids Jesse in escaping from Gus's wrath. Gus begins to lose trust in Walter and asks Gale to take over the lab. He orders his henchmen to kill Walter and Jesse. After he is abducted by the henchmen, Walter instructs Jesse over the phone to kill Gale in order to force Gus not to kill Walter (and, by extension, Jesse) lest he eliminate his only remaining trained chemist.Season 4Jesse follows Walter's instructions and murders Gale. Gus decides to discipline the two by enforcing stricter policies at the lab. He also tries to break Walter and Jesse's friendship by assigning them to separate work details. While Walter works in the meth lab, Jesse escorts Mike (Jonathan Banks), one of Gus's enforcers, to retrieve payments and provide back-up. Walter and Jesse become increasingly distant from, and hostile to, each other. Meanwhile, Hank, who has been recovering from his last engagement with the cartel, finds evidence linking Gale to Gus. He believes Gus is a major drug distributor and starts looking for tangible evidence to file charges. Gus realizes Walter's close ties with Hank could jeopardize his entire operation. Gus fires Walter and informs him Hank will be killed. He also warns Walter that if he intervenes his entire family will be murdered. Jesse and Walter put their differences aside and agree to murder Gus, convincing former cartel enforcer Hector Salamanca to detonate a suicide bomb; Hector succeeds in this endeavor, killing himself, Gus, and Tyrus, Gus's henchman. Walter and Jesse then destroy the meth lab and Walter declares to his wife, "I won."Season 5Following Gus Fring's death, Walter partners with Jesse and Mike to create a new meth production and distribution operation. Mike handles all business aspects of the partnership, while Walter and Jesse work with a team of house fumigators to produce meth in tented houses. Hank and the DEA are able to identify nine prison inmates and one lawyer with criminal ties to Mike. Walter kills Mike, and is fearful that the informants will flip on Walter's operation since Mike is no longer able to pay them to keep quiet. He hires Jack Welker, the leader of a neo-Nazi gang, to kill the ten informants from within prison. Walter's business continues unimpeded until he decides to retire after accruing $80 million, which he buries in the desert.Later, Hank is invited to the Whites' home, where he unintentionally stumbles upon one of Walter's books with a signed message from Gale Boetticher. He realizes that Walter is the infamous Heisenberg and secretly restarts the investigation. Hank forms an alliance with Jesse, who now despises Walter for all his wrongdoings. Left with no options, Walter hires Jack again to murder Jesse. Walter attempts to confront Jesse in the desert, but instead Hank traps and arrests him. The neo-Nazi gang arrives and engages Hank in a fierce firefight. Jack executes Hank despite Walter's pleas. Jesse is captured and forced into slavery, producing meth for the gang. Before leaving, Jack and his gang take a majority of Walter's money, leaving him with only $11 million.Skyler and Walter Jr. are distraught over Hank's death and hold Walter accountable. They refuse to leave Albuquerque with Walter and instead contact the police. Walter spends the next several months hiding in a cabin in New Hampshire while struggling with cancer. He returns to New Mexico in order to visit his family one final time and seek revenge against Jack. Later that night, Walter executes all of the gang's members and frees Jesse, who escapes from the compound before the police arrive. Walter realizes he is mortally wounded from a gunshot and slowly succumbs to his injury as the police search the compound. | violence, comedy, neo noir, murder | train | imdb | From an artistic point of view - performances, writing, direction, camera, music - this show is every bit as good as the other two mentioned above, but unlike those, 'Breaking Bad' just wants to entertain and therefore enjoys a lot more creative freedom.The show plays like the daydream fantasy of any underachieving, struggling middle class family man who's had to bury all his dreams (I mean: who wouldn't want to be a meth-kingpin for a little while?), before it turns into a nightmare.
One could almost say that 'Heisenberg' is Walter White's 'Tyler Durden'(for those who don't get the reference: watch 'Fight Club' - you won't regret it).For pure entertainment value, this is simply the best show I've ever seen.
"Breaking Bad" is possibly the best TV drama ever made - there isn't a wrong step, bad episode or miscast character throughout the whole series run.
It is probably not plausible to believe that anyone like Walter White could succeed as a meth chemist for even one season without being killed or caught let alone the 62 episodes the series has.
More then any other series, huge changes in plot, story and character arc take place so fast you are likely to be completely lost if you skip episodes.
And the show is the proverbial roller coaster, taking you to the low points and peaks right along with your favorite characters, you might not want to miss a minute in this original and daring TV drama once you start watching!.
Because this way you can entirely fall in love with the show, the characters and every tiny detail of the story and the best part of it, it is unbelievably addictive and makes you starve for more week after week!
But the weed selling antics of Showtime's hit show is really nothing like "Bad." The Pilot was about as perfect a Pilot as I've ever seen, and much of it rests on Bryan Cranston's shoulders.Cranston plays Cheimstry teacher Walter White.
Acting 5/5 Plot 6/5 Score 4/5 Overall feel 22/10 There are no words to describe how great this show is so stop reading this review and start watching it...
As the clueless, hapless and hopeless father of four on the celebrated series MALCOLM IN THE MIDDLE, Bryan Cranston came into his own, as he did an amazing balancing act that juggled slapstick, pathos and insanity all at once, proving that not only did "father NOT know best", but more than likely never would.Now he essays the role of another father in the new series BREAKING BAD, but it's a shocking, bracingly refreshing turn that takes his 'Three Stooges' repertoire of grunts, shrieks, barks and neurotic ticks and virtually throws them out the window.
And the comparisons are aptly warranted.This is one of those series where the less you know about it going in, the better, but just to set your mind reeling with the possibilities, here it is in a nutshell: Cranston plays high school chemistry teacher Walter White, who is constantly battling the lackadaisical attitudes of his disinterested students, the looming specter of financial disaster - by supplementing his paltry teacher's salary with a second job at a local car wash, and trying to cope with the impending arrival of a new baby, even as he and his wife raise their disabled teenage son, whom unlike many stereotypical portrayals of handicapped kids is no Pollyanna-like angel.
This is sharp, biting, satirical social commentary that draws blood when it sinks its teeth in, and you are guaranteed to wince even as you laugh out loud at Cranston's dead-on portrayal of a MAN on the edge of a nervous breakdown (well, more like over the edge.)A caveat for would-be viewers, though, and a very ironic one at that: AMC has applied its ham-fisted method of editing its movies to this series as well, unfortunately, making the channel the LAST place you want to see it.
So, all that being said, I'll try to keep it short, and sweet.Breaking Bad, simply put, is one of television's best programs.
It excels in acting, writing, directing, character development, plot, etc.This is my favorite series, right alongside AMC's other cultural phenomenon; The Walking Dead.
Although I usually prefer dark, foggy, shadowy – could be said depressing – cinematographic atmosphere ("Twin Peaks," "the X-Files," Millennium," "the Sopranos"), I found myself amazed by crystal clear images of "Breaking Bad." Insignificant and empty on the surface, yet filled with dimness and despair; New Mexican sun that doesn't burn you, it gives chills and almost numbs you in the end.I'm not going to say anything about lead actor Bryan Cranston.
the BEST TV DRAMA SERIES of ALL TIME Breaking Bad After so many lugubrious turns, "Breaking Bad" came to an end on Sunday on an almost uplifting note.Running since 2008..5 Glorious SEASONS & 62 clinching EPISODES & rating of 9.5/10 on IMDb & 99/100 on Metacritic it ended with the MOST SATISFYING FinalE ever..Watched by 10.3 million viewers.A simple story of a chemistry teacher making blue meth for providing his family with his former student teaches us every important meaning of LIFE.With very REAL/GREAT/EXTRAORDINARY performance by Bryan Cranston & created by Vince Gilligan this TV Series blowned my MIND..totally.I have watched so many Great English TV Series like The Walking Dead, Modern Family, The Big Bang Theory, Supernatural, Firefly & Sherlock also but this was PURE GENIUS.All Hail The King HEISENBERG!!!.
With the great Bryan Cranston in the role of his life.The show was perfect, all bad things must come to an end.
It is to this day, and always will be, the best Tv-series of all time.I could go into detail about all the things that are good with this show, but I fear then this review would be endless.
I don't know anyone who has watched it and didn't like it, or didn't argue that it was the best series ever made.
The writing is not rushed at all, the acting is perfect, but the camera work is probably one of the strongest points.Breaking Bad follows the formula of "show, don't tell".
Because of the good acting, Bryan Cranston and Aaron Paul are some of my favourite actors, and I've noticed that their acting is just as good in other productions, if not better than ever.If you didn't know already, the plot is about a Chemistry professor who decides to use his expertise by producing the world's purest crystal meth in order to insure his family's financial status after his death, using a former student of his who deals drugs.This show begins with very mildly humorous, to dark, dramatic, fairly action-y, and just downright epic the more it goes on.
Each episode even has it's own brief OST in the credits after the first season.I have heard that some don't like it, usually because of the whole hype and "WOW BREAKING BAD IS SO GREAT" fans bothering them with it.
The way the plot unfolds with its ups and downs, exciting moments and slow moments, is PERFECT.I'm not going to go through every character, they all did a great job, but I have to single out Aaron Paul, who plays Jesse.
I was teased into watching Breaking Bad over the last few years but never took it up, but after recently joining Netflix picked this series.What a journey!
I'd only heard of Aaron Paul on Top Gear a while back in which Jeremy congratulated him on his acting, and I applaud both him and Bryan Cranston (who I watched in 'Why Him') are both spectacular - not too sure what can fill this void now!All the actors in this brilliant piece of art should be congratulated (loved his sons performance throughout (Roy Frank "RJ" Mitte))A truly amazing roller-coaster and would recommend spending the time to watch (don't let the first 2 or three episodes put you off).
"Breaking Bad" gives these themes new life with clear-eyed, pitiless characterizations, brilliant acting, gripping plot twists, imaginative visual style, and grim black humor.
Before i started watching this show i never really knew Bryan Cranston, i mean i've seen him couple of times here and there but nothing like this.
Breaking Bad was a radical type of television, and also a very strange kind of must-watch: a show that you dread and crave at the same time.
This is a series that I will always cherish, and not just for the obvious reasons like the superb acting and the high stakes narrative -- but also for the fact that it gave me hope for the future of television, and the media's potential overall, to serve as a platform for talented writers and actors who actually have something inspired to say about the world we live in.
Other people have written much about the characters in the show so it doesn't require me to add to that.However Breaking Bad has some of the cleverest writing I have ever encountered in the making of a television show.
Like the meth its protagonist cooked up, the creators of Breaking Bad cooked up something so unique, detailed and interesting that it became an addiction, and the greatest television drama of all time..
Bryan Cranston delivers a powerhouse performance for all five seasons as Walter White, a chemistry teacher who ends up becoming a powerful drug lord with the help of his ex-student Jessie.
Anna Gunn, as Skyler, makes you change your feelings towards her character, from love to hate, numerous times during the series.
RJ Mitte turns an ordinary "it's just the kid" character into a monumental performance during his 5 seasons as Walter Jr. Also a quick word for Giancarlo "Gus Fring" Esposito, bow down ladies and gentlemen for he is, in absence of proper words, splendid.Do not, in any case, leave this series unseen, you will be missing the most pure (I dare to say beautiful) drama / crime ever.
Generally, I only watch Sci-Fi, Horror and such-- but every once in a while I'm drawn to regular TV if it isn't run-of-the-mill Canned-Ha-Ha-Ha comedy or standardized Network Primetime Drama with the usual A-Z cast of Beautiful People pretending to mimic Real Life interspersed with Fun Commercials as the rest of us would Like it to be.The storyline is simple: Ordinary Middle-class Teacher in an Ordinary Burb with ordinary Financial problems with an Ordinary Sucky Life finds out he has Cancer.
There are no superlatives left in the English language that have not been showered on this series, it has won almost every award it possibly can and deservedly so.Bored of the usual drab I started watching Breaking Bad almost from the beginning after reading a favourable review of the pilot.
The events unfold with unease, shock and excitement, with intricate and fascinating characters, including dead-behind-the-eyes Gus, and hilarious sham lawyer Saul.If you are interested in morality, the ambiguity of relationships, have a dark sense of humour, and love a detailed TV series such as The Sopranos and The Wire, I don't need to tell you anymore: Go and watch it.
This was the case with nearly EVERY episode of EVERY season of Breaking Bad. We watched all of the seasons in less than a month.
I cannot imagine a better written, directed, acted, or cast series....I would not watch any for about 18 months after binge-watching Breaking Bad. I figured "what is the point?
For viewers out there who have never seen an episode of Breaking Bad, be prepared to sit at the edge of your seat throughout the entire 5 seasons.
This is the first time I have ever felt it necessary to write a review for anything on IMDb. I think that it's safe to say that I was ecstatic with the first episode of the new season after the end of the writer's strike.
Indeed, Breaking Bad brings a valuable contribution to the realm of quality Television Theater, and Aaron Paul's work here is among the finest to come forward in a long while.
Breaking Bad is a magnificent,outstanding and completely original television series that is filled with fantastic character development,action and an endless amount of highly intense and un-forgetful scenes .The series starts off fairly promising,and then as it continues it just gets better,over the course of five years,it never a goes downhill,and there isn't a single bad episode in the whole series.I think people were skeptical when the series first came around about the the dad from Malcolm in the Middle starring in a drama,but Bryan Cranston delivers an exhilarating performance in this,Walter White is nothing like Hal and thus proves that Cranston's range is amazing and he truly is a great actor,the change in Walter over the course of these five seasons proves that.But Cranston shouldn't have all the credit,no actor in this show comes across as unprofessional,but the outstanding actors have to be Anna Gunn,Aaron Paul,Dean Norris,RJ Mitte,Betsy Brandt,Bob Odenkirk,Jonathan Banks,Giancarlo Esposito,Charles Baker,Matt Jones,Jesse Plemons and Krysten Ritter are all some of the series best characters and incredible actors and they all deserve so much credit for making this's series so great,and of course,Vince Gilligan,for his incredible writing and directing skills,this show would be nothing without him.My favourite characters of the entire series are without a doubt Jesse and Mike,their personality are something that really appeals to me,and their development over the course of the series is very pleasing,I loved Walter as well,but I never felt like I could relate to him,not that I would want to.All in all,Breaking Bad is a fantastic series,it never disappoints and I would recommend it to everyone.Walter White (Bryan Cranston),a highly intelligent high school professor,joins the crystal meth business using his amazing skills in science to create a high quality and addictive product,after he learns he has lung cancer and wants to make enough money for his family to use when he's gone..
The bad news: it won't begin until July 2011.If you haven't seen this series, buy or rent the discs and watch it in order.
I know it was revolutionary and truly realistic but in the end I despised it for being great and the fact that I had to see it through to the end.I know people will think I am mad for writing this but does a show that is fantastic but sucks the soul and heart out of you make for as good TV as everyone believes; or was everyone else too caught up in the hype to admit their true feelings about Breaking Bad..
Of course one would have to be living under a rock these past few years to not have heard about Breaking Bad. Many suggested I see it, but the idea to me was absurd to watch a mild mannered science teacher descend into the world of drug dealing, while having his soul wither away.
To finish, Breaking Bad was the most unlikely program I would every imagine I would consider to be hands down the best television show I have ever had the pleasure to watch.
But Breaking Bad was every season high quality time.
I've never found a show that had me wanting to watch the whole series in one night.Bryan Cranston and Aaron Paul had great chemistry (no pun intended) on screen, even for being two completely different characters.
I have watched a lot of tv shows, and I impressed many many series but I didn't watch any series like Breaking Bad. It changes my life in terms of many things.
I cannot say enough good things about Breaking Bad. The writing, the cinematography, the acting, the editing....all of it is top-notch.
and not taking anything away from those shows...i LOVE those series also....but something about Breaking Bad is just...
The only TV series 'Breaking Bad' can be compared with, in my opinion, is The Sopranos.I know they have completely different story lines, but still, they're both great Dramas.
The actors and performances are very good and intense (and that's at least a plus two in a TV drama), the writing is very solid and coherent, and the direction of each episode is masterfully done.Bryan Cranston was one of my favorite comedy TV actors of all time since Malcolm in the Middle (FOX), and it's very nice to see how he evolved in a very positive way to drama television.These are the seasons I give it a reasonable 10/10.
I, like many people, refused to watch "Breaking Bad" for the sole reason that I also erroneously believed it was a show about drug culture.
Once I saw through this I stopped watching them completely and have been seeking out quality American shows that are well-produced and equally well-written, and I am happy to say that Breaking Bad is one of these.Bryan Cranston is perfectly cast as Walt, the man who has to make tough choices to provide for his family.
If they can carry this program on for two or three more seasons and then end it without dragging past the logical closure point - and with Walt the way he is, this is crucial - it will be one of the greatest drama series of all time.If you haven't tried it, start from the pilot episode, keep an open mind, and you just might find your new favourite show.
Dear Breaking Bad non-watchers, you MUST watch it, or else, you have missed the true best masterpiece ever created on TV.
Breaking Bad has been held as the best thing to ever be put on television, but is it.
Character development and wondering whether you love or hate Walter White are the show's biggest strengths, on top of the exquisite writing, Breaking Bad is one of the greats.
As I write they're rolling out the final half of season 5; just saw episode 10, and it utterly rips your heart out.Breaking Bad will go down as classic television; amongst the best ever.. |
tt0395495 | Catch and Release | The film opens with Gray (Jennifer Garner) at the funeral of her fiancé, Grady. They were supposed to be married that day, but due to a boating accident that happened during his bachelor party weekend, he was killed. Gray is very upset and eventually seeks solace by hiding in the bathtub. Meanwhile, one of Grady's friends, Fritz (Timothy Olyphant), has seduced one of the catering staff and takes her into the bathroom, not realizing that Gray is there. Gray is forced to listen to them have sex. Once the caterer leaves, she pulls back the shower curtain, startling Fritz.Gray visits the attorney to determine what will happen to Grady's estate. Grady did not have a will and since she and Grady were not married, she will not inherit his money. The attorney reveals that Grady had an investment account with a million dollars in it, which Gray knew nothing about. She determines that she can no longer afford to rent the house that they had picked out and she was already living in. With help from Grady's friends Dennis (Sam Jaeger) and Sam (Kevin Smith), she puts her things into storage and moves in with them into Grady's old room. Fritz, who lives in L.A., is also staying in the house during his visit.Tensions continue between Gray and Fritz. As Gray investigates Grady's investment account, she finds that every month, he transferred $3,000 out of the account.During the night, a cell phone rings. Gray wakes up Fritz, thinking the phone is his. He says that it's not his and turns it off. At the same time, they realize that the phone must have belonged to Grady. Gray grabs the phone first and turns it on to find ten voicemail messages. She listens to a string of messages from a woman who goes from cautiously concerned to increasingly angry as each message progresses.When Gray researches the phone number, she finds out that the area code is for L.A.. She goes to Fritz for answers, and he reveals that Grady had a son with a woman he met in L.A. and that she depends on the money she received from him to support herself and their son. Fritz tells her that the boy is eight and that the encounter happened before she and Grady were involved.Meanwhile, Gray is further upset when Grady's mother asks for the engagement ring back. Gray refuses and keeps the ring.Eventually, the other woman, Maureen (Juliette Lewis), and her son turn up, trying to get answers about Grady and the money. When Gray encounters them, she realizes that the boy is 3 years old, not 8, so the affair happened while she and Grady were together. Gray confronts Fritz about the revelation. She slaps him and he pins her arms against the wall. They kiss, but part and leave without a word.Gray doesn't want anything to do with Maureen, but the guys are reluctant to send her away. They all spend time together and get to know each other. Sam and Maureen begin to develop a connection.As Fritz and Gray continue to develop their relationship in secret, Dennis reveals that he has feelings for Gray. Gray lets him down easily, but he becomes furious when he finds that Gray and Fritz are an item. Gray tells Dennis that her relationship with Fritz is "less than nothing", not realizing that he is standing by the doorway and can hear her speaking. Fritz determines that Gray doesn't return his feelings for her and he returns to Malibu.
Grady's mother insists that the boy have a DNA test before inheriting Grady's money, as he stands to do under Colorado law. The results determine that Grady was not the father. Maureen is devastated, unsure how she will support her child without Grady's money. Gray goes to Grady's mother and tells her that she thinks that Grady must have known that the child wasn't his, but that his money could make a difference in the boy's life. She offers Grady's mother the engagement ring in exchange for her giving Grady's money to Maureen.The group gathers at the dedication ceremony for the peace garden that Dennis has built to memorialize Grady. Grady's mother gives Maureen a certified check. When Gray finds out, she offers the ring back, but Grady's mother tells her to keep it. She says that she never cared about the ring or the money, she just wanted her son back.Dennis decides it's time for him to be on his own, so he moves out of the house. Maureen and her son move in with Sam. Gray determines that she never fully knew Grady, but that she has come to have feelings for the one person that they both could be themselves around, Fritz.At the end of the film Gray goes to Malibu. She goes to Fritz's house and finds him outside at the beach playing fetch with his dog. She throws the ball and the dogs runs after it. Fritz turns around and sees her. She walks toward him and says she should have called then starts rambling. He quiets her by kissing her and says, "What took you so long?" The film ends with Fritz's photographs rolling through the credits. | romantic, stupid | train | imdb | It was a very friendly audience, but watching the movie, I couldn't help but feel Grant could have and should have done better.The film opens promisingly, teasing us and playing with our expectations as we first see Gray (Jennifer Garner) and the circumstances she finds herself in.
However, Grant never quite builds on that initial promise and soon "Catch and Release" meanders into traditional romantic comedy territory, complete with the obligatory playful and lovable sidekick - in this case, Sam (Kevin Smith) - and the friend harboring a romantic secret of his own, Dennis (Sam Jaeger).The crux of the story is Gray's realization that her life is being turned upside down because of what she finds out about a loved one.
Lewis is a good actress, but she seems to get typecast in these off-kilter roles and there's an unmistakable sense we've seen this performance from her before.Olyphant plays sleazy well - just watch him in the otherwise-forgettable "The Girl Next Door" (2004).
Despite Grant's admirable attempt to spin the romantic comedy's meet-cute moment, it's hard to believe Gray would fall for a chap who, for the lack of a better phrase, finds carnal comfort at the most unlikely occasions.Of course, "Catch and Release" has a certain sweetness about it.
The central character Gray (played most fetchingly by Jennifer Garner) is coming to terms with the death of her fiancé and in the process learning a good deal more about him than she thought there was to know.
Loosening up about two-thirds through the film "in the company of his friends: lighthearted and comic Sam, hyper-responsible Dennis, and, oddly enough, his old childhood buddy Fritz, an irresponsible playboy whom she'd previously pegged as one of the least reliable people in the world" (as IMDb puts it), she admits that though she never told her fiancé or his friends, she abhors their practice of catching and releasing fish for sport.
"If you're going to put a poor fish through the agony of being caught, you ought to have the decency to eat it" (that's a paraphrase)."Catch and release" seems intended as a symbol of the coming to terms with the loss not only on the part of Gray, but also on the part of the fiancé's friends and mother (played effectively by Fiona Shaw).
In fact, in coming up with an IMDb score, I tried to think of any one thing that would detract from a perfect movie-watching experience and, can you believe it?
The attempt to mix the two is handled with little cohesion, and never seals the deal for either audience (and certainly falls short of appealing to both, which is what it seems to want).We meet a grieving woman (Jennifer Garner) who was engaged, but her fiancé dies just before the wedding.
Juliette Lewis and Kevin Smith guest star, both as enjoyable (and sometimes hilarious!) characters, that will keep the audience hooked.All-in-all, "Catch & Release" is a quick-paced, light-hearted, romantic comedy, which chronicles love, loss, and finding love again.
I have seen so many clunky romantic comedies, where characters behave in ridiculous, unrealistic ways, so I was very pleasantly surprised by this movie.
Please do not waste your time and money and rent this movie but if its one o clock in the morning, you don't feel like going to bed, and nothing else is on, then I say what the heck, you might as well watch it if its on HBO or something..
The romance between the lead actors was as predictable as it was unbelievable - at no point do you feel any warmth between the characters or chemistry between the actors and the romance only seems to occur because Jennifer Garner finds out some bad news about her late Fiancé, rather than any actual romantic development.
The only (minor) plus points of the whole film are the brief laughs from Kevin Smith's paint-by-numbers kooky sidekick performance and, erm, the scenery (because OF COURSE the characters live in a beautiful, organic 'community', with lots of time for outdoor activities - according to Hollywood romance doesn't occur in rubbish towns).
Her fiancé's best friend, Fritz, comes from California for the funeral, but for some reason that is not explained, ends up staying at the same house which seems like for weeks.
This film also contains a scene that makes me wince every time I see it (and I have seen it in countless movies) and that is the old "turning on the blender with no lid" shtick.
This now makes about eight Jennifer Garner movies that I've seen and I haven't liked her in ANY of them.
Here her first real attempt at directing is not helped by her less than inspired script.Never really sure if it aspires to be a statement on loss and human weakness or an awkwardly tender humorous love story, the film rambles along as if every day of production was unrelated to the those previous.
Jennifer Garner (fresh off birthing a real life baby) is actually at her best in the opening scenes as she grieves over the loss of her fiancé.
Juliette Lewis is back with her customary weirdness, this time with kid in tow.The two best parts of the film are the few amazing shots featuring the natural beauty of Boulder, Colorado and the nice little soundtrack with some real gems.
It is not very often that I seriously dislike a movie, but this one left me glad I had not paid to see it in a theatre.It started off with real promise, the first few scenes showed the beginnings of quite a good and intriguing story.
The storyline just kind of drifts along and if you have seen more than ten movies in your life really doesn't take you anywhere.It was a waste of my time and that is why I am here at my computer writing this while it plays in the background.The Gray character is a pretty face and if you like to look at a pretty face with music playing then you will love this movie.
And there are decent things about it, notably Juliette Lewis, who gives a delightful performance as a new-age hippie struggling with motherhood, who makes you wish the movie was about her every time she appears on screen.
Kevin Smith was great as the character of Sam. He is a big part of the comedy in the movie.
Watched this film, not expecting great things (the title certainly doesn't give anything away), and I wasn't disappointed.My first thought is with the lead female character, if you can't get Julia Roberts, I guess Jennifer Garner will do, It's that sort of film, The only storyline is that a girls' fiancé dies, and she get's on with life..
Timothy Olyphant and Jennifer Garner make an amazing acting duo and I hope they make more movies together.This movie took a very serious topic and keep it real, yet added in some necessary wit and humor so that it wasn't a total tearjerker.The entire cast worked extremely well together and made it believable that they were all really friends that hung out.If you like movies that deal with real life situations, or that can add humor to in a sophisticated and appropriate way, you'll probably like this movie..
Sam Jaeger's character melts into the background through most of the film so it was nearly a surprise to see it jump to the forefront for a bit.The basis of the story is a good one, getting to know one of the main characters, who just happens to be dead, through his friends, his fiancé, and secrets that are revealed after his death.
The pace of the film "feels" pretty even, there are no outrageous special effects and although there are a few "ah ha!" moments and some very emotionally charged moments the overall result is close to seamless.There was one glaring omission of an element that is usually present in this type of "real life" story involving a woman's trials and emotions, but that realization comes only in retrospect .
The film has nothing new to say about grief or healing, just about unchecked lusts for love and food (the latter the province of Kevin Smith, whose turn as the sloppy, overweight lovable friend, is sometimes funny, as when erotic massage therapist Maureen, played by Juliette Lewis, literally jumps his bones.That Wheeler falls into the cute arms of Timothy Oliphant's Fritz is a given for this lightweight chick flick that would have us believe she would fall for a womanizer who scores a babe in the bathroom at the funeral while the grieving Wheeler listens aghast behind the shower curtain.
That 60's Simon and Garfunkel type of music with a message should appeal to the audience of the 21st century, which may not demand character development in order to understand plot.Catch and Release, a multiuse title referring to both the loss and a fishing motif, is a romantic comedy whose romance is low-grade (she just lost her fiancé for goodness sake) and comedy low-ball.
Fritz and Gray don't think much of each other until they begin to get past appearances and stereotypes and appreciate what their mutual friend loved about the other.While I've never been a huge Kevin Smith fan, probably based more on choice of material than anything else, he is delightful as the bumbling, guru-quoting friend Sam who takes Gray in as a roommate and provides intelligent comic relief, as well as being allowed some depth of character that is pleasant and surprising.Spiritual significance is pretty light in this film.
For the ones who watched it..I do not understand how the guy that "sleeps" with that girl at the funeral proves to be so profound during the movie..Than, the scene where she, after finding out that her fiancé's son is smaller than she was told, goes angry to her fiancé's friend to argue with him...and he kisses her.
Interesting film where Jennifer Garner finds out that her fiancé, who has died unexpectedly, led a very different life than what she could have ever envisioned.The guy was a millionaire who had a one night stand with Juliette Lewis and was supporting the child from this alleged liaison.This story is basically dealing with the relationships formed after the death of Gray, the groom-to-be.We see the interactions among the friends and the ultimate rediscovery of love among them.When a DNA test proves otherwise, we see the noble actions of a mother who is willing to continue sharing her son's wealth.The film is well worth watching due to the strong interpersonal relationships that are depicted here..
Acting was great, plot was good, a movie that doesn't throw you for any loops or catch you by surprise but is very easy to watch.
This movie starts with the funeral of Gray (Jennifer Garner)'s fiancé Grady.
Do this, and you'll have a pretty good idea of what you are going to think of this movie when you watch it.Most of this movie (I won't call it a film) makes no sense to a guy, because nothing that the characters do has any reason or development behind it.
Thats the only good thing I can say to the director: "Hey, you didn't make Jen Garner look ugly." As far as the writing, I think the movies that these guys stole the plot lines and dialog from need to be credited.A pathetic attempt which deserves pathetic box office returns..
The movie has got a good story, amazing actors, camera, music, it's funny, decent, it's not movie for Oscar, but it is not one of the silly not realistic romantic comedies, this one gives you two hours of watching one story of love which has finished and one which is just surprisingly arising, Jennifer and Timothy are great together and I've watched the scenes with the two of them so many times, other actors are great, too...
Word to the wise: Always be wary of movies that have theatrical releases in January since that means the studio has concluded they are not award-worthy material.After the requisite mourning scene, Gray spends most of the rest of the story sorting out her late fiancé's estate in idyllic Boulder, Colorado, and hanging out with his trio of friends, all of whom hold some kind of torch for her.
Also excellent played rolls by Timothy Olyphant and Juliette Lewis (I thought she wasn't going to do any more movies?, well, glad she did.) All in all, a great movie to watch..
You may empathize with some of the secondary characters, but the actors playing the leading roles (Jennifer Garner and Timothy Olyphant) did such a poor job...!
I hope this isn't the sort of film she's going to make a habit out of, because she's better than this.Juliette Lewis was the standout in this film, essentially playing the "Juliette Lewis Part" she always plays, but it's nice to see her back on the screen again.The cast was all good, a surprise to see Fiona Shaw in something like this, she does her best with a limited role.From the blurbs I read when Jennifer first signed on for the film ("When her fiancée dies, she discovers hidden secrets from his past.") I was expecting an Ashley Judd thriller, not a rom-com.
Don't Catch It. Gray (Garner) Wheeler's fiancée dies before the wedding and she must learn to cope with this tragedy, but as time goes on she learns that her intended, Grady, among other things fathered a child out of wedlock when they were going together.
Oh, Oh!!!I like Jennifer Garner, and she is a good actress, but this type of movie is not her style.
This is my favorite movie so far of 2007.From the subtle "37" on Kevin Smith's clothing to Timothy Olyphant's mischievous grins, this film is outstanding.
Jennifer Garner is as beautiful and innocent as ever playing the grieving, lonely, and often confused widow trying to rebuild her shattered life.Susannah Grant does an excellent job making you laugh with Kevin Smith's facial expressions and wit, and then does an immediate 180 bring you back to earth with the lost Gray (Jennifer Garner).I'm not normally a huge romantic comedy fan (romantic drama comedy as they classify it), but this movie really does it for me.
If you want to see a Jennifer Garner non-action film, go see 15 going on 30 (which I do really like - see?
It seldomly achieves both.Written by Susannah Grant, who also had the pen in hand when came time to write Academy Award Winner Erin Brokovich, Catch and Release's script feels labored and is so rarely funny for a film dubbed a "romantic comedy." It tells the story of Jennifer Garner's Gray who is left heartbroken after the death of her fiancée.
That's a question I'd be pondering after watching the finished Catch and Release if I was Smith.Starring: Jennifer Garner, Timothy Olyphant, Kevin Smith, Sam Jaeger, and Juliette Lewis.
Over the course of the film, she paints some walls, pouts, and, this being a romantic comedy, naturally falls in love with one of her dead fiancée's friends (Timothy Olyphant), who for some reason decided to move in with Garner and her friends even though he has a giant beach house in Malibu.
It's not anything special as far as romance movies go so I'm at a loss to explain why I like it so much but I would have to say its one of my favourites.It's one of those tragi-romances, along the lines of 'PS I Love You', surrounding the death of a partner, in this case Jennifer Garner's fiancé.The characters and all their sub stories is what really makes this movie.
The supporting cast is excellent especially Kevin Smith and Juliette Lewis who steal many of the scenes.Jennifer Garner is charming and Timothy Olyphant is the sexy bad boy with a heart.
Opening: Jennifer Garner's character, Gray Steele, attends her fiancé's funeral instead of their wedding (he died in a boating accident).
He does nothing the whole film that would make me think, "No wonder Jennifer Garner "makes love" to him right after her fiancé dies." He constantly has this look of mild retardation on his face, which worked for Johnny Knoxville in The Ringer but for different reasons.
Why would Jennifer Garner's Dead Fiancé's Friends-Who-Are-In-Love-With-Her invite this woman over to their home...with her really annoying child...and play house with her?
Kevin is definitely in character with his good-natured personality as well as a devoted hockey fan wearing hockey jerseys in real life.However, nothing positive can be said for Jennifer Garner and two other male supporting leads.
CATCH AND RELEASE (2007) **1/2 Jennifer Garner, Timothy Olyphant, Juliette Lewis, Kevin Smith, Sam Jaeger, Fiona Shaw, Joshua Friesen.
Jennifer Garner is good in a nicely entertaining movie..
The movie's title comes from the habit of the three friends fishing and releasing the fish.Jennifer Garner is Gray Wheeler, who has recently lost her fiancée and is having difficulty dealing with it.
The movie opens with his funeral and reception, where Gray is thinking, "The last thing you heard me say was not 'have a good time' but 'no more loving for you until you figure where mother's bridge club is going to sit.'" In this scene we are also introduced to most of the characters in the movie, including Timothy Olyphant as Fritz (the cat??) who takes a catering girl into the bathroom for a 'quickie', only to find that Gray had been in the bathtub all the while, getting away from the mourning guests.
My favorite part of the movie was the romance between Jennifer Garner and Timothy Olyphant's character.
I truly liked the characters and I would love to have any of them as my friend, including the dead fiancé's mother.
This is a good date movie, because not only the women like it, but also the guys or it may be Jennifer Garner.
Catch and Release (2006): Dir: Susannah Grant / Cast: Jennifer Garner, Timothy Olymphant, Kevin Smith, Juliette Lewis, Sam Jaeger: Pitiful tear-jerker piece of crap. |
tt0063850 | If.... | Set in a British independent boys boarding school in the late 1960s (most of the scenes were filmed at Cheltenham College in Gloucestershire, with the remainder at Uppingham School in Rutland and Aldenham School in Hertfordshire, England, UK). Mick Travis (Malcolm McDowell) is one of three non-conformist boys among the returning class. They are watched and persecuted by the "Whips", senior boys given authority as 'prefects' over juniors. The prefects are entitled to the services of "Scum", who are first-year boys assigned to run errands, make tea and generally act as unpaid servants. This refers to the old tradition of "fagging" which still persisted in many British independent boys' schools.The early part of the film shows scenes in the school as the pupils return at the start of a new term. Mick Travis, the protagonist, arrives with a suitcase on his shoulder, wearing a black Derby hat, with a black scarf across his face to hide his moustache. Stephans comments, "God, it's Guy Fawkes back again", hinting at the conclusion of the film. Rowntree (Robert Swann) is the Head Whip, and he revels in his power, ordering the junior boys to "Run! Run in the corridor!"After the first evening meal, the Whips conduct some of the more mundane business of the school, signing up boys for "Confirmation class" and "VD clinic". Each boy has to lower his pants so the school nurse can inspect his genitals.These early scenes show the school's customs and traditions. The Headmaster (Peter Jeffrey) is somewhat remote from the boys and the House Masters. Mr. Kemp (Arthur Lowe), the House Master to Mick's dorm, is told "I'll have to get back to you on that" when he brings things to the Headmaster's attention. Kemp himself is easily manipulated by the Whips into giving them a free hand in enforcing discipline. Some of the staff are shown as suffering from various perversions. For example, the school chaplain (Geoffrey Chater), who is also the geometry master, enjoys grasping the boys and hurting them during class. At bedtime, Mr. Kemp sings a hymn as his wife (Mary MacLeod) accompanies him on the recorder; the matron (Mona Washbourne), overhearing, is driven to near orgasm. Mrs. Kemp herself enjoys walking naked through the boys' dormitory and washroom while fondling soap, towels and other objects the boys have carelessly strewn about.One day, having sneaked off campus and into the nearby town (an act strictly forbidden by house rules), Mick steals a motorbike from a showroom and has an affair with a local waitress. Meanwhile, Wallace finds adolescent romance with Bobby Philips, a junior boy, whom he takes to bed. They indulge in self-inflicted ordeals, such as seeing how long they can hold a plastic bag over their faces.As the film progresses, it concentrates on Mick's group and their clashes with the school authorities. Mick and his friends are subject to punishments, and eventually they are sentenced to corporal punishment in the form of a severe "beating" (i.e. a caning) by the Whips. The caning is administered by Rowntree in the gym with a long run-up. The three boys are left with bleeding buttocks. Mick's punishment is especially brutal (10 strokes), yet tradition demands that he shake hands when it is over and say, "Thank you".(Note: scenes are shot through with surreal elements, such as some scenes being shot in black and white. This was not for dramatic emphasis, as people presumed, but simply because the huge windows at the college gave off obstructing light that affected the camera lenses. Another explanation given later by Lindsay Anderson is simply that the production was running out of money.)A few days later, during a paramilitary exercise training in the nearby woods, Mick and his friends play a practical joke on the Whips by planting a bomb containing paint which they detonate and humiliate the Whips and the supervisors of the military exercise. As a result, Mick and his friends are punished by being forced to clean up the church basement for the weekend. During the cleaning, Mick and his group find a large cache of various weapons dating back to the second world war (rifles, heavy machine guns, sub-machine guns, pistols, grenades and even mortar tubes with live rounds). Mick decides to use this to get revenge against the establishment for their misfortune.At the climax, in a surreal sequence, on Founders' Day, when parents are visiting the school, Mick and his group start a fire under the hall, smoke out the parents, staff and boys, and open fire on them from a rooftop. Led by the visiting General who was giving the speech, the staff and boys break open the Combined Cadet Force armoury and fire back.The Headmaster tries to stop the firefight and calls for peace. Mick's girl, who is on the roof with them, produces a Webley Revolver from her belt and shoots the Headmaster through the forehead in cold blood. As the battle continues, the camera closes in on Mick's face as he defiantly keeps firing, ending the film with a fade-out and an echo of gunfire with the film's title "if...." emblazoned in red on the screen. | comedy, avant garde, murder, cult, violence, psychedelic, satire, romantic | train | imdb | Lindsay Anderson, arguably Britain's most underrated director, continued to expand upon McDowell's Mick Travis character in two subsequent movies, but 'If..' has a very different feel from those "sequels", if they can truly be termed that, and can be watched as a stand alone movie.
I left the cinema feeling so goddamn moved!At times the sheer 60s-ness, and random dialogue ("I like Johnny") can seem to undermine the viewing experience, but the spirit of bold rebellion which saturates this marvelous film wins you over.
It's a state of the nation movie, a fantasy, an account of public school life told with an almost documentary-like precision and it's as fresh today as it was when it first appeared, (hard to believe that was almost 40 years ago or that Malcom McDowell was ever this young).Using Jean Vigo's "Zero De Conduite" as a template, (it's not a remake), Anderson's movie is quintessentially youthful and so accurately does it depict its milieu as to appear almost arrogant.
(His comments about financial restraints dictating the fluctuations between black-and-white and colour photography may well be true but the choices seem inspired, nevertheless and the great Miroslav Ondricek's camera-work is superb).He was also a great actor's director, often working with many of the same actors both in theatre and in cinema and he extracts marvellous performances from the likes of Arthur Lowe, Peter Jeffrey, Mona Washborne and Geoffrey Chater representing the Establishment as well as pitch-perfect performances from David Wood, Richard Warwick, Rupert Webster, Robert Swann and Hugh Thomas, all new to cinema, as the students.The film made Malcom McDowell a star and for a few short years, (here, in "O Lucky Man", as Alex in "A Clockwork Orange"), that star burned brightly before he sold out to Hollywood and his career began to flounder in a series of mediocre American movies, reaching a nadir with "Caligula".
The first entry to the Mick Travis trilogy ("If...", 1968, O Lucky Man, 1973, and "Britannia Hospital", 1982), "If.." is a surreal black comedy about an English private boys' school and a student rebellion.
Malcolm McDowell in his first big screen role and the first of three Mick Travis' movies is a charismatic leader of the rebel students who call themselves the Crusaders and like to break the rules.
The cruel corporal punishments from the faculty and the older students provoked a bloody uprising against the school system.Made almost 40 years ago, "If.." still has a power to shock as well as to entertain and it remains an outstanding and controversial depiction of the problems that have not disappear from the English public school system or from any school system as well as from society in general.I am sure that Stanley Kubrick saw "If..." and was impressed by McDowell's debut performance, by his charisma that shines through his close-ups and especially in the final shot of "If...", and by his face that strangely combines innocence and youthful openness with cynical scornful almost reptilian contempt for humanity.
But attempting to defeat these people by hysterical overreaction such as that of Travis merely results in them clamping down further.I also realised how much Monty Python's Meaning of Life draws on the film - during the chapel scenes I could have sworn Arthur Lowe was going to stand up and intone 'Oooooh God you are so big!'What we don't see from the likes of Lindsay Anderson is a similar satire on state schools, with their equally vicious and degrading practices.
was re-released at the end of the 1990s, it came with the slogan: 'An Anarchist's Punk Dream!' This certainly summarises the film's main ethos, in which revolution and the dream of blowing up the old school master is a dream of every anti-social English school boy.
The housemaster and headboy were 2 characters I can especially recall, but there are flashes of others in many of the characters.When you see this film, see it as a historical satire, with first the historical atmosphere of a public school being accurately recreated, then second the satire taking form just in time to administer the purgative judgement of the surreal denouement.There.
Lindsay Anderson's "if...." presents a fable disguised (most of the time) as a slice-of-life set in a British upper-class boarding school.
Bouyed by the twin-barreled audacity of Anderson and the film's breakout star, Malcolm McDowell, "if...." fiercely, timelessly encapsulates the spirit of 1960s rebellion even as it threatens to go off the rails every five minutes in the second half.McDowell is Mick Travis, a returning upperclassman at College House, one of several houses that constitute a British boarding school.
Told someone dies of starvation in Calcutta every eight minutes, his reply is a succinct: "Eight minutes is a long time."There are points where one can't help feeling the script needed another round of polishing, like the way it introduces characters like the teacher Mr. Thomas and the "scum" Biles and Jute only to drop them in the second half as Mick's story takes over completely.
It has no moral, symbolic truth, or meaning to it; this movie simply plays out the fantasy of killing teachers and people in "power" that annoy you.If you think a murder rampage/ school shooting similar to columbine or virginia tech is a rational and sensible way to deal with teachers and institutions you don't like, then I guess you'll love this movie.
This was the first of the Mick Travis films and looks at social class in Britain by setting society within a house in a public school.
The story may not be to everyone's taste - indeed the heavily armed retribution Travis may have taken on his school may not seem such a fantasy now and might not be something everyone can view as harmless fairytale (even if it is metaphor for rising up over the ruling classes).As a film it doesn't totally convince but as a message about social standings it is very well observed in not totally to everyone's taste..
It's also odd but the last time I saw this film I could have sworn its title "If..." didn't pop up at the very end but was right before an ending that showed the school on a typical day as if nothing had happened and the violent ending was only a possibility (hence "If....").
I must have dreamed that ending.It's still a well made film with a provocative title and good original music by Marc Wilkinson (a song called SANCTUS from the African mass "Missa Luba" is also used).Unfortunately -- at least for me -- there's only one memorable scene in the entire film and it's a turning point in it.
Maybe it's because most of the older students at this school are played by actors in their twenties (Malcolm McDowell was 25 at the time) and the fact that most of the younger students look like they're about 11 years old, but for the older students it looks like the greatest sadness in their lives isn't the regimented environment they live in at this school but that they are basically treated like children or same as the youngest students.
Malcolm Macdowell puts in an excellent performance as the leader of a gang of 'crusaders' who are out to take on the oppressive authoritative regime at their public school, with overreaching authority placed in the hands of the whips.There are some extremely powerful scenes such as the beating given to the three school boys by their elders for their bad attitude, the classic cafe scene and the acrobatic scene when an elder boy (Richard Warwick) goes through a gymnastic routine on a bar watched and admired by a younger boy (Rupert Webster).
And it's superior to sex.A good movie is one whose most noteworthy line comes just before the violence it motivates: "The thing I hate about you is the way you give Coca-Cola to your scum and your best teddy bear to Oxfam and expect the rest of us to lick your frigid fingers the rest of your frigid life." It's a very straightforward citation of a clear-cut turning point.
With its statements on the suppression of the individual and corruption through ideals of power, "If..." doesn't necessarily tread revolutionary cinematic ground, but has a graceful flow, a style rich with imaginative touches (random shifts to black-and-white), brilliant performances by a cast of unknowns, and a knockout ending that isn't as ridiculous as you might think.With the presence of McDowell (in his first film role) and the themes of the script, certain parallels can be made to "A Clockwork Orange" (1971), but "If..." has no problems standing on its own as a completely unique work..
Most of the time the characters are just plain bored (which is at least true to what school was mostly like), so a need for surrealism to keep the picture going comes into play leading to a weird feeling of what is real and what is fantasy, as it becomes increasingly intermixed.
If what?The story revolves around the character of Mick (played by a very young Malcolm McDowell in a memorable performance.) Mick is a bit of a rebel, whose rebelliousness grows as he's exposed more and more regularly to the harshness of life in this place, culminating in his being caned along with several others for having a poor attitude.
Director Lindsay Anderson also used a strange blend of black and white with colour throughout the movie, and, again, there didn't seem to be any clear reason for why certain scenes were filmed in B&W.
I implore anybody who has not seen this work of art to do so immediately as it could change your perspective on life,love,childhood and gun battles at public schools.This is, for me, one of the best films ever made..
The protagonists here are pupils in an English public boarding school, whose ages vary from 12 to 18, the newcomers undergo the hazing of the elder ones and some harassment from adults, the sixth-formers enjoy their position of authority; expressing it in the most sordid fashion while a minority rebels against the rules, proudly brandished by the headmaster and the teachers.That the film takes place in one of the most civilized countries of the worlds and most ancient democracies speaks for itself.
The film is rather graphic showing difficult scenes where kids are being bullied and tormented in a way that would make today's audience cringe, but maybe the treatment in the end plays like an euthanasia against a society whose cancer is just a sort of inner decadence, when you believe you're in your total right, you make yourself enemies who'd believe the same, it's one extreme for another, and in-between, there can only be victims.The film was certainly admired for its creative use of black and white and color, its profusion of vulgarity and depravation, its total non-commitment to any narrative rule.
The first half of the film, while dull, just shows the day to day life of the boys in a British boarding school in a realistic, matter of fact fashion.
This is all in an environment of bizarre old rituals, Latin refrains, and hardly more intelligible English public school slang (and of course, it wouldn't be a classic story of British public school life without some innuendo about buggery.) Then, as the storytelling takes on an increasingly surreal tone where we question what is real and what is fantasy, the boys and a girl from town get their hands on weapons and go after those who have wrong them.The 1960s was a time of war in Vietnam (and other violent conflicts brought to viewers globally by the media) and youth uprisings in the United States and France.
does not glamorise, and thus vulgarise, youth rebellion the way films about student revolt seem to do (then again, a male single-sex, rural boarding school is a subject that would be hard to glamorise).It is through the adolescent eyes of Mick Travis and a small band of his fellows that we experience the loneliness, tedium, casual cruelty, claustrophobia, philistinism, and jingoism exhibited by his very conservative boarding school, and see him reacting to his desolate prison with a disturbing but darkly funny sense of fantasy.If....
In this, he was no doubt helped by his, at the time young first AD- a certain Stephen Frears.Still, it is the central performance, by Malcolm McDowell, one of the greatest in film, in what was his first leading role (arguably, he has never quite stopped playing Mick Travis) which stands out in this already outstanding film.
I remember laughing out loud when the big gun was brought out by The Girl at the end for the shooting scene, and of course this was years before the tragic school shootings in both the USA and Europe.Many New Englanders look up to British society.
my first reaction, on seeing this extraordinary film in 1968, three years after emerging from just such a school myself, was how accurately, to the last detail, Lindsay Anderson had hit off the atmosphere, the ethos, and especially the sounds of these places.
If...., takes apart the English "old boys school" mentality that was present for such earlier films, like Tom Brown's Schooldays....The turbulence of the late 60's echoes some of the same problems we are experiencing today, and that, unfortunately, is Life imitating Art...."IF" focuses on that Extreme facet of retribution...in a bizarre yet understandable fashion.
It is a good look at the "Public School" system that is still present today, in fact....also appreciate that this molded part of Malcolm McDowell's appeal in later films, Like A CLOCKWORK ORANGE, OH LUCKY MAN, and FLASHMAN....
The public school fable which ends with a gun battle, in which rebel trio Malcolm McDowell (one of the great movie entrances, face swathed in a scarf and hair flopping forward), Richard Warwick, and David Wood, move through a traumatic term until situations cause them to snap.Lindsay Anderson's film has its moments, but is often pretentious, and not helped by alternating black and white and colour for its scenes (for economy reasons, as has been suggested, or for plot reasons?).
With not a little adolescent self-loathing, and being at the time infatuated with a boy of Bobby Phillips's age who exuded a similar aura of gorgeousness, I saw myself in Denson, the bigoted pro-establishment whip licking the foam from his lips as he gazes longingly at the young boy who is shaving him.Beatings by prefects had been abolished shortly before I arrived, our dress and customs were not quite so formal and there was a rather less pro-establishment feel, yet the film caught the essence of that type of school like no other.
Of course more recent films have, in very different styles and settings, covered this territory much more thoroughly, especially the wonderful F**king Amal.Watching the film again some thirty five years later many feelings were the same, but this time I was utterly charmed by McDowell's performance as Travis and I found much more humour.
By far Lindsay Anderson's most popular film and one could argue deservedly so (though I personally like all his films other than the sad finale to the Mick Travis trilogy, "Britannia Hospital"), "If..." is an unforgettable, powerful rebel yell which I believe to be allegorical in nature but works perfectly fine if taken literally.
This a film for those who were once in the old British School System and for those who want to know what it was like.
Malcolm McDowell and director Lindsay Anderson both turn in their finest efforts in this haunting yet amusing story of rebellion at a repressive British boarding school.
He sets the tone of the stifling pressure that penetrates through College House and plots the movie like a time bomb; the audience feels the pressure bubbling throughout the 110 minute film up until its penetrating ending.
Filmed on location, partly at Cheltenham College, Gloucestershire, England - where the director of 'If...', Linsday Anderson, was himself a student- the authentic setting instils a very real feeling of a repressive public school in the viewer's mind, as does the dialogue and portrayal of the hierarchical structure of British society, represented by the school.While 'If...' was a significant product of its time, it still nonetheless has the power to shock the viewer, particularly if they are survivors of the public school system.
Roughly first half of the film is like a documentary--a recreation of the horrid life in a British public college (to translate into American, a 'private high school').
The other movie staring Malcolm McDowell as an angry young man hyperviolent anti-authoritarian figure, Lindsay Anderson's "If..." is just that, a question into the possibility of a figure, so in love with the idea of the romantic mix between Eros and Thanatos, combined with a certain amount of repressive environment characterized by a very classic English private school, may not just snap and...Of course school shootings have a little different meaning today, but a marked difference between what this film is expressing and what school shootings have come to express is the very act of expression itself: McDowell is quixotic, an hopeless romantic that poises himself and acts out his rebellion into the very physicality of his being.
The end scene could be argued away as a fantasy, but for moments such as the bishop sitting up out of the drawer, the sudden black-and-white, the full acceptance of McDowell's character's dreams by other angry young men.
It stars Malcolm McDowell in his first screen role and his first appearance as director Lindsay Anderson's "everyman" character Mick Travis.If....
One of the most striking things about the movie is the intensely realistic style of the beginning, which almost makes you feel like you actually attended a British boarding school.
Malcolm McDowell's fans should by no means skip this film, or Anderson's follow-up to this, his quasi-sequel called "O, Lucky Man!" which is just as good.Btw, there was much discussion regarding the black-&-white scenes.
there's scenes were the movies turns into a black and white film to set the mood. |
tt0156843 | Night of the Ghouls | The basic plot involves the police investigating a supposed haunted house. The house is discovered to serve as headquarters for a confidence trickster who pretends to be able to contact the dead, and charges naive customers large amounts of money to allow them to speak to their deceased loved ones.
The movie features a prologue and a brief acting role by Criswell, who also narrated Wood's Plan 9 from Outer Space. The prologue has Criswell rising from a coffin, leaving unclear if the "metaphysical" narrator is awaking from a normal sleep, or whether he is actually a corpse returning to life. The latter implication can be seen as foreshadowing the final scenes of the film.
One of the opening scenes features a montage of seemingly unrelated events, which seem to feature Wood's view of the post-war era and its social problems: juvenile delinquency, street fighting, and driving under the influence. A memorable sequence has a car driving off a cliff and crashing. The sequence ends with the bloody corpse of the drunk driver staring blankly at the camera. According to Criswell's narration, this is a rather typical end to "a drunken holiday weekend". The narrative properly begins with a teenaged couple kissing in a convertible, parked at night in what is probably a lovers' lane. When the boy gets too aggressive, the girl ends the embrace with a slap and exits the car. At this point the narrative introduces the Black Ghost which lurks in the woods near them. In short order, first the girl and then the boy are attacked by the undead creature and die. According to Criswell's narration, the two murders received press attention but were thought to be the work of a maniac.
In a police station of East Los Angeles, California, Inspector Robbins is waiting for Detective Bradford at his office. Bradford soon arrives, dressed in a top hat and formal evening wear. He was called to work while on his way to the opera, and he protests the idea of working an unexpected assignment. But Robbins informs him that the case involves the "old house on Willows lake", which played a part in an earlier case investigated by Bradford. (This is a reference to the events of Bride of the Monster). The house was destroyed by lightning, but someone rebuilt it. A flashback scene establishes that the elderly Edwards couple had a terrifying encounter with the White Ghost by this house. Having heard the story, Bradford accepts the assignment to investigate the old house. Robbins assigns Kelton to escort the Detective, despite the protests of the man that "Monsters! Space people! Mad doctors! They didn't teach me about such things in the police academy! And yet that's all I've been assigned to since I became on active duty". The line is used to recall Kelton's experiences in Bride of the Monster and Plan 9 from Outer Space, and to explicitly connect this film to its predecessors.
Bradford drives a Pontiac Bonneville to the house and enters through an open door, to be confronted by Dr. Acula (played by Kenne Duncan). Dressed in a turban and cryptically mentioning that there are many already in the house, both living and dead, Acula is a rather strange figure. But Bradford convinces Acula that he is just another prospective client, so his entrance is accepted. The narrator soon establishes that one of "the many" in the house is a remnant of its past, Lobo. A character from Bride, Lobo is depicted as disfigured from the flames which once destroyed this house. Outside the house, Kelton arrives late and has brief encounters with both the Black and the White Ghost. The scene shifts to a strange séance, where Acula and his clients share the table with human skeletons. A subsequent scene both confirms that Dr. Acula is a fake psychic by the name of "Karl", as Bradford suspected earlier, and reveals that the White Ghost is an actress by the name of "Sheila". Her role is to scare away intruders. She is concerned by the presence of the Black Ghost which is not part of their hoax, though the cynical Acula dismisses her fears. He doesn't believe in the supernatural.
Both Bradford and Kelton have strange and sometimes violent confrontations within the house, and are eventually joined by reinforcements. As their accomplices fall to the police, Karl and Sheila attempt to escape through a mortuary room. There they are confronted by a group of undead men, including one played by Criswell. The latter is the only one of them who speaks, explaining to Karl that the supposedly "fake" psychic does have genuine powers and his necromantic efforts actually worked. These dead men were restored to life, if only for a few hours, but they intend to take Karl with them in their return to the grave. As Karl dies, Sheila escapes the house to meet her own fate. The Black Ghost, genuinely undead, takes control of the impostor and tells her that it is time to join "the others" at the grave. As the police try to understand what happened to the deceased Karl, the narrative ends with a shot of an undead Sheila, now truly a White Ghost.
In a brief epilogue which also closes the frame story, the narrator returns to his coffin. Claiming that it is time for both the old dead and the new to return to their graves, he reminds the viewer that he/she too can soon join them in death. | cult | train | wikipedia | It offers unrelated footage from the unfinished movie HELLBORN (some of which later turned up in THE SINISTER URGE) which narrator Criswell tries to tie into the plot: there is also footage of Duke Moore that was shot for a 1/2 hour TV show that is woven in also.
The giant octopus is long gone but Lobo (Tor Johnson) has somehow survived and is now employed by Dr. Acula (Kenne Duncan) a phony medium.
An elderly couple show up at the police station frightened out of their wits having claimed to see a ghost near an old house in the woods once owned by a deranged scientist.
One of Dr. Acula's goons to do his dirty work is played by Tor Johnson who is always a welcome sight in a movie like this.
It is rumored that this movie sat in the can for almost two decades because Ed Wood couldn't afford to have the film developed.
If you liked "Plan 9 from outer space" you'll probably at least find this film moderately amusing..
The story goes that 'Night Of The Ghouls' sat in the can for over twenty years because Ed Wood couldn't afford to have it developed.
The links are slim but the mad scientist played by Bela Lugosi is mentioned once or twice, and his assistant Lobo (Tor Johnson) appears in horribly disfigured form.
As well as Johnson a few Wood regulars are involved, notably Criswell and Paul Marco.
Duke Moore from 'Plan 9' plays the main cop and Kenne Duncan, who trash hounds might remember from 'The Astounding She-Monster', plays "Dr. Acula", a crook posing as a spiritualist.
'Night Of The Ghouls' is a lesser Wood movie.
'Night Of The Ghouls' is a lesser Wood movie.
Lt. Moore is hot on the trail of shyster medium Dr. Acula (Uh huh, Dracula
I get it) who sets up his show in the good old Dr. Vornoff's (Bela Lugosi's lair in 'Bride of the Gorilla' (1955)) old lair to bilk little old ladies hard earned social security by channeling their love ones with floating sheets and phantom trumpet players who couldn't hold a tune even if they had pockets..
'Night of the Ghouls' is badly acted with horrible dialogue and some of the cheesiest effects in all his films.
It's not as good as "Plan 9," and it rivals "Glen or Glenda?," but it's better than the rest of Wood's films.
Wood, Jr. It's a minor classic, albeit a crucial one, commensurate with the 1953 psychodrama, "Glen or Glenda", termed by scurrilous wags 'Bargain Basement Equus'.Previously unaware of 'Night's' existence, I enjoyed it on Elvira's L.A. TV show.
He spends 1/2 the film in his car outside the mansion fainting from seeing this woman in white and taking potshots at her (as well as a woman in black who has now turned up) Bradford meanwhile, has broken entry to the house and is greeted by a *cough* Dr.Acula.
In an attempt to escape right at the end, Dr. Ac actually RUNS TOWARDS his nemesis'!!Not as "good" as plan 9 (unfortuntely) but worth seeing for Wood-Fans.
Almost a comedy - we've got Paul "Kelton the cop" Marco, a disfigured Tor "Lobo" Johnson and the legendary Bela Lugosi stand-in Dr. Tom Mason in place.
There they find Dr. Acula (sigh) (Keene Duncan) who's a phony spiritualist trying to bilk wealthy people by "contacting" their dead spouses.This is the legendary Wood film that sat unreleased for 25 YEARS because Wood couldn't pay the lab bill!
It has some fun moments--Tor Johnson's truly laughable makeup job and a bewildering séance (where someone is shot at multiple times and someone is knocked out cold--and no one bats an eyelash) but it's mostly just dull.
Wood, Jr. directs this semi-sequel to his cult film Bride of the Monster.
He comes across the weird Dr. Acula (Kenne Duncan) as well as a burned Lobo (Tor Johnson) among others.
This is a rather interesting Wood film as it's probably his best made due to a couple reasons.
For starters, Wood couldn't afford to pay the lab bill so the film set unreleased for 24-years.
When Wade Williams stepped in and bought the film, he had professional editors edit the movie so this here makes it look somewhat better than normal.
Even in other ways the film works better from the better special effects to a couple nice shots, not to mention some nice comedy bits and not those unintentional laughs we're use to.
Although this is a terrible movie, by the standards set by Bride of the Monster, Plan 9 From Outer Space and Glen or Glenda, this is not that horrible a movie.
Any other director would have cringed at creating this movie, but Wood should not have since it least it shows he improved a little.While the movie does have some scenes where it is alternatively day and night, this isn't as striking as in Plan 9.
Though it was BADLY made (it sure didn't look real), I laughed when I noticed the picture on it was Ed Wood!Too bad for all the fans though, as they might expect another Plan 9 or Bride of the Monster and find the movie is just bad--not funny because it's so bad!.
I truly believe that "Night Of The Ghouls" is an underrated masterpiece among Edward D Wood Jr's movies.
Tim Burton's bio-pic stops before the making of it, documentaries like Rhino Video's "Look Back In Angora" at best just briefly mention it and it just doesn't get the (ahem) credit that "Plan 9 From Outer Space" does.
Personally I find it just as enjoyable as "Plan 9" and the opening monologue by Criswell is among the finest moments of Ed Wood's films.
Edward Wood's most outrageous film (along with 'Glen or Glenda') follows the exploits of the L.A. police when they are forced to wake up so they can try to jolt into action to investigate strange goings-on at a local haunted house.The weirdness begins with the introduction of Dr. Acula (Kenny Duncan).
You may want to get blasted before attempting to sit through this delirium.Semi-sequel to Wood's 'Plan 9 From Outer Space'..
Ed Wood was particularly talented in this regard, and his Plan 9 and Bride of the Monster are true 'classics'.
Sadly, Night of the Ghouls doesn't deliver like his other films did.
There's even a narration delivered from a coffin by the inimitable Criswell!It's no use arguing the merits of any Ed Wood film.
Lobo (Tor Johnson- PLAN 9 FROM OUTER SPACE, BRIDE OF THE MONSTER) returns!
'Night of the Ghouls' is a sequel to 1955 film 'Bride of the Monster' and its actions take place in the same old mansion where Dr. Vornoff created his atomic beasts.
Tor Johnson is reprising his role as Lobo and Paul Marco again is mumbling cowardly police officer Kelton.
Thanks to the quirks of Ed Wood the film is still watchable entertainment, but not for anyone.But real star of this 'masterpiece' is not the director nor any of the main characters but the wooden panel door that appeared in police station and in Dr. Acula's home.
Filmed in b&w - 1959's "Night of the Ghouls" (with its, thankfully, brief, 70-minute running time) is a completely laughable, z-grader from the master of 1950s, low-budget schlock, Ed Wood.Believe me - The goofy dialogue, cheap sets, and wooden performances that abound in this absolutely absurd, bargain-basement picture will totally kill you....
I agree that the film is one of the director's best, and I enjoyed it more than 'Plan Nine from Outer Space.' I wish Bunny Breckenridge had been in the cast though.Valda Hansen, in a beautiful, flouncy Victorian gown, is ravishing, and she and the black ghost, along with Vampira (in 'Plan Nine', but not in this film) show that Ed Wood would have loved the Gothick style of female fashion - which sadly only appeared after he had died.I have read the comments here, and a bit more about Ed Wood, and I'm surprised that nobody has noticed that in the opening scene of 'Night of the Ghouls' there is a small 'WANTED' picture of Ed Wood himself sticky-taped onto the wall of the police station..
I can't be sure because I haven't seen all of Ed Wood's movies, but I have to imagine that this might be his worst.
This movie is bad and I don't mean bad in a funny way, like Bride Of The Monster or Plan 9 From Outer Space, it's just plain bad.
Night of the Ghouls is effectively Ed Wood's lost movie, seeing as it remained unreleased for over twenty years.
But of course, as is the way with Wood movies, the result is extremely strange.
Tor Johnson turns up again with another performance, exactly the same as all the others, as does Paul Marco, who plays yet another cowardly cop.
There are additionally a couple of female ghosts in cool Gothic clothing who hover about outside in a Vampira-lite sort of way.Probably the best scenes in Night of the Ghouls are the ones in the séance.
I highly doubt that this would have been the one to break him into the mainstream.The plot is that Dr. Acula (hee-hee get it?) is running a spook house in the same house that was supposedly burned down in "Bride of the Monster." Tor Johnson also plays the same character, Lobo, who was supposedly burned in the accident.
I think that he did a better job on this than Plan 9, but it lacked something.Look for Dr. Tom Watson (this time he actually shows his face unlike when he played Bela Lugosi's stunt double), and Tony Cardoza (MST3K fans should recognize him as everyone's favorite monotone, Coleman Francis collaborator)..
The police goes to investigate to the house where Bela was living doing experiments on the film 'Bride of the monster', as a result of a report of an old couple.
Just when I thought that Plan 9 was as bizarre as Ed Wood movies could get, here we have Night of the Ghouls!
I couldn't stop laughing at the seance scene (which had a Ghost with a whoopie whistle, a trumpet suspended by wire, and a member of Devo...or maybe just some dude with a bowl on his head making faces at the camera...)A must see for MiSTies and bad movie freaks like myself!.
Wood recycles footage and sets and characters and situations from his other "home movies" to tell us a story about a decrepit house where a mad doctor once made monsters.
Tor Johnson shows up as a badly scarred and injured Lobo from a previous film, BRIDE OF THE MONSTER.
It's ostensibly a sequel to his pretty funny BRIDE OF THE MONSTER, even bringing back Tor Johnson as Lobo once again.
But otherwise there are no more than a few chuckles to be had from the inept 'acting' of Wood's 'performers.' Skip it and stick to his earlier 'classics' like PLAN 9 or THE VIOLENT YEARS..
actually this is a marvelous film - tor johnson makes every movie a winner, stumbling around in his monster-contacts, and valda hansen is radiant in her "ghost"ness.
The rest of the cast is basically Ed Wood regulars highlighted by the inimitable Tor Johnson as Lobo.
At first, I thought this was a sequel to "Bride Of The Monster" but that was probably because that was the only other Ed Wood movie I've seen.
It's about as cheesy as you'd expect, but more entertaining than most examples.At least Ed Wood's other movies had Bela Lugosi in them.
An experienced ghost hunting police detective goes to investigate and comes upon a phony medium (in a turban) named Dr. Acula and his dog and pony show used to bilk people out of their money by bringing the spirits of the dead to life.
Where Paul Marco came from I don't know, but his Patrolman Kelton makes Barney Fife look like Einstein, and about a fraction as funny.
I actually liked Plan 9 From Outer Space, it's not a good movie, but it is fun and I just cannot hate it.
Night of the Ghouls was a movie I couldn't get into at all really, the opening scene is great and very funny and while Ed Wood Jnr is far from a great director I just can't bring myself to say he is the worst director of all time because of the heart he brings to his pictures.
The production values are very creaky even by today's standards with the editing slapdash and the effects and sets fake, the story is slow and meandering even for a film that is not very long, and most scenes and the dialogue are embarrassing.
Overall, a bad film with only one good scene that saves it from total disaster.
Fortunately for them, he decides to evade them by running directly at them."Night of the Ghouls," the long-awaited sequel to "Bride of the Monster," was left unreleased for over twenty years because writer/director Ed Wood couldn't pay the film lab fees.
Though not quite as "good" as "Plan 9 From Outer Space" or "Glen or Glenda?" it's definitely worth watching just to see the look on the old couple's faces when they see the "monster." It doesn't get much better than that.
Bride of the Monster which is silly but meant with good intentions and a great performance by Bela Lugosi .
Night of the Ghouls was made after Plan 9 from Outer Space, so I know that he wasn't on his hot streak any more.
I don't know if I would recommend this film, if you are looking to watch any of Ed Wood's work, I would say to go for it.
But it's a bad movie, like I said, it's the actors and the special effects that really killed the whole idea of what Ed Wood had in mind.
Again.Night of the Ghouls loses a lot that makes "Plan 9 from Outer Space" so endearing.
Thus, Wood makes up for lost encouragement by adding more silly lightning strikes, a floating saxophone (oh yeah, you can see the strings, just like the flying saucers in "Plan 9"), a man in a sheet as a ghost, and even worse sound editing and acting to basically reach what I feel is his lowest and most incompetent results.
If there's anything redeemable in this, it's that Ed Wood still believes with all his heart that Tor Johnson is scary, and that helps make Night of the Ghouls just as charming and cute as his previous features.
This film isn't as enjoyable as Plan 9 From Outer Space or Bride of the Monster the other Ed Wood movies I've seen.
When I'm talking about Wood Plan 9 From Outer Space is obviously what comes up.
And in a Wood movie, if it's supposed to be fake, then it really is.
Lieutenant Daniel Bradford (Duke Moore) and everyone's favorite Wood idiot Patrolman Paul Kelton (Paul Marco) who was in Plan 9 and Bride of the Monsters.
It even has Tor Johnson reprising his Lobo role from that film.
In other words, this scene is everything we've come to endear about Wood films.
Like many wood films, this can only be viewed for novelty effect.
Most of Ed Wood's movies are so bad that they make you laugh.
At least other Wood movies are fun to watch because they have a certain campy feeling and goofy characters and dialogs.
And neither does Dr. Acula believe in ghosts and other things like that but yet he has Lobo as an henchman, who is about the biggest monster you can imaging.
Oh and Dr. Acula, next time you're trying to escape don't run directly towards your enemies.The movie is just completely bad as an horror movie.
The whole séance scene with 3 people sitting at one side of the table and 3 fake skeletons on the other while a trumpet flies around on a wire and some wacky 'comedy' music can be heard and a white ghosts comes by every now and then, while a guy with a what appears to be a good old pisspot on his head make weird faces and speaks incredibly irritating...Oh wow, that was really the most awful thing I've seen since my neighbor stopped closing his curtains at night.
It was also kind of fun to see patrolman Kelton (Paul Marco) once more but seriously did they really had to give him such a large role?The crazy narration by Criswell was also completely lame, although not as wacky as Bela Lugosi's in "Glen or Glenda".
Kenne Duncan takes over Bela Lugosi territory with his role as fake psychic Dr. Acula (!) who has moved into Lugosi's old house from "Bride of the Monster" as part of his efforts to scam the locals with his promise of bring back the dead.
It was as bad as anything else that Ed Wood Jr. has ever made, so don't think that what I have to say is meant as some kind of praise (although from a modern view of Wood's work, it just may be).I believe that by the time Wood made "Night of the Ghouls", he had already figured out that he was a truly terrible filmmaker, and that none of his movies would be "classics".
I think that with this movie, Wood may have actually SET OUT to create a horrible piece of garbage, but a funny horrible piece of garbage.
Of course not, but in a Wood movie, sense goes out the window with quality.
The most obvious is the inept cop Kelton (who appeared in a couple previous Wood movies), who comes off sort of like Lou Costello in those old Universal movies.
"Night of the Ghouls", like "Glen or Glenda?" or "Plan 9", was an entertaining movie.
And besides, Wood has gotten the last laugh, because whatever his intentions, his movies are considered to be classics. |
tt0042876 | Rashômon | Sheltering from a rainstorm in the ruins of the Rashomon gatehouse, a woodcutter (Takashi Shimura) and a priest (Minoru Chiaki) sit dejected. A commoner (Kichijiro Ueda) joins them, and wants to hear the "strange story" they have just heard at a murder enquiry in the courthouse garden. The story has horrified the priest. Even though "year after year, it's been nothing but disasters," he has "never heard a story as horrible as this." The woodcutter is utterly confounded, and hopes the commoner can help him understand it.The woodcutter begins the narration, telling the commoner that three days earlier he had gone "into the mountains to get wood."The woodcutter is walking through the woods, carrying his axe. Sunlight filters through the foliage, dappling everything with a mix of sun and sharp shadows. He sees a woman's hat caught on a bush. Further along, he picks up a samurai's hat and some cut up rope. He sees something small amongst the leaves on the ground, and goes towards it, but does not notice the corpse right in front of him until he trips over it. He screams and, dropping everything (including his axe), runs away. He says, "I ran as fast as I could to tell the police. Then, three days later--today--I was called to testify."The woodcutter is seated in the sunlit courthouse garden, addressing the court, unseen and unheard behind the camera. He testifies that he is the one who found the body. Asked if he saw "a sword or something," he protests emphatically that he found "nothing at all" but the hats, rope, and "a shiny amulet case." And here he lets slip two additional details: the rope was "near the body" and the amulet case had "a red lining."The priest is seated in the courthouse garden. He testifies that he saw the man three days earlier, travelling on the road with a woman on a horse, and armed with a sword and bow and arrows. [There is a brief shot of the samurai passing on the road, turning to smile at his wife.] The priest comments on the fragility of life and offers condolences to someone off screen--presumably the wife.The policeman (Daisuke Kato) is seated in the courthouse garden. The bandit (Toshiro Mifune) is sitting beside him, bound. The policeman identifies the bandit as the notorious Tajomaru. He had captured him two days earlier, at dusk. [There is a brief shot of the policeman finding the bandit writhing in agony on a riverbank. The bandit pushes him into the river.] He describes the weapons and horse belonging to the samurai. He concludes that Tajomaru must have fallen from the stolen horse.The bandit hotly denies falling from his horse. [There is a brief shot depicting the bandit as he wants to be perceived: galloping in heroic mode across the horizon, with stirring music.] He explains to the court that he was thirsty, and drank from a spring. [There is a brief shot of him drinking thirstily from a stream.] He says it must have been contaminated, because he was ill and had to get off the horse. The bandit says he knows he is doomed, so he has no reason to hide anything. He says it was he who killed the samurai. [There is a scene of the bandit lounging against a large tree, watching as the samurai (Masayuki Mori) and his wife (Machiko Kyo) pass by, the samurai eyeing the bandit warily.] The bandit says he initially intended "to take her without killing the man."Throughout the woodcutter's narration of the bandit's testimony the bandit's bravado and dignity are undercut. He has animal-like mannerisms, and appears indolent and ignoble, constantly scratching and swatting flies.The bandit runs through the woods to catch up to the couple. He accosts the samurai, lures him into the woods with a tale of a cache of swords he will sell cheap, and jumps him from behind. He laughs in triumph, and goes to get the wife, tricking her by saying her husband has suddenly "taken sick." In the courthouse garden the bandit says the wife's look of concern made him jealous, and this made him want to humiliate the samurai.Running through the woods, led by the bandit, the wife loses her hat. When they reach the grove she sees her husband tied to a tree stump. The wife, at first frozen and powerless, suddenly draws a dagger and fiercely attacks the bandit. She struggles, but eventually gives up. The bandit kisses her. She drops the dagger and embraces him.In the court the bandit says that he "had succeeded in having her without killing her husband." Having got what he wanted, it would make sense for the bandit to leave the scene while he can easily get away.In the grove, the bandit begins to leave, taking the samurai's sword. But the woman makes a bizarre melodramatic request that the men duel to the death. In response, he frees the samurai and lets him have his sword back. There is a fierce, dramatic sword fight. The bandit finally kills the samurai.In the courthouse garden the bandit boasts that it was an honourable, impressive fight, claiming they "crossed swords 23 times." When asked about the woman, he has to think a moment about this odd loose end, and supposes she ran off in fright (contrary to the fierce spirit that had attracted him). Responding to further questions, the bandit says that he sold the samurai's sword to buy liquor, and that he had forgotten the dagger--a "foolish" mistake, as it "looked very valuable."In the Rashomon gatehouse the woodcutter says the bandit's and the woman's stories were lies. The commoner observes that this is human. "Most of the time we can't even be honest with ourselves." The priest laments that this is because men are "weak." The priest says the woman was found hiding in a temple, and that she appeared at the enquiry. He says she showed no fierceness, was "almost pitiful."The priest takes over the narration, and begins relating the woman's testimony.The woman is in the courthouse garden, prostrate and weeping. She says after forcing her to "yield to him" the bandit laughed mockingly. In the grove, the bandit takes the samurai's sword and runs off. The woman embraces her bound husband, but he remains impassive. In the court, the woman says she saw "neither anger, nor sorrow, but a cold light, a look of loathing." In the grove, she begs him to stop, but he continues to look at her with cold disdain. She collapses in despair, then retrieves the dagger, cuts his bonds, and tells him to kill her. When he does not respond, she pleads for him to stop condemning her with his silence, and repeats this over and over as she approaches him with the dagger clenched in her hand.In the courthouse garden she says that she must have fainted and that when she came to she saw her dagger in her dead husband's chest. She says she remembers only a pond [There is a brief shot of the surface of a pond.], and throwing herself in, and failing with several other attempts to kill herself. She dissolves in tears.In the Rashomon gatehouse, the commoner comments that women "use their tears to fool everyone." The priest mentions "the dead man's story," explaining that "he spoke through a medium." The woodcutter says, "His story was also lies," and he looks away from them, agitated. The priest refuses to believe a dead man would be so sinful as to lie, but the cynical commoner observes: "But is there anyone who's really good? Maybe goodness is just make-believe. . . Man just wants to forget the bad stuff and believe in the made-up good stuff. It's easier that way." He asks the priest to continue.In the courthouse garden, the medium (Fumiko Honma) performs a ritual around a small altar, and goes into a trance. When she speaks, it is the samurai's voice that is heard.The medium/samurai tells a story that incorporates sentiments and actions that vilify the woman, and are out of character and illogical for the bandit, but that result in the bandit and the woman leaving separately, with the samurai free of his bonds. In this sequence there are frequent cuts between the grove and the courthouse garden.The medium/samurai says the bandit "tried to console his wife." In the grove, the bandit is kneeling by the woman, who is lying on the ground. He "was cunning," telling the woman that he loved her, and that she should marry him now. She gives in to him, and agrees to go with him "wherever." But then she tells the bandit to kill her husband. The bandit is appalled, throws her to the ground, and asks the samurai what he wants: "Kill her or save her? You only have to nod." The medium/samurai laughs with triumphant satisfaction, and says: "For those words alone, I was ready to pardon his crime."The woman runs away. The bandit chases her, but is unable to catch her. He returns, exhausted and frustrated. He cuts the samurai's bindings, and leaves, taking both swords. The samurai weeps. He sees his wife's dagger, and uses it to stab himself. In court, the medium collapses. In the background, the woodcutter's attention is riveted. The medium/samurai says: "Then someone quietly approached me. That someone gently withdrew the dagger from my heart." When the medium's testimony stops there, the woodcutter relaxes.In the Rashomon gatehouse, the woodcutter paces thoughtfully. He suddenly asserts: "Its not true! There was no dagger. He was killed by a sword." The commoner looks skeptical, and presses the woodcutter to explain how he knows this. The woodcutter avoids eye contact when he claims that he was a witness, but did not tell the court because he "didn't want to get involved." He says he came upon the scene and, from behind a bush, observed the bandit begging the woman for forgiveness.The woodcutter tells a story that incorporates elements from the different stories heard in court. He describes actions that are out of character and implausible, and the demeanor of the characters fluctuates wildly. There is no music--only the sounds of insects, rustling leaves, and gasping breath.In the grove, the bandit begs the woman to go with him, and says he will do anything for her. She retrieves the dagger, and cuts the samurai's bonds. The samurai is still wearing his sword, but just stands there. The bandit assumes she wants them to fight a duel. The samurai refuses to risk his life "for such a woman." The bandit starts to leave. The woman laughs derisively, and derides them both for their lack of manhood. This drives the men to fight. The woman laughs, but then looks horrified. The men fight with farcical ineptitude in something resembling an undignified peasant brawl. The bandit finally spears the cowering samurai. The woman recoils from the bandit. He grabs the samurai's sword, and she runs away. He is too exhausted to chase her. He retrieves his own sword, and hobbles away.In the Rashomon gatehouse, the cynical commoner doubts this story. The priest despairs that men cannot trust one another. Then they hear an abandoned baby cry.When the woodcutter berates the commoner for stealing the baby's kimono, the commoner deflects the criticism by condemning the parents who abandoned their child. He says that no one is honest. He hasn't been fooled by the woodcutter. He knows the woodcutter must have stolen the dagger. The woodcutter hangs his head in shame. The commoner slaps the woodcutter, and goes on his way, laughing mockingly.The priest and the woodcutter stand dejected. The rain stops. The woodcutter reaches to take the baby from the priest. The priest recoils, and the woodcutter shakes his head, looking very hurt. He explains: "I have six kids of my own. Another one wouldn't make a difference." The priest recognizes that the woodcutter is basically a decent man, ashamed of his petty theft. He apologizes for his mistrust, and thanks him, because now he feels he can keep his faith in man. The priest hands the baby to the woodcutter. They bow to one another, and the woodcutter turns. The priest follows him to the steps of the gatehouse, and the two bow to each other again. The woodcutter leaves, walking into the sunlight. He is looking happy. | mystery, murder, paranormal, bleak, flashback, psychedelic, philosophical, suspenseful | train | imdb | Selfish excuses vs trust in other people.Rashomon gets masterful when in one instant there is literally a different point of view: the camera takes another position to shoot the same sequence, thereby forcing the audience to reconsider what they just saw.
'Ghost dog: the way of the samurai' (1999) touched another border of the concept, or does it?The use of (non-original) music in my opinion reveals a certain interest for western influence, not only in Rashomon, but also in Kurosawa's forthcoming films, and is probably why his films were so influential on western filmmakers too.The cinematography is dynamic and changes scene by scene to emphasize exactly what is going on.
The film opens when a priest and woodcutter are encountered by a man who engages in a conversation about crime with them and subsequently learns that a samurai has been killed in the woods and his wife raped by a bandit.
In many ways the best thing about "Rashomon" is that it never reveals what actually happens (or if any of the four accounts is in fact true), and although we are not meant to solve the mystery (the idea here is that there is no objective truth since humans are too selfish and dishonest to view anything without bias) the story structure is still brilliant and adds a lot of ambiance to the film.
While theatrical acting (Kurosawa was fascinated with silent film) worked perfectly with films like "Seven Samurai" and "Throne of Blood", it does nothing but take away from the realism of this oft claustrophobic human drama.
Yes, Mifune (Tajomaru, the bandit) does provide an interesting spin on his character for each telling, and Takashi Shumura (the woodcutter) seems as honest and real as any character could possibly be, but nearly all of that effect is lost every time Machiko Kyo appears on screen.
While discussing actors I have to (unconventionally) note Fumiko Honma as the medium, who brings a wonderfully eerie air to the film during its greatest scenes.I don't think "Rashomon" is Kurosawa's best or most important film, but it is still a masterful piece of cinema which is absolutely essential for any film lover.
A viewer could walk away from this film, after several viewings, and discover different truths about the characters and story.
It's raining outside and a woodcutter (Takashi Shumura) and a priest (Minoru Chiaki) inadvertently find themselves in the company of a wandering commoner (Kichijiro Ueda), and as he asks them what is the matter they both begin to relay the most horrific story they claim to know -- of a brutal murder a few days prior.Kurosawa then switches to flashback and we see three different versions of the exact same event -- the slaying of an innocent man (the murderer played by Kurosawa film regular Toshirô Mifune) in the woods outside the village.
Some people have complained that the ending is a cop-out and sentimental hogwash, but I think Kurosawa was fond of sentimentality to a point (he uses a good deal of it in "Ikiru") but the difference between what he does with sentimentality as opposed to many filmmakers of today is that he uses to to ENRICH the story, not provide an easy solution to all the problems.Is there resolution in the finale of "Rashomon"?
The story he used for Rashomon is now, like Seven Samurai, Hidden Fortress, and Yojimbo, a near archetype that at this point in the history of film has become formula and common knowledge for writers and directors.
The three who discuss the details of the crimes and confessions are crucial- they speak for us, what our opinions might be, and we listen to each version of the story, the characters, the fears, the pride, the shame, and the search for judgment and/or truth in the situation.Along with being director and co-adapter, Kurosawa's mastery is revealed heavily in his use of editing- there are short, fleeting moments that hint, or rather pronounce, emotions and thoughts.
The cast also deserve their share of credit for how well it works, and the photography is excellent, as it is in almost all of Kurosawa's films.Kurosawa's expertise makes the interwoven sequences of past and present - essentially telling two different stories - not only work flawlessly, but fit together thematically.
Kurosawa was also working with much less in terms of possible precedents.In one sense, the choice of specific story material could seem a little odd.The downbeat, rather sordid scenario makes the movie somewhat less enjoyable than several of Kurosawa's other pictures (which is, admittedly, a pretty high standard), and as a result "Rashômon" is more a film to respect and admire than one to enjoy and take pleasure from.
They can't tell the truth, even to themselves."Rashomon was the first film from critically acclaimed Japanese director, Akira Kurosawa, that I got to see.
It focuses on the lies we tell, our selfish desires, and our pursuit or need to believe in the goodness of humanity (reflected through the Priest in this film), but ultimately it plays down to discovering that sometimes reality is just a matter of perception and differing point of views.
I can see the influence the director has had in modern films like Vantage Point or The Usual Suspects, but despite that I had a difficult time carrying about this movie.
There is no favouritism between the three parties, and all are giving 100% believable performance when they retell their stories, including minor pieces of exposition which lend credence to their tales yet further.We are consistently cutting back to the commoner who's actually pretty funny and worldly, who offers a simple, unpretentious counter to the more philosophical world-view that Kurosawa is trying to explore.
And we see that in Rashomon's long shots during which there is absolutely nothing going on.As far as acting is concerned, let's just say that Toshiro Mifune's delivery is too theatrical even for the time of movie's creation.There might be a discussion on various levels about Rashomon, but the bottom line is that it's an overrated piece of cinema..
Kurosawa's magic film is a composite of 2 Japanese short stories by Ryunosuke Akutagawa: One, "Rashomon," the title tells of a confrontation of a young man at Rashomon, the large, fortified gate at one entrance to Kyoto where people would abandon children and corpses; the other, yabu no naka ni, "In a Grove," tells of the confrontation between the bandit, the samurai and his wife, told from the point of view of the woodcutter.
As for the scene where the husband's spectre tells the story, what other way in 11th century Japan would a court have believed they could gather all possible testimony when every survivor's account is drastically different?Kurosawa had to extemporize with sparse assets to bring it to the screen, but if anything, clenching the money clip perhaps resulted in a better film.
Essentially, Akira Kurosawa's unmatched classic is about gaining an understanding; the film's first conversation introduces characters who "don't understand" and are looking for answers, this is opening the primary theme.Personally, Rashômon has forever been favourite of Kurosawa's directional works.
Establishing a verdict on the heinous crime centred upon in Rashômon is as much an ordeal as the crime itself because it proves to be an incident which provokes moral questioning and fierce debate.The film-making techniques used in Rashomon gave birth to a distinct style that Kurosawa was prepared to develop further in his later works, which can be seen in films such as Yojimbo and Shichinin no samurai.
A samurai was found dead, and the circumstances surrounding his death are shown from four conflicting points of view.I'm pretty sure no matter how many times you watch this film, Akira Kurosawa never gives enough information in the movie to figure out the truth about what took place on the day of the samurai's death.But without trying to look too deeply into what this film is about , i feel "Rashomon" is about searching for some kind of absolute truthit's about how differently people perceive the same external event.Do i feel this film deserves the status it quite clearly has in movie making history ?
Quite clearly this is the first time the same story is told from the point of view of more than one person and that has spurned countless classic movies and for that it deserves it's place in history but as a film in it's own right it just didn't do it for me.Some of the overacting annoyed me .
While some of Kurosawa's fans might agree to the exact order, they will also acknowledge that many other films are nearly as good or better (such as THRONE OF BLOOD, THE SEVEN SAMURAI, YOJIMBO, and many others--along with is wonderful NON-samurai movies such as HIGH AND LOW, IKURU and SCANDAL).The story itself is extremely creative, as it tells the same story three different times all through the eyes of three different characters.
It really helps to interact with the story.Lies are also a large theme of the film with the Woodcutter at the beginning stating that people are being deceitful and that this is what he doesn't understand but it turns out that in fact he could be the one being deceitful all along.There is a lot in this movie that has and will go on to influence others.
Compared to some all time classics this is a better story but I just wonder that if this film was re-made today with better cameras, acting, locations and editing would it still get the same response and knowing some of the critics of today then no it wouldn't it would be slated for all the reasons this should have been but wasn't.
However, since Kurosawa is one of those "untouchables," meaning the critics always rave about anything the guy does (a la Bergman, Hitchcock, etc.) this movie gets great reviews.This is very slow moving, way too repetitive and extremely boring, even with the short playing time.
Overrated.Before Seven Samurai there was Rashomon, the movie which brought Akira Kurosawa, and Japanese cinema, to the attention of Western audiences.
When another guy arrives, they recount the whole story to him, following which the incident concerning a heinous crime is revisited many times and is told from the perspective of all the eye-witnesses, each contradicting the other.Co-written & directed by Akira Kurosawa, Rashômon is crafted with a clever eye and is masterly layered to keep the viewers invested.
Mifune plays a bandit with kinetic flair while Mori & Kyō are in as the samurai & wife respectively and both do a brilliant job in their given roles, especially the latter.On an overall scale, Rashômon is a fascinating examination of human nature, the subjective nature of truth, and the shift in reality when any particular event is approached from a different paradigm.
i have seen kurosawa's Seven Samurai and I think it is a great movie, at least from direction point of view it was superb plus some great acting.
I mean this is a drama movie involving 3 main characters and very limited freedom for director as far as visuals are concerned, since the movie repeats same story 4 times from different perspectives.
Earlier this evening, I had the great pleasure to watch Akira Kurosawa's masterpiece "Rashomon." A disturbing film examining the nature of truth and the human ego, "Rashomon" arrives at a conclusion that there still are good people out there, even if deception and lies are about to become the norm.
(To this end, "Rashomon" might just be the most realistic character study ever made.) Based on the short stories "In a Grove" and "Rashomon" by Ryunosuke Akutagawa, Kurosawa's picture is set in the aftermath of a heinous and brutal crime: a samurai has been murdered, and his wife raped.
The style of the storytelling, with all the flashbacks and restructured scenes, is really an essential part of the tale itself (based on a story by Akutagawa Ryunosuke, taken from his Rashomon collection) but Kurosawa can be credited with bringing a good few new ideas and crazy tricks to the cinema with this monster hit classic.
"Rashomon" was one of Akira Kurosawa's masterpieces, as the film features an ingenious narrative structure, excellent acting and a musing exploration into the fine line that separates perception from reality.
Based on a short story by Ryūnosuke Akutagawa, Rashomon is one of Akira Kurosawa's biggest films and the breakthrough film that brought him and Japanese cinema in general to Western audiences.
If you like Asian movies, Akira Kurosawa's Rashomon is a definite must-see because it is not only an overall great film but also the first Japanese film that became an international success, a classic that started it all.
and i must confess that i have become his ardent fan...his style of movie making is so grass root,so natural,so immaculate!!this movie is a thriller and also has a deep psychological meaning!two gruesome crimes- a rape and a murder has taken place and four people give four contradictory accounts of the events taken place that day!if it would have been any other director the whole movie would have been left in suspense of knowing what is the 'truth',but Kurosawa didn't show us the truth..and herein lies the essence of the movie ....;the point is not to decipher the truth from the facts given but rather to see how the facts has been twisted by each witness to lie to themselves that they are not guilty!!and this is the thing that is to be learned from this movie...that we subconsciously twist facts to suit ourselves!!the movie may be repulsive to some new movie watchers..i would not recommend it to them!but for all cinema lovers its a MUST WATCH10/10.
All that being said, Rashomon, for me, boils down to this: it was the first time in either film or television that the audience was presented with different versions of the same set of events.
WOW.Could be Akira Kurosawa´s second best film.The best film he has done is "The Seven Samurai".This film was a masterpiece.It´s about a man is murdered and his wife is raped by a bandit.Kurosawa uses a fantastic flashback technique to tell four different versions of what happened.The way the film tells the story is so masterful(It´s both poetic,beautiful and has many dramatic action scenes).The acting is brilliant and Toshiro Mifune gives one of his best performances ever.Also the music is great.A masterpiece that is one of Kurosawa´s best films and He is one of the best directors ever.5/5.
Shirking traditional narrative structure in a manner that would later inspire such films as 'The Usual Suspects' and to a lesser extent 'Go' and 'Run Lola Run', 'Rashomon' has the same story (of banditry, rape and murder) told from several different perspectives, all conflicting and causing the viewer to constantly reassess each character.
If there is indeed something we can call the truth.This Akira Kurosawa movie from 1950 was a breakthrough film not just for the great master but for Japanese cinema abroad.
It is a great film, that 65 years after it was made, has stood the test of time.It is a very stylized movie, full of non naturalistic, over the top performances (seemingly influenced by the Japanese theatrical traditions of Kabuki and Noh), especially by Toshiro Mifune as the bandit, and the beautiful Machiko Kyo's as the Samurai's wife.
As this is my second movie from his works, "Rashomon" received a critical response by many people because the story was so different from other films and stories.
For movie-lovers, especially cult-classics, "Rashomon" became one of the influents with a new innovation at the time.The plot is so simple: "a heinous crime and its aftermath are recalled from differing points of view." There is nothing special and it's normal for films today.
Before Seven Samurai there was Rashomon, the movie which brought Akira Kurosawa, and Japanese cinema, to the attention of Western audiences.
Akira Kurosawa's Rashomon for the time would had looked like an experimental film about unreliable narrators and recounting an incident through different viewpoints and flashbacks.In 17th century feudal Japan, some men take shelter from the rain they discuss a murder which took place recently.
The husband does battle with him and is killed with his body discovered by the woodcutter.At the bandit's trial, all the witnesses which includes the victim speaking through a medium give different accounts of what actually happened that day, a lot of it is contradictory.The film shot in black and white is far from the historical sagas the director was known for, it is a simple story with a small cast that leaves you flummoxed with the different perspectives regarding the murder.
It's a mystery-tale playing like a crime-novel told through five different point-of-views and outplaying on three locations (the Rashomon-house, in the forest, and in court), and the film shows the relativity of truth.
As the story begins to unfold, the next obvious thing we notice is the innovative premise of the film, now known in academic circles as the "Rashomon effect", where several witnesses give different interpretations of what happened at a scene.The best performance in the movie was definitely from Toshiro Mifune in one of his first major roles.
Rashomon backtracks over itself many times in order to tell the story as different characters had seen it happen.
My vote for the best actor, however, has to go to Machiko Kyo, who competently takes on a different personality in each version of the story.While some people find it hard to watch classic movies such as this, I recommend that you see this at least once.
Rashomon is the story of a heinous crime told through the views of different characters that were involved with it.A few years ago a buddy of mine told me about a movie that I had to see.
After watching Rashomon, by Akira Kurosawa same director as Seven Samurai, I must say that I'm intrigued to see his other work now.Not only is his directing and scenery like what we are use to seeing in movies today, he is the pioneer of this. |
tt0068646 | The Godfather | In late summer 1945, guests are gathered for the wedding reception of Don Vito Corleone's daughter Connie (Talia Shire) and Carlo Rizzi (Gianni Russo). Vito (Marlon Brando), the head of the Corleone Mafia family, is known to friends and associates as "Godfather." He and Tom Hagen (Robert Duvall), the Corleone family lawyer, are hearing requests for favors because, according to Italian tradition, "no Sicilian can refuse a request on his daughter's wedding day." One of the men who asks the Don for a favor is Amerigo Bonasera, a successful mortician and acquaintance of the Don, whose daughter was brutally beaten by two young men because she refused their advances; the men received minimal punishment. The Don is disappointed in Bonasera, who'd avoided most contact with the Don due to Corleone's nefarious business dealings. The Don's wife is godmother to Bonasera's shamed daughter, a relationship the Don uses to extract new loyalty from the undertaker. The Don agrees to have his men punish the young men responsible in return for future service if necessary.Meanwhile, the Don's youngest son Michael (Al Pacino), a decorated Marine hero returning from World War II service, arrives at the wedding and tells his girlfriend Kay Adams (Diane Keaton) anecdotes about his family, informing her about his father's criminal life; he reassures her that he is different from his family and doesn't plan to join them in their criminal dealings. The wedding scene serves as critical exposition for the remainder of the film, as Michael introduces the main characters to Kay. Fredo (John Cazale), Michael's next older brother, is a bit dim-witted and quite drunk by the time he finds Michael at the party. Sonny (James Caan), the Don's eldest child and next in line to become Don upon his father's retirement, is married but he is a hot-tempered philanderer who sneaks into a bedroom to have sex with one of Connie's bridesmaids, Lucy Mancini (Jeannie Linero). Tom Hagen is not related to the family by blood but is considered one of the Don's sons because he was homeless when he befriended Sonny in the Little Italy neighborhood of Manhattan and the Don took him in and saw to Tom's upbringing and education. Now a talented attorney, Tom is being groomed for the important position of consigliere (counselor) to the Don, despite his non-Sicilian heritage.Also among the guests at the celebration is the famous singer Johnny Fontane (Al Martino), Corleone's godson, who has come from Hollywood to petition Vito's help in landing a movie role that will revitalize his flagging career. Jack Woltz (John Marley), the head of the studio, denies Fontane the part (a character much like Johnny himself), which will make him an even bigger star, but Don Corleone explains to Johnny: "I'm gonna make him an offer he can't refuse." The Don also receives congratulatory salutations from Luca Brasi, a terrifying enforcer in the criminal underworld, and fills a request from the baker who made Connie's wedding cake who wishes for his nephew Enzo to become an American citizen.After the wedding, Hagen is dispatched to Los Angeles to meet with Woltz, but Woltz angrily tells him that he will never cast Fontane in the role. Woltz holds a grudge because Fontane seduced and "ruined" a starlet who Woltz had been grooming for stardom and with whom he had a sexual relationship. Woltz is persuaded to give Johnny the role, however, when he wakes up early the next morning and feels something wet in his bed. He pulls back the sheets and finds himself in a pool of blood; he screams in horror when he discovers the severed head of his prized $600,000 stud horse, Khartoum, in the bed with him. (A deleted scene from the film implies that Luca Brasi (Lenny Montana), Vito's top "button man" or hitman, is responsible.)Upon Hagen's return, the family meets with Virgil "The Turk" Sollozzo (Al Lettieri), who is being backed by the rival Tattaglia family. He asks Don Corleone for financing as well as political and legal protection for importing and distributing heroin. Despite the huge profit to be made, Vito Corleone refuses, explaining that his political influence would be jeopardized by a move into the narcotics trade -- the judges and politicians he's allied himself with over the course of several decades would renounce their friendships with him if he were to enter the drug trade. The Don's eldest son, Sonny, who had earlier urged the family to enter the narcotics trade, breaks rank during the meeting and questions Sollozzo's assurances as to the Corleone Family's investment being guaranteed by the Tattaglia Family. His father, angry at Sonny's dissension in a non-family member's presence, privately rebukes him later. Don Corleone then dispatches Luca Brasi to infiltrate Sollozzo's organization and report back with information. During the meeting, while Brasi is bent over to allow Bruno Tattaglia to light his cigarette, he is stabbed in the hand by Sollozzo, and is subsequently garroted by an assassin.Soon after his meeting with Sollozzo, Don Corleone is gunned down in an assassination attempt just outside his office, and it is not immediately known whether he has survived. Fredo Corleone had been assigned driving and protection duty for his father when Paulie Gatto, the Don's usual bodyguard, had called in sick. Fredo proves to be ineffectual, fumbling with his gun and unable to shoot back. When Sonny hears about the Don being shot and Paulie's absence, he orders Clemenza (Richard S. Castellano) to find Paulie and bring him to the Don's house.Sollozzo abducts Tom Hagen and persuades him to offer Sonny the deal previously offered to his father. When Tom is released, Sollozzo gets word that the Don has survived the attempt on his life. He angrily tells Tom to persuade Sonny to accept his offer.Enraged, Sonny refuses to consider it and issues an ultimatum to the Tattaglias: turn over Sollozzo or face a lengthy, bloody and costly (for both sides) gang war. They refuse, and instead send Sonny "a Sicilian message," in the form of two fresh fish wrapped in Luca Brasi's bullet-proof vest, telling the Corleones that Luca Brasi "sleeps with the fishes."Clemenza later takes Paulie and one of the family's hitmen, Rocco Lampone, for a drive into Manhattan. Sonny wants to "go to the mattresses" -- set up beds in apartments for Corleone button men to operate out of in the event that the crime war breaks out. On their way back from Manhattan, Clemenza has Paulie stop the car in a remote area so he can urinate. Rocco shoots Paulie dead; he and Clemenza leave Paulie and the car behind.Michael, whom the other Mafia families consider a "civilian" uninvolved in mob business, visits his father at a small private hospital. He is shocked to find that no one is guarding him -- a nurse tells him that the men were interfering with hospital policy and were told to leave by the police about 10 minutes before Mike's arrival. Realizing that his father is again being set up to be killed, he calls Sonny for help, moves his father to another room, and goes outside to watch the entrance. Michael enlists help from Enzo the baker (Gabriele Torrei), who has come to the hospital to pay his respects. Together, they bluff away Sollozzo's men as they drive by. Police cars soon appear bringing the corrupt Captain McCluskey (Sterling Hayden), who viciously punches Michael in the cheek and breaks his jaw when Michael insinuates that Sollozzo paid McCluskey to set up his father. Just then, Hagen arrives with "private detectives" licensed to carry guns to protect Don Corleone, and he takes the injured Michael home. Sonny responds by having Bruno Tattaglia (Tony Giorgio), the eldest son and underboss of Don Phillip Tattaglia (Victor Rendina), killed (off-camera).Following the attempt on the Don's life at the hospital, Sollozzo requests a meeting with the Corleones, which Captain McCluskey will attend as Sollozzo's bodyguard. When Michael volunteers to kill both men during the meeting, Sonny and the other senior Family members are amused; however, Michael convinces them that he is serious and that killing Sollozzo and McCluskey is in the family's interest: "It's not personal. It's strictly business." Because Michael is considered a civilian, he won't be regarded as a suspicious ambassador for the Corleones. Although police officers are usually off limits for hits, Michael argues that since McCluskey is corrupt and has illegal dealings with Sollozzo, he is fair game. Michael also implies that newspaper reporters that the Corleones have on their payroll would delight in publishing stories about a corrupt police captain.Michael meets with Clemenza, one of his father's caporegimes (captains), who prepares a small pistol for him, covering the trigger and grip with tape to prevent any fingerprint evidence. He instructs Michael about the proper way to perform the assassination and tells him to leave the gun behind. He also tells Michael that the family were all very proud of Michael for becoming a war hero during his service in the Marines. Clemenza shows great confidence that Michael can perform the job and tells him it will all go smoothly. The plan is to have the Corleone's informers find out the location of the meeting and plant the revolver before Michael, Sollozzo and McCluskey arrive.Before the meeting in a small Italian restaurant, McCluskey frisks Michael for weapons and finds him clean. After a few minutes where Michael and Sollozzo converse in Italian, Michael excuses himself to go to the bathroom, where he retrieves the planted revolver. Returning to the table, he fatally shoots Sollozzo, then McCluskey. Michael is sent to hide in Sicily while the Corleone family prepares for all-out warfare with the Five Families (who are united against the Corleones) as well as a general clampdown on the mob by the police and government authorities. When the don returns home from the hospital, he is distraught to learn that it was Michael who killed Sollozzo and McCluskey.Meanwhile, Connie and Carlo's marriage is disintegrating. They argue publicly over Carlo's suspected infidelity and his possessive behavior toward Connie. By Italian tradition, nobody, not even a high-ranking Mafia don, can intervene in a married couple's personal disputes, even if they involve infidelity, money, or domestic abuse. One day, Sonny sees a bruise on Connie's face and she tells him that Carlo hit her after she asked him if he was having an affair. Sonny tracks down and severely beats up Carlo Rizzi in the middle of a crowded street for brutalizing the pregnant Connie, and threatens to kill Carlo if he ever abuses Connie again. An angry Carlo responds by plotting with Tattaglia and Don Emilio Barzini (Richard Conte), the Corleones' chief rivals, to have Sonny killed.Later, Carlo has one of his mistresses phone his house, knowing that Connie will answer. The woman asks Connie to tell Carlo not to meet her tonight. The very pregnant and distraught Connie assaults Carlo; he takes advantage of the altercation to beat Connie in order to lure Sonny out in the open and away from the Corleone compound. When Connie phones the compound to tell Sonny that Carlo has beaten her again, the enraged Sonny drives off (alone and unescorted) to fulfill his threat against Carlo. On the way to Connie and Carlo's house, Sonny is ambushed at a toll booth on the Long Island Causeway and violently shot to death by several carloads of hitmen wielding Thompson sub-machine guns.Tom Hagen relays the news of Sonny's massacre to the Don, who calls in the favor from Bonasera to personally handle the embalming of Sonny's body. Rather than seek revenge for Sonny's killing, Don Corleone meets with the heads of the Five Families to negotiate a cease-fire. Not only is the conflict draining all their assets and threatening their survival, but ending it is the only way that Michael can return home safely. Reversing his previous decision, Vito agrees that the Corleone family will provide political protection for Tattaglia's traffic in heroin, as long as it is controlled and not sold to children. At the meeting, Don Corleone deduces that Don Barzini, not Tattaglia, was ultimately behind the start of the mob war and Sonny's death, despite showing early signs of senility.In Sicily, Michael patiently waits out his exile, protected by Don Tommasino (Corrado Gaipa), an old family friend. Michael aimlessly wanders the countryside, accompanied by his ever-present bodyguards, Calo (Franco Citti) and Fabrizio (Angelo Infanti). In a small village, Michael meets and falls in love with Apollonia Vitelli (Simonetta Stefanelli), the beautiful young daughter of a bar owner. They court and marry in the traditional Sicilian fashion, but soon Michael's presence becomes known to Corleone enemies. As the couple is about to be moved to a safer location, Apollonia is killed as a result of a rigged car (originally intended for Michael) exploding on ignition; Michael, who watched the car blow up, spots Fabrizio hurriedly leaving the grounds seconds before the explosion, implicating him in the assassination plot. (In a deleted scene, Fabrizio is found years later and killed.)With his safety guaranteed, Michael returns home. More than a year later, in 1950, he reunites with his former girlfriend Kay after a total of four years of separation -- three in Italy and one in America. He tells her he wants them to be married. Although Kay is hurt that he waited so long to contact her, she accepts his proposal. With Don Vito semi-retired, Sonny dead, and middle brother Fredo considered incapable of running the family business, Michael is now in charge; he promises Kay he will make the family business completely legitimate within five years.Two years later, Clemenza and Salvatore Tessio (Abe Vigoda), complain that they are being pushed around by the Barzini Family and ask permission to strike back, but Michael denies the request. He plans to move the family operations to Nevada and after that, Clemenza and Tessio may break away to form their own families in the New York area. Michael further promises Connie's husband, Carlo, that he will be his right hand man in Nevada (Carlo had grown up there), unaware of his part in Sonny's assassination. Tom Hagen has been removed as consigliere and is now merely the family's lawyer, with Vito serving as consigliere. Privately, Hagen inquires about his change in status, and also questions Michael about a new regime of "soldiers" secretly being built under Rocco Lampone (Tom Rosqui). Don Vito explains to Hagen that Michael is acting on his advice.Another year or so later, Michael travels to Las Vegas and meets with Moe Greene (Alex Rocco), a rich and shrewd casino boss looking to expand his business dealings. After the Don's attempted assassination, Fredo had been sent to Las Vegas to learn about the casino business from Greene. Michael arrogantly offers to buy out Greene but is rudely rebuffed. Greene believes the Corleones are weak and that he can secure a better deal from Barzini. As Moe and Michael heatedly negotiate, Fredo sides with Moe. Afterward, Michael warns Fredo to never again "take sides with anyone against the family."Michael returns home. In a private moment, Vito explains his expectation that the Family's enemies will attempt to murder Michael by using a trusted associate to arrange a meeting as a pretext for assassination. Vito also reveals that he had never really intended a life of crime for Michael, hoping that his youngest son would hold legitimate power as a senator or governor. Some months later, Vito collapses and dies while playing with his young grandson Anthony (Anthony Gounaris) in his tomato garden. At the burial, Tessio conveys a proposal for a meeting with Barzini, which identifies Tessio as the traitor that Vito was expecting.Michael arranges for a series of murders to occur simultaneously while he is standing godfather to Connie's and Carlo's newborn son at the church:Don Stracci (Don Costello) is gunned down along with his bodyguard in a hotel elevator by a shotgun-wielding Clemenza.Moe Greene is killed while having a massage, shot through the eye by an unidentified assassin.Don Cuneo (Rudy Bond) is trapped in a revolving door at the St. Regis Hotel and shot dead by soldier Willi Cicci (Joe Spinell).Don Tattaglia is assassinated in his bed, along with a prostitute, by Rocco Lampone and an unknown associate.Don Barzini is killed on the steps of his office building along with his bodyguard and driver, shot by Al Neri (Richard Bright), disguised in his old police uniform.After the baptism, Tessio believes he and Hagen are on their way to the meeting between Michael and Barzini that he has arranged. Instead, he is surrounded by Willi Cicci and other button men as Hagen steps away. Realizing that Michael has uncovered his betrayal, Tessio tells Hagen that he always respected Michael, and that his disloyalty "was only business." He asks if Tom can get him off for "old times' sake," but Tom says he cannot. Tessio is driven away and never seen again (it is implied that Cicci shoots and kills Tessio with his own gun after he disarms him prior to entering the car).Meanwhile, Michael confronts Carlo about Sonny's murder and forces him to admit his role in setting up the ambush, having been approached by Barzini himself. (The hitmen who killed Sonny were the core members of Barzini's personal bodyguard.) Michael assures Carlo he will not be killed, but his punishment is exclusion from all family business. He hands Carlo a plane ticket to exile in Las Vegas. However, when Carlo gets into a car headed for the airport, he is immediately garroted to death by Clemenza, on Michael's orders.Later, a hysterical Connie confronts Michael at the Corleone compound as movers carry away the furniture in preparation for the family move to Nevada. She accuses him of murdering Carlo in retribution for Carlo's brutal treatment of her and for Carlo's suspected involvement in Sonny's murder. After Connie is removed from the house, Kay questions Michael about Connie's accusation, but he refuses to answer, reminding her to never ask him about his business or what he does for a living. She insists, and Michael outright lies, reassuring his wife that he played no role in Carlo's death. Kay believes him and is relieved. The film ends with Clemenza and new caporegimes Rocco Lampone and Al Neri arriving and paying their respects to Michael. Clemenza kisses Michael's hand and greets him as "Don Corleone." As Kay watches, the office door is closed. | boring, murder, dramatic, cult, violence, atmospheric, action, revenge, entertaining | train | imdb | null |
tt0340377 | The Station Agent | Finbar McBride (Peter Dinklage), a quiet, withdrawn, unmarried man with dwarfism, has a deep love of railroads. He works in a Hoboken model train hobby shop owned by his elderly and similarly taciturn friend Henry Styles (Paul Benjamin). Because he feels ostracized by a public that tends to view him as peculiar due to his size, Fin keeps to himself.
When Henry dies unexpectedly, Fin is told that the hobby shop is to be closed. However, he also learns that Henry's will left him a piece of rural property with an abandoned train depot on it. He moves into the old building hoping for a life of solitude, but he quickly finds himself reluctantly becoming enmeshed in the lives of his neighbors. Joe Oramas (Bobby Cannavale), a Cuban American, is operating his father's roadside snack truck while the elder man recovers from an illness, and Olivia Harris (Patricia Clarkson) is an artist trying to cope with the sudden death of her young son two years earlier and the ramifications it has had on her marriage to David (John Slattery), from whom she is separated. Cleo (Raven Goodwin) is a young girl who shares Fin's interest in trains and wants him to lecture her class about them. Emily (Michelle Williams) is the local librarian, a young woman dismayed to discover she is pregnant by her ne'er-do-well boyfriend.
Joe, relentlessly upbeat and overly talkative, soon cracks through Fin's reserve. The two begin to take daily walks along the tracks, and after Olivia gives Fin a movie camera, Joe drives alongside a passing train so that Fin can film it. Joe and Fin sleep over at Olivia's house after watching the footage and the next morning a flustered, unannounced David is greeted by the two of them. The three forge a tentative friendship that is threatened when Olivia descends into a deep depression, disappearing from the town. Meanwhile, Emily seeks solace in Fin, who slowly is realizing interaction with other humans may not be as unpleasant as he thought. Fin tries to protect Emily from her boyfriend at a bar, but he pushes Fin aside, causing Fin to lapse back into his asocial behavior. Emily later comes to apologize, and after she and Fin share a kiss, she spends the night with Fin. Cleo asks Fin if Olivia is coming back, to which he replies that he doesn't know. He decides to keep an eye on Olivia's house, but when he spots her fighting on the phone with David and he goes up on the porch, Olivia angrily tells him to leave. Fin spends the night drinking and, collapsing on the track, is passed over by a train, undamaged but for his pocket watch. As if feeling blessed by his gift of life (and symbolically upon his watch getting destroyed in the train mishap), Fin walks up to Olivia's home only to find she has attempted suicide. Olivia reveals that David is having another baby with a different woman. Fin takes care of Olivia's home while she recuperates in the hospital. Fin picks up the courage to talk to school kids about trains.
Olivia, Joe, and Fin share a meal at Olivia's house, their conversation filled with some small talk and reconciliation. Olivia and Joe tease Fin about Emily, suggesting him to go seek her again. | psychedelic, cute, home movie | train | wikipedia | null |
tt1075747 | Jonah Hex | During the American Civil War, Jonah Hex (Josh Brolin) served as a Confederate cavalryman until his commanding officer, Quentin Turnbull (John Malkovich) ordered him to burn down a hospital. Hex refused, and was forced to kill his best friend, Turnbull's son Jeb. After the war, a vengeful Turnbull and his right-hand man, Burke (Michael Fassbender), tie up Hex and force him to watch as his house is burned down with his wife and son inside. Turnbull then brands Hex's face with his initials and leaves him to die. Days later, American Indians revive Jonah with their mystical powers. As a result of his resurrection, Jonah acquires the ability to temporarily resurrect the dead. When Turnbull apparently dies in a hotel fire, Hex satisfies his hunger for vengeance by turning to bounty hunting. He also sears the branded side of his face with a hatchet blade, preferring a mass of scar tissue to Turnbull's initials.
In 1876, Turnbull, alive and well, hijacks a train carrying components of an experimental "superweapon", slaughtering its military guards and civilian passengers alike. When informed of the theft, President Grant (Aidan Quinn) surmises that Turnbull is planning a terrorist attack for July 4, during the celebration of the American centennial. Grant instructs Army Lieutenant Grass (Will Arnett) to find Hex and hire him to stop Turnbull.
Jonah spends the night in a brothel with Lilah (Megan Fox), a prostitute attracted to the disfigured man for more than just professional reasons. As he prepares to leave the next morning, Grass' men burst in and tell him that Turnbull is still alive. They show him a captured thug from the train hijacking who told them Turnbull is headed northwest, before dying during interrogation. Jonah briefly resurrects the man, who knows only that he was recruited by ex-Confederal Colonel Slocum (Tom Wopat), who is running an illegal deathmatch pavilion in South Carolina.
With the help of a corrupt Washington aristocrat, Adleman Lusk (Wes Bentley), Turnbull tracks down and steals the remaining components of the weapon, invented by Eli Whitney.
When Hex confronts Slocum in South Carolina, Slocum refuses to talk, sarcastically telling Hex to ask Turnbull's dead son, Jeb, where his father is. Jonah says that is a good idea, then overpowers Slocum's men and throws Slocum himself into the ring, to be killed by his own fighters. After setting fire to the ring, he frees a dog being tormented by Slocum's handlers, which starts to follow him around.
In a cemetery in Gettysburg, Jonah digs up and resurrects Jeb (an uncredited Jeffrey Dean Morgan). Jonah apologizes for killing Jeb, and says that his father has to be stopped before he murders more people. Jeb reveals that his father is at Fort Resurrection, and then returns to the afterlife.
After entering the fort, Jonah confronts Turnbull, killing several of his men, but Turnbull escapes and Hex receives a near-fatal wounding from Burke, but is able to escape. He collapses in a field, hovering near death for several days. Turnbull, anticipating that Hex will return, sends Burke to bring him "something Hex loves," so Burke kidnaps Lilah from the brothel. Turnbull test-fires the "superweapon" on a small town in Georgia, which is leveled to the ground, killing hundreds of civilians. When President Grant receives the news, his aide reports that they have no idea where in the country Turnbull will strike, and that they do not have enough military manpower to guard every centennial celebration.
Hex is found by his Native American allies, who perform a ceremony that heals him. Back on his feet, he relays a message to Lt. Grass that Turnbull plans to attack Washington, D.C., then rides to Independence Harbor alone to stop him. When Jonah attempts to infiltrate the harbor where Turnbull's ironclad warship is anchored, Burke spots him and attacks him. Hex overpowers and kills him, then resurrects him just so Hex can incinerate his body completely. Turnbull holds Lilah at gunpoint and forces Jonah to surrender. With Jonah and Lilah captive in the hold of his ship, Turnbull steams toward Washington, D.C. A monitor commanded by Lt. Grass intercepts Turnbull, but is quickly destroyed with the weapon, which has been mounted on the bow.
In the hold, Lilah picks her handcuffs and frees herself and Jonah. She holds off the guards while Jonah rushes up to the deck to stop Turnbull. Turnbull gains the upper hand and orders the weapon to fire. The weapon blankets Washington with a volley of delay-action bomb shells, and Turnbull gives the order for the trigger shell to be launched. But Hex and Turnbull's fight takes them down into the engine room, where Hex throws his tomahawk into the weapon's belt feeder, trapping the trigger shell. He then brutally beats Turnbull and traps his neck in a gear, before saving Lilah. The pair jump into the water just as the trigger shell ignites in the engine room, killing Turnbull and all his men. The next day, President Grant rewards Jonah with a large sum of money, a full pardon, and offers him a job as Sheriff of the entire United States. Jonah declines, but assures the president that if they need him, they'll be able to find him. Lilah is waiting for him outside the White House, and they leave the city together.
In the last scene, Jonah visits Jeb's grave to apologize for having to kill his father, then rides out of the cemetery with his dog. | boring, gothic, murder, violence, historical fiction, flashback, psychedelic, revenge, sci-fi | train | wikipedia | Sometimes I wonder if people that reviewed this film actually watched it, or if they gave it a chance, not like second glancing at it because they're cooking dinner at the same time.Jonah Hex is an entertaining little movie based upon the DC Comic Book character.
I have a good sound system and a nice TV - both made this action/western/fantasy even better.Let's take a look at some of the films on IMDb with similar user ratings - specifically some of the worst films that I have ever seen/wasted my time and money on.Ready to Wear(Pret-A-Porter)4.8 Actually rated higher than Jonah Hex. This was two hours I will NEVER get back.
John Malkovich is ALWAYS a good adversary/bad guy, and Josh Brolin IS Jonah Hex. Megan Foxes' role is small, and she serves every purpose, much like a smoking hot Bond girl.
As a life-long Jonah Hex fan, I was happy to see him captured so perfectly by Brolin, but disappointed as hell that the studio screwed up the movie so badly, and ruined any chance of this becoming a successful franchise..
There's a lot of action, some cool ideas, a great performance by Josh Brolin and the short 80 minute running time doesn't hurt it either.The sad truth of the whole thing is that it just didn't come close to its potential.
For starters, Jonah Hex didn't have to be macabre and supernatural...to my knowledge this wasn't even part of the original comic books that the movie is based on.
Instead these elements seem tossed in as an excuse to include CG effects that the box office loves oh so much.The end result is an unfortunate mash up of a good ideas...that maybe could've worked if more time had been put into development, it feels like it was either slapped together too hastily or suffered from a massive reedit...during most of the film I couldn't shake the feeling that there was maybe a 2 hour+ director's cut lying on the floor somewhere which may or may not be a superior and more coherent film.
I was looking forward Jonah Hex based on a short appearance he had in a Batman cartoon years ago...from that alone I thought the character had a lot of movie potential but I was let down.
I mean I could go on all day.The only thing good about this movie is Josh Brolin, he gives a good performance as Jonah Hex, he tries to save this complete mess of a film.
A star studded cast that includes Josh Brolin, John Malkovich and modern day starlet Megan Fox. With familiar faces like Wes Bentley (P2) Michael Fassbender and Aidan Quinn to name a few.
With its short running time Hex is not as good, bad or ugly as Jonah lovers or critics would lead you to believe..
It has all the elements for a good action film and the his personal crusade with his nemesis general turnbull makes it worthwhile to watch.IMDb rates it with a poor 4,6 I rate it with a 6,5 (G.O.O.S.) ( for the original effects and surprisingly OK acting from megan fox and entertaining storyline).
This fantastic/terror/science-fiction/Western deals with a disfigured gunslinger named Jonah Hex (Josh Brolin) , a scarred bounty hunter with warrants on his own head , he is wanted dead or alive , reward 50.000 dollars .
back to the movie,I can say the directing is great,act is superb ,especially John Malkovich and josh Brolin not to forget Megan Fox as Lilah a prostitute with a clear view of the on going battle between good and evil and she is in the right side of the conflict.
Jonah Hex is in the history books as one of the biggest flops in movie history, not only did it bomb financially but it was connected to a whole host of negative awards such as worst actor, worst actress, worst on screen couple and worst movie.But how do you make a movie that stars Josh Brolin, John Malkovich, Michael Shannon and co bad?!
It's like there is a template that people use and just interchange the setting and characters.It's not THAT bad, but it's a generic paint by numbers dumb movie that is too violent for kids and too moronic for adults.The Good:Fassbender's was excellentThe Bad:Megan FoxContains one of the dumbest movie deaths of all timeThe whole thing is just so very bog standardThings I Learnt From This Movie:I want me some of those explosive crossbows!Megan Fox isn't entirely useless, just 98.5%.
I thought this movie was way too short for a perfect superhero film and there were moments where the plot was confusing.This film is about an outlaw in Jonah Hex and he was hired by President Grant to capture or kill Turnbull who is bent on destroying the country using futuristic weapons and killing Jonah Hex.The acting is solid especially by Josh Brolin and John Malkovich.
There was action, romance, adventure, and laughs.I can't say that if your a Johnah Hex fan that you will like the movie because again I know nothing about the comic..
sure, but we see many of these types of movies, if you can take the leap and accept the world created by this movie I thought the characters, acting and motivation kept the story going and held my interest, in short I thought the character Johah Hex was different and kind of cool, John Malkovitch always makes a good villain and Megan Fox, while not a great actress, delivered in the expected role as eye candy and damsel in distress with a little fight in her very well.
I was never a big Jonah Hex fan, but I have a handful of the comics from the 70s and was therefore mildly interested in this cinematic adaption from 2010, especially since Megan Fox looked so good in the promo pics, lol."Jonah Hex" reminds me of those gazillions of spaghetti Westerns from the 60s and 70s, like "Django" and Leone's "Man with No Name" trilogy except that it's more modern and entertaining.To be expected, the atmosphere is very comic booky and the filmmakers do an outstanding job with the title character's hideously scarred face.
Imagine the style and pizazz of "The Good, the Bad and the Ugly" updated to 2010, but half as long, no tedious stretches and less one-dimensional characters and you'd have a pretty good approximation of "Jonah Hex."One of the film's highlights is the incredible metalized score by Marco Beltrami and none other than Mastodon.
from everything i'd heard about this movie from friends and the media,i expected it to be a bomb.turns out it wasn't.it was actually pretty decent if a bit too short at seventy three minutes without the end credits.it could have been more substantial.in other words longer,and it would have been nice to know a bit more about the characters.but the movie is fast paced and entertaining.Josh Brolin is good as the title character,and Megan Fox is OK in a small role.John Malkovich's character could have been more fleshed out.really the whole movie could have been fleshed out and lengthened.still,for what it was,i liked it.for me,Jonah Hex is a 6/10.
I will admit I am not familiar with the Jonah Hex comics but I still enjoyed the movie without any of the bias.Watching a movie really is about mindset and I think a lot of the reviewers went into it wanting to dislike it.If you enjoy creative weaponry, explosive scenes, and a bit of unrealistic adventure, you will enjoy this..
But the movie is a solid action film Jonah Hex in the comics had a complex history that spans 40 years and since the film has a short running time of only 80 minutes the film makers decided to give Hex they're own spin and shake things up.
Sure, we've all seen this movie a dozen times over, from 'Wild,wild west' to any number of similar plots, but Jonah Hex is fun, simple as that.
From the story, to the editing, to the action scenes and dialogue, it just seems like none of those involved could be bothered to try to make anything worthwhile from this.I have no experience with the Jonah Hex character, so I really had no expectations of what this movie should be - beyond a possibly fun supernatural action/western.
No matter how much you like Brolin, Malkovich, or the other actors, or how sexy you think Megan Fox is, Jonah Hex is not worth your time.
And no, it doesn't suck.Jonah Hex is based of of a comic book- critics need to have that tattooed across their forehead before they go in; and everyone needs to be reminded that just because it hits close to some current issues- it's simply from another time, one that matches ours too well for people to think that it isn't an intentional symbolization done by the writers.
I'll start off by saying first and foremost, I have no experience with the comic books, the character history or anything like that.I wasn't expecting Oscar worthy anything from this movie and I certainly didn't get it.
The less said about Megan Fox the better.The script is rushed to put it mildly, the movie could have done with boosting the run time up to 2 hrs and rewrite or two to flesh out the story.As it stands it is a popcorn flick and I was kept entertained for the most part so I can't really complain..
In an interesting way, it combines the superhero genre, by which DC and Marvel are known, with Western, and the features of both genres are individually obvious, but also perfectly integrated into a whole that works quite naturally.Josh Brolin is Jonah Hex, a former war hero, to whom a tragedy from the past gave some supernatural abilities and turned him into a bounty hunter.
This supernatural anti-hero western has an interesting and nicely developed story with well-measured pace, compelling characters, appropriate music, a great camera, some beautiful shots, striking colors, good direction, a strong cast, and I do not understand at all why the ratings and reviews are so catastrophically bad.
Josh Brolin snarls and grunts his way through a solid performance, but he does not manage to save this absolute mess of a movie.Jonah Hex served as a Confederate solider during the American Civil War. We learn through a fast-tracking prologue that shortly after the war, the evil Quentin Turnbull (John Malkovich) murdered Jonah's entire family, and branded his face with a terrible wound that leaves him disfigured.
Many of the original stories were written by writers in the DC stable who, given a free hand in a 'low-level' comic book, had unusual freedom to do whatever they wanted; the stories were masterfully illustrated by a succession of unusually talented Filipino artists.The 'origin' of Jonah Hex as described here is actually the second: the original cause of Hex's facial disfigurement is gunfire in the closing days of the US Civil War. The real subtext of the character is that of a terribly damaged war veteran, unable to find a home or place, and choosing to use his skills in the periphery of society.Much, much later, the character was hijacked and contorted into a fantasy/horror figure, in TWO-GUN MOJO and the ludicrous transposition to sci-fi in the last issues of the titled JONAH HEX comic book.Those of us who remember discovering Westerns that gave Clint Eastwood an easy run for his money, and an anti-hero who would have eaten The Man With No Name for chowtime, this movie with the otherwise excellent Josh Brolin and the poppy/body-of-the-moment (although showing real potential in JENNIFER'S BODY) Megan Fox...
So you might think that I liked the movie "Jonah Hex", a western based on a comic book.
The U.S. Government gives bounty hunter Jonah Hex (Brolin) an ultimatum that will free him of warrants on his head if he stops his arch enemy Quentin Turnbull (Malkovich) from activating a deadly nation killing weapon.This was almost like those Spaghetti Westerns of the 1960s with Clint Eastwood.
They made room for director Jimmy Hayward, who had at no time the picture under control, even though the promising ensemble cast starting from Josh Brolin in the title-given role accompanied by actress Megan Fox, who together share probably the most entertaining moments in "Jonah Hex"; a movie that glorifies booze, whoring and any acts of violence in a Neo-Western scenario with PG-13 rating, received through the MPAA butcher shop and green-lit WB executives, which brought the running time down to 75 Minutes (excluding the end credits), not worth any box office ticket; to actors John Malkovich and Michael Fassbender as double-team nemesis of anti-hero "Jonah Hex", who clearly had fun with their role variations, yet at no time were pressured by the director to make this picture a 90 Minute thrill-ride with no cheap looking animated flash-forward fill-ins and clear cut hardcore R-rated showdown on an unless promising battleship destroyer location, missing any passion for the original graphic novel content, where the main character, a former confederate soldier of the U.S. civil war, revived my Native Americans, who has the gift of awakening the dead by touching their skin and delivering punchline as "Cut myself shaving.", on getting asked on his disfiguring facial scar origins before sending the questioner pistol-shot to hell.© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC).
Josh Brolin stars as the title character in Jonah Hex, which is based on the DC comic book series of the same name.
It's a steampunk horror western that takes zero advantage of the innate coolness of its premise and world, instead relying on old tired western clichés, black-n-white morality tales, boring characters and a story that would feel more at home as a plot for a half an hour long children's animation episode.And yes, granted, the film actually has some really good actors in the main roles.
Jonah Hex wonders the US doing good for people (namely by killing bad guys), but when Quentin Turnball (John Malkovich) turns up again and steals a secret weapon that is being transported by train, the US president realises that he is the only one that can stop Turnball and hires him.This is a typical comic book movie, and while these types of movies have started to grow on me of late (namely because Sam Rami did Spiderman, and I like the X-men movies) it does actually take a very special talent to endear me to such a movie.
So, if you are just a regular movie lover and generally like the Sci- Fi/Horror/Comic genre, then I think you will find the film a lot of fun and what's unusual is that since it is only rated PG-13, pretty much the whole family can indeed enjoy it (perhaps without little children though)Again, in reviewing and giving my lowly and wretched opinions on these films that I have seen, I just state my honest impressions and feelings concerning how a film is just as a film, that's all.
Stylish Comic Strip Action Loses Its Way. Another comic strip turned movie, this film is has some style with some good lines and acting from Josh Brolin.
It wasn't close to the average flick and Megan strikes out twice in a row with a relatively minor role in Hex. How to improve this film: 1) add 10 minutes to to end to build the climax and a bit more fight, 2) give Megan Fox some acting lessons, a couple more minutes and some clean clothes too, I mean even with the sexy corset, she just didn't look that good, 3) the director should tell off Malkovich to get him angry like a madman 4) The director needs to bring out the best in his cast and have a vision as to the ending..
In the film, the character of Jonah Hex (Brolin) is a bounty hunter in the Old West who gained the ability to speak with the dead after his own near-death encounter.
Now, of course I cannot compare it with the comic books, as I can't recall them, so bear with me.The cast was good, and I liked Josh Brolin in the lead role of Jonah Hex. Not usually much of a fan of his, but he has done some good work in the last couple of years.
"Dirt likes dead, dead likes dirt, simple as that," we learn in "Jonah Hex," a film well-suited to conversing on the subject of death given its own lifeless nature.Based on a 1970s comic-book character which was inspired by spaghetti westerns, "Hex" makes its film debut with Josh Brolin in the title role, a facially branded bounty hunter who sets out to avenge his murdered family and stop plans by a former Confederate general, Quentin Turnbull (John Malkovich), to destroy Washington, D.
It's below the line where a movie could be good and above the line where it is so bad it's funny; it just sits in the limbo of movies that have no meaning and make no sense.The film is about Jonah Hex, another resurrected comic book hero, this one from the times of the American civil war.
The only thing noteworthy is Josh Brolin's performance and some action sequences but if you really want to see a better western film, watch A Fistful of Dollars, The Good, The Bad, and The Ugly, Django, and The Big Gundown.
The good things about this film, well, maybe the story of HOW Jonah Hex became to be the rugged bounty man he was.
I would gladly like a reboot to this movie with Josh Brolin still playing Hex. However can we please keep Megan Fox out of comic book movies, I can think of over a dozen sci fi fan boy, favorites that would be better for her role.
Should I even bring up the superpowers in this movie, let me just say out of 20 years of comic books made for this character, Jonah Hex has never needed to rely on such nonsense, AND HE NEVER WILL! |
tt0097366 | Fletch Lives | Irwin M. Fletcher (Chevy Chase) is back. Our hero starts out dressed in drag as a waitress at a Greek restaurant. He is there getting a story about a gambling ring that is run out of the restaurant. When he gets back to the office with the story, his boss is happy with it,but denies Fletch a vacation he promised him, saying he needs to finish another story first. Of course, Fletch is angry. The phone rings, and it is an attorney from Louisiana calling to tell Fletch that his great aunt has died and left him her plantation- "Belle Isle" - there. Fletch immediately quits his job and tells his boss to send his stuff to "his mansion in Louisana." He flies down, and the attorney - Amanda Ross (Patricia Kalember) takes him to see the plantation. It is a mess. Fletch says that with a little spackling and Napalm it would make a nice mausoleum. The go in the house and Fletch meets the caretaker, "Calculus Entropy" (Cleavon Little). He worked for Fletch's aunt and wants to continue on with Fletch. The caretaker doesn't seem quite the simpleton that he makes out though.Fletch's attorney takes him back to town to sign papers and make him dinner. She informs him that someone wants to buy his property for $225,000.00. Fletch is immediately suspicious and tells her "no sale." They hit it off and end up spending the night together. While they are both sleeping, someone comes into the house and kills the attorney, and Fletch wakes up in the morning to find her dead in the bed. The police come and they question Fletch about the death. The chief of police decided to arrest Fletch, not for murder, but for "Pissing him off." Fletch is taken to the jail and put in a cell with a transvestite necrophiliac named Ben Dover (Randall 'Tex' Cobb), who threatens to molest him. Fletch is saved by another attorney - Hamilton "Ham" Johnson (Hal Holbrook), who gets the Ben out of jail. Fletch asks the new attorney to take his case, and he does. He gets Fletch released and they leave.Fletch goes back to his house and talks to Calculus. They sit on the porch to relax, but the KKK shows up chanting over a bullhorn. Fletch puts on a couple of white sheets and joins them - telling them his name is Henry Hiemler. He finds out that they are not there on their own, but are on a "contract job" - someone hired them to get rid of some "undesirable carpetbagger" - presumably Fletch. Calculus runs them off with a shotgun.The next morning, a real estate agent - Becky Ann Culpepper (Julianne Phillips) comes to put another offer on Fletch's property. This time it's up to $250,000.00. Fletch asks her who is offering the money and she tells him that it's confidential. Fletch decides to do some snooping, so he goes back to Amanda Ross's house and goes in as an exterminator. He finds out that there are others involved in the mystery of his aunt's estate - the Rev. Jamie Lee Farnsworth (R. Lee Ermey) and a mysterious corporation by the name of Bluebird. The police catch him there, but he talks his way out of it by telling them he's searching for termites. He leaves and goes back to the plantation and talks to Calculus about the Reverend and finds out that he is a local icon with his television show and "Bibleland" amusement park. Fletch decides to check this out.He goes to a live taping of the television show the next day and is called up front by the Reverend to "confess his sins" and "be saved." Fletch makes friends with the Reverend and learns that he wants Fletch's property to expand Bibleland. The next day, Fletch goes to talk to Ham and finds out that he has been cleared of the murder charges and that Amanda's death has been ruled "natural causes." The attorney confesses that the reason Fletch has been cleared is because of his "religious conversion" on the Reverend's show. Ham also tells Fletch that the good reverend is a scam artist who tricked his mother out of her land and plantation.Fletch goes fishing that afternoon with Calculus and they discuss the possibility that Amanda's death was natural. The both say that's very improbable, and Fletch decides that he needs to get a look at Amanda's body to know for sure. He asks Calculus to help him get into the morgue. They put Fletch on a gurney under a sheet and take him in. The morgue operator is Ben Dover. He takes Fletch's prize Laker watch. Calculus tells him that Fletch's name is "Eldridge Cleaver" (the great civil rights leader) so we know that Calculus isn't as ignorant as he pretends to be. Once they get back into the morgue, Fletch checks for Amanda's body, but it has already been cremated. This convinces Fletch that she was murdered and cremated quickly to cover it up. So, Fletch goes on the hunt for a murderer.After the morgue, Calculus and he go back to Belle Isle and there's a fire. Fletch has to move in with Calculus. Later they go out to eat so they can talk. While at the restaurant they run into some friends. They offer to take Fletch "Coon Hunting" and he goes. While running around the Louisiana night, they go across several properties that were recently sold to the mysterious "Bluebird" corporation. The properties are barren and have puddles of goo all over them. Fletch steps in one. As he is checking this out, someone shoots at him. He ducks and runs toward the shooter and gets in a struggle with him. Another gunshot scares off the first shooter, and Fletch finds himself alone...but, on the ground is his Laker watch. He goes back to Calculus' house and tells him he was shot at and he goes to check out Calculus's shotgun to see if it's been used recently, but Calculus grabs the gun off the wall before Fletch can touch it and goes outside. We hear a shot and Calculus tells Fletch that he thought he saw something and shot in the air to scare it away.Fletch decides it's time for some outside help...so he calls his boss back in California. He finds out that Becky Culpepper - the real estate agent is the Reverend Farnsworth's daughter, and he sends his tennis shoes to his boss to have the goo analyzed. The next morning he goes to see Becky and asks if the $250,000 offer is still good. It isn't. He confronts her with the information he received about her paternity and she admits that the Reverend is her father, but that she doesn't believe he's a murderer.Fletch decides it's time to go back to Bibleland and check out the Rev. Farnsworth some more. He dresses up and goes onto the show disguised as a "faith-healer." He sneaks backstage and checks out the computers. He finds out how the Reverend knows how to call specific people out of the audience - he has a computerized system and someone who tells him names and specifics in an earpiece during the show. He also finds out that the Rev. Farnsworth has plans that would expand Bibleland to all of the neighboring plantations, not just his. Fletch gets rid of the computer operator and checks the files. He sees that the Reverend wasn't trying to buy the properties, but another mysterious corporation named "Everest Development" was.Knowing he needs more information, Fletch decides to start with Ben Dover since he was the one that was shooting at him. He follows Ben from the morgue to a biker bar. Fletch dresses up as "Ed Harley", goes into the bar and claims to be the owner of Harley Davidson Motorcycles. Ben doesn't recognize him, and offers to let him go on a ride with his gang. Fletch does - with Becky on the back of his motorcycle. During the ride, Fletch's disguise comes off and Ben recognizes him. They give chase, but Becky and he get away. They go back to her house to clean up. While there, Fletch calls his boss in California and finds out that Bluebird is a corporation that finds dump sites for toxic waste. There is only one near Louisiana and it's in Mississippi. Fletch goes to check it out.In Mississippi, Fletch poses as the CEO of Everest Development and talks to the Bluebird factory foreman (Phil Hartman). He finds out that Belle Isle is scheduled to receive a large shipment of the toxic waste in a few weeks. He also finds out from the paperwork there who the "owner" of Everest is.Fletch goes back to Louisiana and goes to a party thrown by Hamilton Johnson. He tells him that he wants to talk to him privately. When they get upstairs, Fletch tells him that he knows that he is the one who tried to buy his land, killed Amanda, framed him, and has planned a shipment of toxic waste for Belle Isle. Ham then admits to everything - saying he hates Jimmy Lee Farnsworth for what he did to Ham's beloved "mamma." He says he wanted to turn everything around Bibleland into a toxic waste dump to ruin the reverend. Ham pulls a gun and tells Fletch that he's going to kill him. Fletch tells Ham that he left all of the incriminating evidence with Becky and if he doesn't let Fletch go, she'll send it to the FBI. Ham tells Fletch that he's bluffing - and out walks Ben, who has kidnapped Becky. Ham has ordered both of them to be murdered. Fletch is stuck...until he gets an idea. He picks up a picture of Ham's mom and begins insulting her...and this infuriates Ham. Then Fletch grabs Ham's mother's ashes and begins playing with them. He tosses them across the room at Ham, and this causes Ben and Ham to fall, this allows Fletch and Becky to escape. They run to Bibleland and into a live taping of the Reverend's show. Ham comes in with his gun and tries to shoot Fletch, but the Reverend gets in between them and tells Ham he'll have to shoot him first. Just then, shots ring out and Ham goes down...the FBI is there and have killed Ham...the FBI agent in charge is Calculus...whose real name is Agent Goldstein. They have had the ministry under investigation for months. They all go outside and talk about things a bit...Fletch tells Calculus that he knew he wasn't a backwoods simpleton all along. The Reverend says he's going to rerun the show with the shooting incident every day for Sweeps month. Fletch kisses Becky and mentions the possibility of her coming back to California with him.When Fletch gets back to California and his job at the newspaper, there's a big party for him and his boss has given him a raise and a corner office. Fletch also receives an insurance check for $100,000 for the fire and the toxic waste dumping at Belle Isle. Just then, Fletch's ex-wife's attorney shows up and says that Fletch's ex-wife wants the property in Louisiana as part of the alimony. He tells Fletch if he'll sign over the property, that they'll leave him alone for the rest of his life and he'll never have to pay anything to her again. So, Fletch gladly does...pretending all the time it's killing him to do it...and never telling the attorney that they plantation is now a burned-down toxic waste dump... | humor, satire, murder | train | imdb | First of all, how can anyone pick up a video with this sort of picture of Chevy Chase on the front and expect it to not be stupid--in the best possible sense!
And yet I have only recently added the first movie to my private collection.Chevy Chase is one of the best out-and-out comedy actors available in my opinion.
And you can't expect him to be serious in a movie that was intended to be anything but.I think the best part about Chevy Chase as Fletch, is that he lives out those crazy ideas we sometimes get (such as convincing someone of invisible squealing bugs, simply telling someone their house is on fire, and marching into a corporation like you own the place), and he gets away with it when most of us don't dare in the first place.
Pros - Entertaining Story, many hilarious jokes, Chevy Chase.
Cons - Last Fletch film starring Chevy Chase, not quite a satisfying ending for the two films Overall a must see and a guaranteed laugh.
M. Fletcher "Fletch", he must have had Chevy Chase in mind.
Snappy dialogue and amusing disguises by Chase make these two Fletch movies, his best film work.
If you like Chevy Chase you'll love "Fletch Lives and "Fletch"..
Chase's disguises carry the second Fletch film.
The best of it comes in Chevy Chase's many disguises.
His use of phony names – though of real people in history, was funny for one movie, but gets tiring and not too funny in this sequel.
With a good enough plot, I think some writers – and Chase in impromptu, could have come up with some newer funnies.
You had to a fan of Chevy Chase to fully enjoy the first installment but here you have to be a die hard devotee to get the most out of the sequel.
The first one had a really good detective story that nearly got buried with wisecracks, but on subsequent viewings it really came alive and it ranks as one of the best movies Chevy Chase has been involved in.Fletch Lives has Fletch moving to the South where he has inherited a mansion from his aunt.
Continuing interest in buying the nearly worthless land for a huge amount of money evokes suspicions and our favorite reporter goes snooping around.Fletch Lives is not nearly as well crafted or written as the first one, with a rather predictable mystery that doesn't seem to take itself seriously for one second.
But it does have some fantastic comic sequences; such as Fletch impersonating a faith healer, Fletch encountering a mean biker gang, a memorable meeting with a fellow inmate and some one great one-liners delivered with style by the great comedian (as you might have guessed; I'm a big fan).Supporting actors like Hal Holbrook and R.
Lee Ermey add to the enjoyment and Chase delivers but when all is said and done Fletch Lives is for fans only who can overlook the shallowness of the film as a whole..
Irwin Fletcher, or better known as 'Fletch' is a Los Angeles investigative reporter, who quits his job and heads to Belle Isle a vast 80-arce Louisiana plantation that he has inherited from his late aunt.
'Fletch Lives' is basically more or less a vehicle for Chevy Chase's dry, smart-ass humour, and his prominently cunning persona.
Lee Ermey, Julianne Phillips and Richard Libertini basically play off Chase's character and fall under the mockery of his heavy-handed humour.
If you think this sequel is going to be just like the 'Fletch', forget it.
Chevy Chase's cool-as-ice performance was great fun, and I just enjoyed his manic absurdity overall and Cleavon Little was delightful as Calculus Entropy the caretaker of Fletch's estate.Nothing will totally gobs-smack you about it, but it's just a sentimental favourite of mine, which I always find something joyous upon each viewing..
Chevy Chase returns as goofy reporter Irwin Fletcher.
To complicate matters, he finds himself involved in a murder plot, gets chased by the Ku Klux Klan, and various other mishaps.Oh come on!
The very presence of Chevy Chase should identify that it's a hilariously wacky good time (remember, he was funny before his failed attempt at a TV show; and he did play a good role in "Orange County").
Has Chevy Chase ever played so many people in one film?
Chevy Chase, once again, nails the role of Fletch and only he can deliver the deadpan sarcasm in a way no other actor can.Fletch quits his job as an investigative reporter after he inherits a plantation mansion in Louisiana.
And why the producers commissioned a brand new screenplay instead working from one of Gregory MacDonald's novels is beyond me.His disguises will, however, make you grin from ear to ear (Claude Henry Smoot steals the show) and they way he comes out with the most ridiculous of things when he's talking to people makes you wonder why they ever believe it.
Lee Ermey as the eccentric TV Evangelist makes up for it.And to any of you who are puzzled why Mr. Underhill is credited in the cast of characters but not actually in the film, he IS.
Look closely at the Zipedee Doo-Dah sequence and you can see him as one of the dancers.Had the producers treated Fletch like James Bond we might have a new Fletch mystery every two years since 1985 if they followed the order of MacDonald's books (not chronologically, of course, as they're all over the place).
Fletch (Chevy Chase) is a reporter for a Los Angeles newspaper, but he acts more like a detective.
While there is a certain level of fun with any classic Chevy Chase film, this one has almost none of what made the first one great.
However, when time came to make a sequel, the studio decided that none of the other dozen or so Fletch novels would be suitable and Instead put together a generic comedy mystery with a plot right out of Scooby-Doo. This is dumbed down generic 80s action junk of the worst sort, partially saved by Chevy Chase's deadpan use of the trademark Fletch trick of disguising himself and impersonating people to get information.
A comedy-mystery, like any other hybrid, has to work effectively in both genres to be a success and the mystery plot line is just too weak to carry the film.This movie for me was a special disappointment, as the Fletch series ended here, when Chase could easily have made a career out of starring as Fletch in adaptations of several books before Chase-as- Fletch wore out his welcome.
It contains more laughs than the original, but relies too much on the stupidity of the supporting characters to set up the jokes.I also found Chase's character too arrogant and often irritating..
When Fletch finds out that he has inherited an estate in the deep south from an aunt he hardly knew, we get a wicked satire of "Song of the South", complete with animation and a singing Chevy.
We also get southern beauties who present themselves with three names like "Amanda Ray Ross" and "Becky Ann Culpepper" and you just know that the first thing Fletch does is make a rather suggestive remark that the women find irresistible and they immediately jump in the sack with him.
Chevy Chase = good times..
Even though the story isn't anywhere near as good, Fletch Lives is every bit as funny as the first movie.
I've realized that Chevy Chase can make any movie work.
If you're a Chevy Chase fan, this movie is worth checking out.
I'm a big fan of mystery/comedies, and the Fletch series is one that I think had a lot of potential that wasn't fully realized.
Some of the highlights in this one include a rather funny gathering of the Klu Klux Klan in front of Fletch's new home, two funny healing scenes in the televangelist church, and a rather humorous chase scene on some motorcycles.
Good movie to me that while it is not quite as realistic as the first or have the story, but it makes up for it by being more fun in places..
I love "Fletch Lives", it is so damn funny and cackles with hilarious dialogue.
I love "Fletch Lives", it is so damn funny and cackles with hilarious dialogue.
Director Michael Ritchie and Chevy Chase team up once again for "Fletch Lives", with Chase reprising the role of Irwin "Fletch" Fletcher, newspaper journalist and master of disguise.
Chevy Chase, once again, nails the role of Fletch and only he can deliver the deadpan sarcasm in a way no other actor can.
Fletch quits his job as an investigative reporter after he inherits a plantation mansion in Louisiana.
I recommend this to fans of the character, the movie that came before this, and/or Chevy Chase(people who like what he does, not the...
We had a great time and a ton of laughs and when it was finally over, it struck me that I was going to miss this new character who I'd just been introduced to a couple hours ago...Suddenly, the announcer comes on: "Coming up next, Fletch is back in the 1989 hit sequel 'Fletch Lives'!".
The concept and setting were great, as were all the new characters, and Chevy Chase was in top-form once again.
Seeing him play Fletch is so satisfying because he's like a much more competent version of Clark Griswold who actually gets to win 'em all.Thanks for a great evening, Chevy.
Irwin "Fletch" Fletcher(Chevy Chase) is at it again.
They know you will return for a sequel of a hugely popular movie and thus take the time to overload it with PC (see Porky's 2 and about a million others).
While the beginning was lame, the rest of the movie was quite interesting, and the ending was much better than the original Fletch.
Bottom line: If you like the original Fletch, or if you like 80's comedy, give Fletch Lives a try, its a much better movie than its made out to be, and like someone mentioned, marked Chevy Chase's last good movie..
I absolutely love the original Fletch movie.
Chevy is nonstop hilarious in it, and I like the hard boiled detective style.Fletch Lives sucks.
In the first film he wants to do good and help everyone.Nothing like his fast-talking quick witted character from the first movie.
It's a rather lazy , uninspired , obligatory sequel to a hit movie , yet far from being truly terrible.The 1985 "Fletch" movie was a hit and a really good movie in style of "Beverly Hills Cop" .
It was funny movie with a solid , realistic detective story which was a quite faithful adaptation of the first book in the Fletch series by Gregory McDonald.
A hit book series produces an original hit movie and there is enough material to use for new movie so the decision to make sequel seems logical , right ?
There were eight sequels and prequels written by Gregory McDonald that could have been used as the basis for the second "Fletch" movie at the time and yet Universal decided to write a completely new story.
In the end "Fletch" and "Fletch lives" are like apple compared to orange - that different.The mystery here is lame , rather predictable and silly stuff that could easily appear in Scooby Doo cartoon.
The story is thin and the focus seems to have shifted to Fletch's disguises and gags rather than working on layers of mystery.
Chevy Chase carries this movie with his usual cynical wit and comedic timing.
I can understand that some people really like this movie for being more crazy than original.
However in the end "Fletch lives" is a very shallow movie with no real intelligence or passion behind it.
Shame that the Fletch series ended here, when Chase could easily have made a career starring in his own franchise for few next years.
Chevy Chase stars as the title character and gets into more trouble after he inherits a southern plantation and leaves his job at the Los Angeles newspaper.
Not As Good as the First; Not As Bad as the Rep. Fletch Lives (1989)** 1/2 (out of 4) Chevy Chase returns as Irwin 'Fletch' Fletcher in this sequel to the 1985 flick.
Sure, the movie isn't as smooth or as good as the first one but the most important thing is laughs and that's something I did quite a few times.
The movie obviously cuts back on the various characters Chase plays as this is pretty much left to the final twenty-minutes but I didn't mind this too much.
Chase isn't quite as great as in the original film but he's still good enough to keep everything moving and his various characters once again get plenty of laughs.
Chevy Chase, Is back as the wisecracking investigative reporter,Fletch, inherits a size-able inheritance from his deceased aunt.
On the estate is Calculas, Cleavon 'Blazing Saddles'Little, Who becomes fletch's manservant, who knows all too well about the murderous goings on, Also featuring is genre mainstay, Randall 'Tex' Cobb,As a none too bright thug, And Full Metal Jacket's R Lee Emery, as a Evanglist And father of Chase's love interest, 'Fletch Lives pokes fun at the Obvious, southern drawl Religious evangelism Amusement parks( bible Land ) Fletch Lives is best enjoyed as back to back viewing with it's classic sequel,.
Irwin Fletcher (Chevy Chase) is an L.A. newspaper investigative reporter.
Then Walker tells him that Becky is actually Jimmy Lee's daughter.I compare 'Fletch' to a less funny 'Beverly Hills Cop'.
Chevy Chase is playing up his wacky characters.
Chevy is more annoying than funny in this movie.
All are well-written, witty, and full of great characterizations.Which leads me to my major complaint about this film in that the didn't use any of the other Fletch novels and wrote a completely new script based on the character from the first film and not from the books.
A great comic actor that is missed.And, of course, the star is Chevy Chase.
I believe this film was made simply as an excuse to get Chase into some funny costumes for some cheap laughs.
There may not be a great deal of newspaper reporting going on in Fletch Lives, but it makes up for that with a great deal of mystery solving.From Ed Harley to Claude Henry Smoot, Chevy Chase doesn't disappoint throughout the movie.
Fletch Lives also marks the last funny Chevy Chase movie, so it must have been made immediately before he was replaced by some sort of evil, unfunny robot..
The fact is that it is still a classic 80's Chevy Chase Comedy and has some hilarious scenes (i.e.
The summary of the movie tells it all, if you like bad jokes and Chevy Chase's style of humour then you will love this film.
A far more enjoyable movie, in my opinion, with the same lovable comedic efforts by Chevy.My name...most of the time, is Irwin Fletcher.
This is the sequel to the movie Fletch and is about a reporter, Irwin Fletcher (Chevy Chase), who is a master of disguise.
The property needs a lot of work, the pink Cadillac has no breaks, and his attorney dies during the night: this would be okay it is just that he was in bed with her at the time.Having just read the Ebert Review (and I don't particularly like many reviewers but I have come to the conclusion that Ebert actually puts a lot of thought into what he writes) I have a tendency to agree with him on the point that the movie is really just a string of clichés with a loose plot thrown in.
The amusement park Bible Land is supposed to be funny, but isn't, and the characters do not have those funny little traits that make movies interesting.Fletch Lives is supposed to be a mystery, but it doesn't come out as such.
Fletch Lives is one of the most despised comedy sequels of all time.
Widely regarded by fans as great disappointment and the movie that killed a potential Fletch franchise, the film nonetheless gets just as much play on cable television as the original Fletch does.
Oddly enough, while Fletch Lives isn't based on any of the Fletch stories, I think Chevy Chase does do a better job as Fletch here than he did in the first movie.
Ultimately, Fletch Lives may not have the same tone or feeling of the first film, but it's not nearly as bad as its reputation.
In the sequel to the wild and funny 1985 Chevy Chase vehicle "Fletch", the charismatic journalist Irwin "Fletch" Fletcher is back in thick of things.
"Fletch Lives" sadly does not measure up to to it predecessor which was Chevy Chase at his absolute best.
Sadly this sequel was inferior to the first instalment up to the point that it would have been better if they just left well enough alone.After starring in one of his worst movies ever that which was "Funny Farm", Chevy should have realized that the country life was not for him.
Chevy utilizes his usual cynical wit and comedic timing like he did in the first "Fletch" movie and the various disguises he puts on are equally impressive and the impersonations are pure genius.
The plot I found to be overwhelming which did not seem to work this time around for Fletch to wear disguises and deliver his comical wit.
I found Fletch Lives mildly amusing in parts in particular Chevy's comic timing.
FLETCH LIVES is something of a lacklustre sequel to the original spy comedy, featuring as it does over-obvious humour and a kind of anything-goes mentality that means the screenplay is a lot looser and more scattershot than in the original movie.
Chevy Chase returns to the titular role, this time involved in another mystery and travelling to the southern states to irresponsibly romance women and don a number of disguises. |
tt0404203 | Little Children | Sarah Pierce (Kate Winslet) is a 30-year-old, stay-at-home mother in a small Massachusetts suburban community. She had been working on a doctorate in English, but once she married Richard (Gregg Edelman) and had their daughter, the presently five-year-old Lucy (Sadie Goldstein), she set aside her research. Now she spends her days taking Lucy to a local park along with three other stay at-home mothers: the severe and judgmental Mary Ann (Mary B. McCann) and more timid Theresa (Trini Alvorado) and Cheryl (Marsha Dietlein). They enjoy ogling from a distance Brad Adamson (Patrick Wilson), the handsome and well built father who brings his son, Aaron (Ty Simpkins), to the park. When their children use the same swing set, Sarah and Brad have an opportunity to talk to one another, titillating the other women. But when they, on a lark, hug and kiss, the women immediately take their children out of the park and refuse to associate with Sarah anymore.Both Brad and Sarah have unhappy home lives. Brad has yet to pass the Massachusetts state bar exam and doesn't even want to be a lawyer. However, his bossy wife, Kathy (Jennifer Connelly), pushes him to succeed. She makes documentaries for public television for a living. They live a bit beyond their means, forcing them to accept financial support from Kathy's mother. Their sex life is non-existent because Kathy is too self-involved in her career and being a mother. When he is supposed to be studying for the bar exam, Brad instead sits and watches teenagers skateboard outside his house, fantasizing about being young and carefree again. One night, an acquaintance, Larry (Noah Emmerich), persuades Brad, who played quarterback on his high school football team, to join his amateur football team, the Guardians.Larry is a former police officer forced to retire a few years earlier when he accidentally shot a teenager who robbed a store. Now he is estranged from his wife and spends much of his time harassing Ronnie McGorvey (Jackie Earle Haley), a freaky neighbor recently released from prison after serving several years. Ronnie had been incarcerated for exposing himself to a minor and has a long criminal record for sexually molesting young girls. Brad does not feel comfortable with Larry's campaign against Ronnie to force him to move from the neighborhood, but rarely tries to prevent him from carrying it out.Sarah's marriage to Richard is as sexless as Brad's is to Kathy. In this case, however, it is because he is addicted to Internet pornography. One day she catches him masturbating in his office and they begin to sleep separately. She buys a flattering swimsuit and begins to attend the public pool because she knows she will see Brad there. They begin a deep if platonic relationship and their children become friends as well. Brad is drawn to Sarah's interest in him, even though he does not find her particularly physically attractive. Sarah craves being sexually desired by someone as conventionally handsome and masculine as Brad. One day, when they have to leave the pool due to a sudden rainstorm, they return to Sarah's house. Brad discovers a photo of himself tucked away in a collection of Shakespearean sonnets. Unable to contain his desire for each other, they have rough sex in the basement while their children sleep upstairs. Thus their emotional infidelity becomes physical as well.Meanwhile, Ronnie lives with his mother, May (Phyllis Somerville), who has taken him in after his release from prison. She believes that if he were to find the right woman, his sexual desire for children would disappear. Aware of his mental problems with the fascination for young girls, Ronnie knows this is futile but agrees to go out on a date May has arranged for him with a woman in another town, Sheila (Jane Adams). During dinner at a local restaurant Sheila and Ronnie seem to make a connection and she reveals her own emotional demons. However, the date ends badly when he asks her to park alongside the road, then begins to masturbate while scolding her not to tell on him.Elsewhere, Sarah and Brad grow closer. He skips taking the bar exam so they can have a romantic getaway together. Kathy grows suspicious and tells Brad to invite Sarah, Richard and Lucy over for dinner so she can meet them. The intimacy evident between Brad and Sarah confirms her suspicions, and Kathy arranges for her mother to come for an extended visit so Brad and Sarah can't see one another anymore. However, when Brad's football team plays its final game, Kathy and her mother stay home feeling that their suspicions about Brad are nothing. Sarah attends and cheers as Brad scores the winning touchdown in the team's only victory of the season. Afterwards, while Larry waits for Brad at a nearby bar to celebrate their victory, Brad and Sarah make out on the field. He admits the moment is his happiest ever and asks Sarah to run away with him. She agrees.Hurt that Brad has stood him up, Larry goes to Ronnie's house and wakes the neighborhood up by using a bullhorn to taunt Ronnie. The neighbors come out to ask him to stop but May confronts him angrily. In the process, she suffers a severe heart attack. Larry is arrested for assault and battery, and May taken to the hospital. While Ronnie sleeps in the waiting room, May dies. Her last act is to write a note to Ronnie: "Please be a good boy." Ronnie is distraught and despondent. He goes home and destroys much of his mother's collection of Hummel figurines, then takes a butcher knife from the kitchen.That very same night, Sarah and Brad agree to rendezvous in the park where they first met to run away together. Brad tells Aaron he loves him before putting him to bed, writes Kathy a note explaining why he is leaving her, then sneaks out while she and her mother finish the dishes. But before he can get to the park, he is distracted by the skateboarding teenagers again. They convince him to try a jump himself. Unable to resist the rush of wanting to re-live his youth, Brad does so but crashes and knocks himself out. When he comes to, he asks the ambulance driver to call his wife -- Kathy -- to meet him at the hospital. It turns out that he never left the note for her and tells one of the skateboarders to dispose of it for him.Meanwhile, Sarah takes Lucy to the park. She is shocked to see Ronnie stagger in. When Lucy briefly disappears, Sarah is frightened into realizing that leaving Richard for Brad would be a terrible mistake. She takes Lucy home and puts her to bed and decides to stay.Larry is upset about causing May's death. He genuinely wants to apologize to Ronnie and finds him in the park where Sarah left him. He notices blood on the ground. Ronnie has castrated himself and is bleeding to death. Larry picks him up and races him to the hospital. He knows Ronnie has done bad things in the past but also recognizes that doesn't mean he has to do bad things in the future. They arrive at the hospital at just as Kathy meets Brad's ambulance at the emergency room doors. | comedy, dark, psychological, realism, dramatic, thought-provoking, flashback, satire | train | imdb | "You couldn't change the past," the narrator of Little Children tells us at the movie's close, "but the future could be a different story." The lives of the men and women who live in the very paragon of bland suburbia appear to be crunchy (and even somewhat unforgiving) on the outside, but inside they break, well, just like a little girl.
A veritable sea of emotions, from love, despair, neglect, and hate churns below their pristine, everything-in-its-place veneers.The placidity of this particular neighborhood is jolted by two things: the arrival of a sex offender (Jackie Earle Haley) and the emergence of a relationship between married-but-not-to-each-other Sarah and Brad; both events, directly and obliquely, are remarked upon by the nattering nabobs of middle-class conservatism in the town, particularly the rather particular hausfraus and soccer moms.Sarah Pierce (Winslet) is a distant mother and wife; when she and her daughter Lucy visit the neighborhood playground, she sits away from the other mothers.
Like Sarah, Brad is a little emotionally distant from his wife and their son, Aaron, so it's no wonder he and Sarah become constant companions throughout the long, hot suburban summer, spending their days either at the park or at the public pool.The other main story thread involves the community's reaction to the presence of Ronnie McGorvey, convicted as a sex offender for flashing a young boy.
In Little Children, people make decisions for selfish reasons, and there's no wondrous epiphany that somehow saves the soul and good standing of the poor decision maker - people live with what they've done, or they don't make the decision in the first place.Winslet and Haley were nominated for their work here; the first-ever nomination for Haley, who was probably best known as Kelly Leak in the Bad News Bears films.
Little Children is a stark, seamless, unsettling story that grabs a hold of your psyche and twists it almost to the breaking point, relying on strong performances by Winslet, Haley, Wilson, and Emmerich as well as a tortuous plot that provides quite a jaded look at the tranquility of suburban life..
McGorvey (Jackie Earle Haley), who was in prison for indecent exposure, returns to his mother's house and feels the prejudice of his community against his presence, especially from the retired policeman Larry Hedges (Noah Emmerich) that is trying to force Ronnie to move away from their neighborhood."Little Children" is an extremely well-acted movie that uses a modern adaptation of Madame Bovary to the present days in the American suburbs.
This movie really deserved the nomination to the Oscar in the categories of Best Performance by an Actor in a Supporting Role, with Jackie Earle Haley having a top-notch performance in the role of a deranged sick man; Best Performance by an Actress in a Leading Role to the stunning Kate Winslet, one my favorite and best actress ever my only remark is that, at least for my eyes and taste, she is a charming and beautiful woman, and apparently Sarah Pierce is a plain woman; and Best Writing, Adapted Screenplay, to Todd Field and Tom Perrotta that were able to perfectly develop a complex story with entwined lives of many characters in an adequate pace and eroticism.
He is the overriding nominator for 'Little Children' and his presence greatly upsets the parents.Yet most salience is given to Kate Winslet and Patrick Wilson as Sarah and Pierce two lonely, bored and desperate housespouses who, in the midst of having nothing to do, innocently begin an extramarital affair with each other.
Yet as a whole entity Little Children is a very interesting film that makes the best possible use of characters, relationships and suburban drama.
The film is multi-layered with subtle undertones and illustrious questions wrapped into a parable of two people Brad Adamson (Patrick Wilson) and Sarah Pierce, (Kate Winslet) individuals that feel so disenchanted with existence that they find "comfort" in one another.
The narrator serves as a warm and sometimes funny guide through the lives of Sarah Pierce (Kate Winslet) and Brad Adamson (Patrick Wilson), two stay-at-home parents locked into an empty and unsatisfying routine of childcare in a haunting, tree-lined suburbia while their spouses live more interesting lives out in the work force.We meet Sarah in a park where she sits apart from the other nattering, empty-headed mothers and tells herself that she's not one of them.
As these things often do, their relationship boils and builds into something torrid, and Sarah is left struggling to live a private life as a mother, and a private, socially unacceptable life where she's truly alive.Little Children works brilliantly as a mesmerizing character study about the way we judge others and ourselves.
He proves again his insight into real people and real relationships is a bit eerie and almost tough to watch as we often recognize ourselves in his characters.An incredibly well acted movie led by the usually mediocre Kate Winslet and an on the rise Patrick Wilson ("The Alamo", "Hard Candy" and this year's "Running With Scissors"), the cast creates an atmosphere of real life allowing us to forget the performances and concentrate on the multi-layered story (co-written by Field and novelist Tom Berrotta).
Having liked Todd Field's previous film 'In The Bedroom' and knowing that it had Kate Winslet and Jennifer Connelly (whose works I very much admire alongside their beauty), I decided to watch it anyway.
Kate Winslet does just that here with her torn, innocent character, and Jennifer Connelly plays her small part well, but almost everyone is believable and add dimensions to their roles, although the cast could not quite match "In the Bedroom" in raw talent.Going back to the screenplay, it is rich with quirky human dialogue with its various undertones and is able to sustain interest through the intertwining of the story lines that take you for a ride.
Not that they are little children themselves, more like teenagers coming to terms with the fact that they are moving away from youth, and that they will never see it again.The other Oscar worthy performance in this film is from Jackie Early Hailey.
The frames tell just as much of the story as the script.I know I'm gushing but there is just nothing I can say bad about this movie.My favorite thing about this movie, amazing cinematography, acting, directing and dialogue aside is the fact that nothing is black and white, no one is a hero, no one is a villain, they are all just people, doing the best they can.It is a rare thing to see real humanity shown to us in such a beautiful way as is done in Little Children.
Adapted very closely from Tom Perrota's exquisite novel, the story follows a handful of different characters, the two central ones being Sarah (Kate Winslet) and Brad (Patrick Wilson).
Other supporting character include Larry Hedges (Noah Emmerich), an aggressive ex-cop who befriends Brad, May McGovery (Phyllis Sommerville) a shut-in old lady, and Ronnie McGobery (Jackie Earl Haley), her convicted pedophile son who just got released from prison into the neighborhood after exposing himself to a little girl.Although very different from Field's previous film 'In the Bedroom', 'Little Children' is about equal in quality.
Winslet makes Sarah so in touch with her emotional needs and gives her such a charged urgency that I found her alluring, something I haven't felt towards her in her past performances, through she's always been an attractive and extremely good actress.In the other story, a recently-released child sex offender (he exposed himself to some kids) named Ronnie (Jackie Earle Haley) tries to exist in a community that is being taught to fear him.
Little Children, the second film by actor-turned-director Todd Field, and adapted from the novel by Tom Perotta, has been treated extremely unfairly due to its limited release in America.
Yet it still receives three important nominations: Best Actress in a Leading Role for the always great Kate Winslet, Best Supporting Actor for Jackie Earle Haley (working for the first time in fourteen years), and Best Adapted Screenplay for Todd Field and Tom Perotta.
So I waited patiently for the DVD, and after seeing it, can say that I wish it had gone wide.Little Children tells the story of Sarah (Kate Winslet) and Brad (Patrick Wilson).
Juxtaposing their story is that of Ronnie (Jackie Earle Haley), a pedophile recently released from prison, who is striking fear among many parents in the community.Despite its lengthy runtime and its very dialogue driven nature, Little Children is one of the best films of 2006, and simply cannot be missed.
Wilson (who was brilliant in Hard Candy) adds another excellent performance to his small roster, and only continues to prove that he will become a hot property in time, if he did not already seal that deal as it is.Small turns from Connelly and Noah Emmerich as a harassing ex-police officer are impressive, and have just the right amount of class to make them more than one-note characters.But the clear standout in the film is Haley.
The 'little children' of the title include a married man, Brad, and a married woman, Sara (not married to each other of course, played by Patrick Wilson and Kate Winslet), an ex-cop turned 'community-action' watchman (Noah Emmerich), and a sex offender/flasher (Jackie Earle Haley).
Field has a real knack here- and continues it from his breakthrough In the Bedroom- of cutting to the core of suburban discontent in the characters, though this time it's showing through (major) flaws and all, these are fully realized human beings who can't be turned away as mere clichés.The 'little children' of the story aren't the actual offspring of Winslet with her husband (a sometimes obsessor over wacky internet porno), and Wilson with his wife (Jennifer Connely, whom Brad describes after some prodding by Sara as a "knockout", even though he says beauty is "overrated").
Soon neither one can stop thinking about the other, they become closer as they meet everyday at the local swimming pool with their kids, and when they escape from a storm into her home one day and he finds a poetry book with his photo in there, the passion erupts completely.Meanwhile as their affair becomes all that really fulfills them everyday, there's a sub-plot involving a 'flasher', Ronnie, who in one of the very best scenes of the film in a mix of comedy and chilling tension, comes to the pool (after already being warned by the community for flashing himself in front of the kids at the playground), and when he's recognized as the face on all of those fliers all around town the pool empties out like the beach in Jaws.
As simple as that.Little Children accomplishes everything we can ask for in a drama, and it does it in a brilliant way, it's a film that definitely causes an impact in the audience, it makes them think about the characters and their actions, it makes them care, it makes them happy at times, angry at others and of course, sad too.
Haley was definitely the one who stole the movie with a disturbing performance that will make you shiver, truly one of the best acting we've seen in the last years.I only had one complain for Little Children and that was the ending.
I felt like I had been captured into the book, these characters had such depth and character, you felt for all of them in such ways, either you could relate or want to speak too and have some sort of relationship with.Sarah is a housewife and a mother who has lost a little something in her life, passion, while her husband is messing around on the internet, she meets the "prom king" of the block, Brad, and has a deep passionate affair with him.
There is another character in this film named Ronnie, who had a horrible reputation after exposing himself to a minor and is snubbed by the committee, but the only love of his life is his mother who is constantly trying to get an ex cop harasser off her son's back.Little Children is an incredibly touching film, the ending was so beautiful and really brought true closure to the story.
Todd Field's bold and evocative screenplay focuses on five characters: Sarah is the embodiment of the term "Desperate Housewife", a lonely woman trapped in loveless marriage, the possessor of a Masters Degree in Literature, the obvious product of an ambition that got lost along the way to her marriage and raising an adorable daughter; Brad is a husband and father whose desire to be a lawyer has begun to fade due to two failed attempts to pass the bar and now seems content to be a Mr. Mom, raising his son and allowing his wife Kathy, a documentary filmmaker, to be the family's primary breadwinner; Ronnie is an emotionally shredded pedophile trying to eek out a viable existence in a neighborhood where he has been publicly labeled a sexual predator; Larry is an ex-cop trying to forget his accidental shooting by making Ronnie's life a living hell.
Patrick Wilson (PHANTOM OF THE OPERA)offers one of his best performances as Brad, the emasculated house husband who finds release in an affair with Sarah: Jennifer Connelly turns in the performance of her career as Brad's wife: and in the movie comeback of a lifetime, Jackie Earle Haley, in his first film in decades, is mesmerizing as Ronnie, a shell of a human being who is trying to start over again.
Added to the mix are the would-be lawyer's wife(Jennifer Connelly,gracefully back-seating this film),a pleasant documentarian who may be more emotionally attached to her son than her husband/his father; a guilt-ridden,obnoxious macho ex-cop(Noah Emmerich)who leads the neighborhood watch;the gossipy,judgmental housewives on the block who both mentor and antagonize the grad student mom;the sex offender's elderly,overprotective mom; and,of course,the kids,Brad(the would-be lawyer)'s son and SArah(the grad student)'s daughter,both bright kids who almost have a certain knowing of the situation their parents are in,but offer little support and are(as one would expect)fairly powerless in this situation.
It is microcosmic in scale but macro-cosmic in subtext and meaning.Kate Winslet and Jackie Earl Haley got rightly nominated for their performances here and Patrick Wilson got wrongly overlooked.This film is reminiscent of American BEAUTY in that it is excellently written, acted and rides a subversive streak from beginning to end.
Using Tom Perrotta's novel of the same title, the story shows that at the end of the day, the characters are behaving and having the mentality of a children, even though they are adults.Kate Winslet and Patrick Wilson plays Sarah and Brad, who are neighbors cum the couple under the limelight.
Kate Winslet is wonderful as usual playing the emotional wreck of the story, a woman who never quite allows herself to be happy, and Jennifer Connelly gives a subtle performance as the wife whose controlling nature means well yet accomplishes the exact opposite of what she desires.Field has put on film a very original telling of an almost contemporary fable.
It's certainly not a bad film but it's not a great one either and you get the sense it could have been.In a movie with a wide array of characters Kate Winslet and Patrick Wilson have the two central roles of Sarah and Brad, two suburbanites who, with reason, are not particularly happy in their respective marriages.
An engrossing exploration of adult behaviour, sexual tension, isolation, prejudice, parenting and suburban angst, Little Children is an incredibly provocative, unusual and honest motion picture.Told by an omniscient narrator, the film charts the story of two unhappily married people, Sarah Pierce and Brad Adamson who begin a secretive affair out of a mutual longing for connection.
Her emotional life is particularly stunted, as her husband Richard indulges in pornography while Sarah spends her days caring for her daughter, all the while yearning for an alternative and wondering how she came to be like this at all.Brad is married to Kathy, a documentary maker who is more than a little upset that she is the sole breadwinner and constantly urges Brad to study for the bar exam, which he has failed twice, though he spends that time observing teen skateboarders and yearning for his lost youth.Into their midst comes recently released sex offender Ronald McGorvey who initiates the community's feelings of anxiety, especially those of ex-cop Larry Hedges who begins a hate campaign against McGorvey as a way of venting his own anger and loneliness.As the film progresses, we begin to understand that the title does not refer to the children but to the adults who behave irresponsibly, recklessly and selfishly.Brad and Sarah's affair is a way of temporarily filling a void in their lives created by their unsatisfying marriages.The film also portrays the heavy burden the children place on their parents and how the parent's personal happiness is thus prevented.Little Children is admirably carried by the ever outstanding and fearless Kate Winslet, who gives a performance of such honesty, nuance, intelligence and transformation, inhabiting Sarah and registering every requisite emotion her character experiences, completely justifying her fifth Academy Award nomination.The fluid cinematography and melancholy score ensure that the film's suburbia is constantly suspended in a dream like state and the audience is fully absorbed in this world of placid town pools, playgrounds, seemingly perfect families and expensive houses, but which ultimately prove a fragile facade to the dark struggles of its inhabitants, the marital and parental imperfection, the sharp paranoia.The equally excellent screenplay, which may bother some with its ever changing tone, is by turns acerbic, haunting, well-observed, heartbreaking, dark, uncomfortable and deeply satirical.
I think the movie Little Children is effective in showing a single mother named Sarah played by Kate Winslet is unhappy with life and feels trapped and lone who justs wants to be happy. |
tt0103060 | Teenage Mutant Ninja Turtles II: The Secret of the Ooze | A young pizza delivery boy named Keno inadvertently encounters burglars on his route and tries to stop them. Seeing him as a witness, the burglars attack Keno, who proves to be an expert martial artist, but he is soon overwhelmed before the arrival of the Teenage Mutant Ninja Turtles. They vanish after rescuing Keno, tying the burglars up, and taking the pizza he was delivering, leaving behind the money to pay for it.
Leonardo, Donatello, Michelangelo and Raphael, along with their master Splinter, are living with April O'Neil while they look for a new place to live following the events of their last adventure. Splinter wants to remain in the shadows, while Raphael thinks they should live out in the open. At a junkyard where the remnants of The Foot and Shredder's second-in-command Tatsu are hiding out, they are met by their master, who has been disfigured by his previous defeat but did not die as they thought.
April interviews Professor Jordan Perry of Techno Global Research Industries (TGRI) about a possible toxic waste leak. He assures her that everything is fine, but at the same time their scientists discover dandelions which have been mutated by the contaminant. Freddy, a spy for the Foot posing as April's cameraman, discovers this and reports it to his master, who decides to have Perry interrogated. Back at April's apartment, Splinter reveals to her and the turtles that TGRI was responsible for their mutation more than fifteen years prior, and they too decide to talk to him. The Foot gets to Perry first and kidnaps him, salvaging the last vial canister of ooze in the process. The turtles attempt to get the canister back, but ultimately fail. Afterward, Keno gets into April's apartment under the guise of delivering pizza and discovers Splinter and the turtles.
At the Shredder's hideout, Perry is forced into using the remaining ooze on a wolf and a snapping turtle, which mutate into Tokka and Rahzar. With the imminent threat to April's safety by the Foot, the turtles start to actively look for a new home. After an argument with Leonardo, Raphael breaks off from the group, while Michelangelo, who soon discovers an abandoned subway station, deems it a perfect hideout. Raphael and Keno defy Splinter's orders and implant Keno into the Foot Clan to find their hideout. However, they are caught and Raphael is captured, while Keno escapes to warn the others. When they come, they are ambushed by Shredder and the Foot; Splinter saves the group, but leaves as they face Tokka and Rahzar, who prove too strong to defeat. Donatello finds Perry and the five of them make a tactical retreat. Once back in their hideout, Perry explains that the creation of the ooze was an accident, disheartening Donatello, who saw a higher purpose for their existence.
Shredder unleashes Tokka and Rahzar into a nearby neighborhood to cause damages. The next day, Freddy sends a message to April that Tokka and Rahzar will be released into Central Park if the Turtles don't meet the Foot Clan at the construction site. Perry develops an antidote to the mutations and when they confront the two, Leonardo and Michelangelo trick Tokka and Rahzar into eating it. They discover the trick and brutally attack, throwing Raphael into a public dance club. A big fight ensues among hundreds of witnesses and eventually the turtles turn Tokka and Rahzar into their natural state, while Vanilla Ice improvises the "Ninja Rap". Shredder attacks, threatening a citizen with a final vial of ooze, but Keno intervenes and the turtles overload an amplifier, causing Shredder to be blasted out onto the docks behind the club. They follow and discover that Shredder had drunk the last vial, becoming a "Super Shredder" who begins to destroy the support structure holding the dock up. Not caring about his own life, Shredder attempts to kill the turtles by collapsing the dock on top of them, but the group escapes the collapse and surface in time to witness Shredder's last breath.
In a press release, April reads a note from Perry, thanking the turtles for saving him, and when they return home, they deny being seen by the humans, but Splinter holds up the evening's newspaper on which they are plastered across the cover. He then orders the four of them to do flips as punishment, chanting the theme song they were dancing to at the club "Go Ninja, Go Ninja, Go!" exclaiming he made another funny as the scene freezes. | good versus evil, cult, humor, psychedelic, violence | train | wikipedia | null |
tt1320304 | 30 Days of Night: Dark Days | A year after the Alaskan town of Barrow's population was decimated by vampires during its annual month-long polar night, Stella Oleson (Kiele Sanchez) travels the world trying to convince others that vampires exist. She is fully aware of the risk to her life that her work could bring, but does not care due to her grief over the death of her husband, Eben.
Following instructions from a mysterious individual named Dane, she travels to Los Angeles to give a lecture on the existence of vampires. Aware that vampires are in attendance when she speaks, she activates overhead ultraviolet lamps that incinerate several of the vampires in the audience, in front of the humans. She is quickly arrested and harassed by Agent Norris, who she learns is one of the human followers of the vampires, charged with keeping their activities covered up. After her release from custody, she returns to her hotel to find Paul (Rhys Coiro), Amber (Diora Baird) and Todd (Harold Perrineau), sent by Dane to recruit her to hunt the vampire queen, Lilith. As Lilith is responsible for the vampires' every move and for keeping them hidden, the hunters are convinced that once she is eliminated, the vampires will fall into dormancy. When Stella learns that Lilith was responsible for the slaughter at Barrow, she agrees to meet Dane (Ben Cotton), and is shocked to discover that he too is a vampire. Due to a superficially inflicted wound, he has maintained a grasp of humanity, only drinking blood from packaged hospital stocks he keeps. Stella hesitates to join a plan to attack a vampire nest, but Paul eventually convinces her, revealing that vampires were responsible for his daughter's death and the resulting divorce from his wife.
The following day, the four hunters enter a vampire nest, only to be ambushed by a group of them. During their attempt to flee, Todd is bitten. After the four lock themselves in a cellar, Todd turns into a vampire. When Paul hesitates to act against his friend, Stella kills him by smashing in his head with a cinder block. The trio decide to wait for nightfall, when the vampires leave to feed, in order to make their escape. After night falls, Dane comes and frees them. On their way out, they capture a vampire and interrogate him with the ultraviolet lamps, eventually following him back to another nest. They invade the nest and rescue Jennifer, a captive being used as a feeding station. Jennifer's knowledge of Lilith's lair being aboard a ship in the bay allows the hunters to plan an attack on Lilith directly. Returning to Dane's place, Stella and Paul become intimate.
Meanwhile, Lilith (Mia Kirshner) decides that Agent Norris should prove his worth to become a vampire (in order to cure the cancer he has been suffering from). He bites the neck of a captive girl, Stacey (Katharine Isabelle), drinking her blood until dead. Satisfied, Lilith turns him to hunt Stella and the others.
Norris kills Dane and the others flee with Jennifer to a boat yard where Jennifer points out the boat that the vampires are set to sail to Alaska in for another 30-day feeding period. After telling Jennifer to leave, the three hunters stow away on the ship where they discover that they can be resurrected after death if they are fed human blood. At gunpoint, they confront the human captain who says he is cooperating because the vampires had threatened his family. Amber is suddenly pulled away from behind, causing her gun to fire and kill the captain. Stella and Paul are too late to save her from being eaten and are quickly captured by Norris and Lilith who orders that they be bled dry. Stella manages to free herself when they are alone with Norris and kills him, but they are subsequently attacked by Lilith when attempting to sabotage the ship and Paul is killed. After being outmatched in hand-to-hand combat, Stella hides from Lilith and when the queen comes looking for her, Stella emerges from her tub of blood and manages to decapitate her. The other vampires appear, but seeing that she killed Lilith, they quietly stand aside and let her pass without a fight, and she returns to Barrow.
Stella digs up Eben's grave and recovers his body to feed him her own blood. It appears not to work and she lies down slowly dying from blood loss. After a time, she sees Eben has returned to his former health and she stands to greet him with a hug. As they embrace, Eben pulls back her shoulder and his sharp teeth come down on her neck before the screen goes dark. | revenge, violence | train | wikipedia | If you want to see a good vampire flick, catch the original or "Near Dark" or "Blood and Donuts." Heck, watch anything which shows either talent or enthusiasm, but do not watch this.
After the destruction and rebuilding of Barrow, Alaska, Stella Oleson (Kiele Sanchez) misses her beloved husband Eben and spends her time giving lectures uncovering the truth about the incident in Barrow and the existence of vampires to the world, following the lead of the unknown Dane.
When Stella returns to the motel where she is lodged, she meets Paul (Rhys Coiro), Todd (Harold Perrineau) and Amber (Diora Baird) that are vampire hunters and leans that Agent Norris is a wannabe vampire and the vampire leader Lilith (Mia Kirshner) is in the city and ready to return to Alaska.
Stella joins the quartet that is armed and ready to battle against the evil vampires."30 Days of Night: Dark Days" is an implausible sequel of 2007 "30 Days of Night".
I can see the next movie in the trilogy, 100,000 screaming and furious people chasing down the director and producer of this turd to get their money back.More seriously, as a fan of the first film, I was as disappointed as I've ever been by any movie after watching this.
As far as I'm concerned the original 30 Days of Night is the only vampire HORROR film ever made.This Dark Days is a Frankenstein creation of hacked up and reassembled modern day vampire movies (that weren't very good in the first place) This could as easily be Blade 5 or Underworld 4 or Vampires 3 , I was half waiting for everyone to start kung-fu fighting.This was as much a horror as a pie in the face is comedy.
that is as you move farther from the original, the budget shrinks.and the consequences are: less sets, less location shoots, less action, no helicopter or overhead shots, cheaper actors, cheaper scripts and cheaper directors.now some directors can take less money and turn out comparable or even better efforts than the original--but these are few and far between.and this movie definitely suffers from sequelitis.the whole thing feels stretched..
The vampires were almost like different creatures compared to those in the first movie and the story itself was so boring that I couldn't take it anymore and stopped watching three quarters of the way through.
It was a slow, but occasionally fun watch.Dark Days, the straight to DVD sequel of 30DON, delivers a lot of the same, only with a smaller budget.
The basic plot is as follows: Stella Oleson, one of the few survivors of the first movie (albeit played by a different actress), is out for revenge on all vampires for the death of her beloved husband Eben.
The lead females' (except for Lilith who has maybe a total of 5-7 minutes screen time) have a pretty believable performance, the lead males are...eh...well they're there at least.The special effects for a straight to DVD are actually really well done in this film, it's somewhere in between expensive made for TV movies and terrible Hollywood films that should never have made it to the big screen.
Vampires are a mythology, and the movie 30 days of night is a good job.
I was actually kind of disgusted with the acts of the 2007 version, which is fairly hard to say when I watch films.This film sheds to much light on the vampires' whereabouts and does not leave the uncertainty that brings so much fear to the viewer.
Now to Dark Days I think the first 5-10 minutes of the movie was really good but after that it went down hill, The Vampires did not look that scary in this movie at all and the scare scenes you can see them coming!.The acting in this movie was NOT great, however not awful but watchable (Not as bad as The Final Destination or the Remake of A Nigthmare on elm street acting) but not far from it.I did like a few scenes in this movie, They had some really good ideas for this but soon you will forget them when you see, the scenes near the end, (the last 15-10 minutes or so) those scenes were just laughable because it was so badly done.now to the ending, it was just very, very, very, very Predicable!
As I have been a fan of the very intense and atmospheric survival horror movie "30 days of night" that played in the frosty Alaska, I gave this second part a try even though there were many negative critics and even though I thought that the ending of the first part was just perfect and would not have needed a second part.I have then been surprisingly well surprised by this follow up.
That's why a little group of vampire hunters that have all lived horrible experiences in the past just like the main actress of the first movie that has lost its husband unite and try to avenge the deaths of their beloved family members or friends and to prevent other vampire raids.This movie is much more filled with action and pace than the first one and orientates less on the atmosphere.
Actors Rhys Coiro (of '24' fame), Diora Baird and Harold Perrineau (Michael from 'LOST') co-star.The movie opens with Stella traveling around the world attempting to educate the world of the existence of vampires.
The acting is decent as well and I like the casting of Sanchez who's just as good at playing the role as George and much better looking.
especially sequels done direct to video and featuring a "Bewitched" style casting change (Stella, the wife of the protagonist in 30 Days of Night, replacing Melissa George).Looks like screenwriter Steve Niles, the only common link between the two, convinced someone (a backer?
A high school film class?) to produce this sequel.The odd thing is, it's not terrible, which really sort of a compliment.Also, the real horror is that the same screenwriter who was clever enough and creative enough to come up with the idea of a nest of vampires turning an Alaskan town into a month-long buffet (the original movie) could do no better here than send the survivor wife on some sort of mission to wipe out all the vampires on the planet.And, if you have ever seen a vampire movie, you KNOW that's not going to end well.Speaking of endings, the last five minutes are astonishingly memorable for an otherwise unforgettable film.
I haven't seen the original mainly because movies filmed with no color turn me off, so I can't compare it to the the fist one.
As a stand alone movie Dark Days works very well.Stella, who I understand is a survivor from part I, is giving lectures at universities about vampires.
High intensity UV lights are turned on, and sure enough, some vampires among the audience go up in flames.Stella then is approached the by a group of vampire hunters who want to kill Lilith, the queen vampire, to put an end to it all.
Also nice is that a good part of this movie is filmed during the day and the colors are vivid.
The vampires don't ooze around throwing off semi-sexual lines and dress all seductively here, they simply hunt and kill, straight to the point.I didn't like the ending much, because it was so predictable.
I will not spoil it by saying what it is, but there are some nice touches to the story along the way.And it is good to see there are still being made vampire movies for a more mature audience.
You know what I am talking about."30 Days of Night: Dark Days" is a good choice for an evening's entertainment, especially if you like vampire movies, and have gotten past that annoying teenage-love-vampire-drama-media-circus that has been going on lately.
First of all, that is stupid, second of all...you know where I'm going with this regarding the ending.30 days of night wasn't a great film, but it had a creepy atmosphere that helped set it apart from other vampire films.
I was expecting Melissa George to continue the sequel as Stella but unfortunately they had picked Kiele Sanchez for the lead role.
What I can say about this piece of a horrible sequel to A very very good action horror thriller movie that was 30 Days of Night I mean this sequel have no style no substance and the vampires look like zombie vampires they were not fast or jump very high it's a movie that tried very hard to be just like Resident Evil films I mean the main star of the movie is may be the sister of Milla Jovovich and you know the Resident Evil series is an example of a bad cinema, and the main characters are very disposable pieces of garbage and the action scenes oh my god!
One of the worst action scenes put to film just don't watch this movie don't waste your time don't waste your money it's not worth it.
Don´t listen to other reviewers, it is a good vampire movie and a fair sequel..
Pretty good, although flawed sequel to "30 Days of Night"..
Since Lilith is an Vampire Queen, she is planning to go to Alaska, where it turns dark for 30 days at a time.
30 DAYS OF NIGHT (2007), a stylish vampire film based off the graphic novel by the same name, put some bite back into a genre that was – and really still is – becoming long-in-the-tooth.
A clever pitch, honest-to-goodness scary creatures, claustrophobic setting and a script by Steve Niles, the original comicbook writer, aligned into an enjoyable and memorable horror film.30 DAYS OF NIGHT: DARK DAYS tries to build on that accomplishment but falls prey to general sequel-itis as well as the subterranean domain of direct-to-video.The film starts off, as does the comic, with a tired and angry Stella Olemaun, now played by LOST's and A PERFECT GETAWAY's Kiele Sanchez, trying to get people to believe in the vampire threat.
After teaming with another group of survivors, oh heck, let's just call them vampire hunters, the movie quickly turns from the original comic script and becomes just another horror cliché.Be Astonished...
The humans serving the vampires in hopes of joining them are this time referred to as "bug eaters" rather than "familiars", and the entire charade seems like someone has been watching a little too much blade.
I can't go into details of the dumb things the group does without being tempted to give out spoilers, let's just say they have good weapons they for some reason don't use, take no time to plan, and rely on suicidal instincts after having allegedly done this "vampire slaying" thing for over 2 years.
I haven't rooted for the deaths of dumb characters like this since the kids in Jurassic Park.Where the first film surprised at every turn, the sequel seems to setup clever reversals but never follows through--the writers seem to take their dumb first idea every time, totally predictable and implausible.Apart from the most unromantic, awkward, borderline-inappropriate love scene I can recall, there were no highlights worth mentioning.
there isn't much i can say about this movie.i watched it because i liked the original.
overall i'll give it 3/10 because acting and camera work was fine,everything else was wrong,so skip this movie and watch the original again.you'll save your time..
In L.A., Paul (Rhys Coiro), Amber (Diora Baird) and Todd (Harold Perrineau) are vampire hunters who introduces her to their vampire ally Dane and their mission to kill the vampire queen Lilith (Mia Kirshner).After such a great start with the original, this is a rather disappointing sequel.
After the incident from the first movie the female protagonist Stella played by a different actress is trying to prove that vampire exists to the world.
In this particular case, Kiele Sanchez has taken over the character of "Stella Oleson" from the original movie, "30 Days of Night".
Then there was the strange ending involving the death of "Lilith" (played by Mia Kirshner) in which Stella was allowed to walk right through the group of vampires--totally unmolested.
I mean, isn't it some sort of confidence scam to name a movie after another movie to which it has no real connection?The first 30 Days of Night (which I wholeheartedly recommend) was about an Alaskan town that gets attacked by nasty beast-like vampires.
This one is about the survivor of the first film getting in a "Blade" like group and going aimlessly to kill vampires.
While I liked the first iteration for bringing up the interesting idea that Vampires might exploit a lonesome town in Alaska where the sun won't shine for 30 days, this sequel really tries its best to underachieve at every conceivable level.
Kiele Sanchez assumes Melissa George's role in this sequel where we find Stella Oleson moving on from Alaska to Los Angeles as the vampires return to rip apart more humans at night in the dark.
Somewhat effective direct-to-DVD sequel has its moments, although the climax(a decision Stella makes in regards to dead husband Eben)is preposterous, not to mention the vampires are a bit different than those in the previous film.
As an avid fan of the first film, 30 Days of Night, I was VERY skeptical into seeing the second, being as it was a low budget straight to DVD sequel.
The setting of the movie is LA, not Alaska (so, there is no "30 days of night in the film").
For those people who loved "30 Days of Night", avoid this movie..
This movie offends me as a movie fan AND as a vampire movie fan!30 Days of Night (the original) was a very fun watch.
the graphic novel have a very good atmosphere and story, make sense and it's surprising you when you do not expect it.But this version is having nothing in common with the original other that Stella's crusade to expose the vampires and Eben biting Stella at the end.
Stella, who survived the first movie but is now being played by a less talented actress, has teamed up with a team of vampire hunters after her attempts to sell a book go nowhere.
Our favorite people at Stage 6 films have brought us another DTV sequel this time to 30 DAYS OF NIGHT and it wasn't half bad though but it has a lousy ending, to tell you the truth the film has a great concept, the execution is actually good but not great, the acting is above par and the direction is also above average, the major turn off to this film is the twist right at the end, it was actually stupid when I really thought about it because even though it made sense and you understood the lead character's motivations the direction in which the story goes at that point is just random.Overall, the film has reasonable production value and a good script but as for the ending I think I would've just preferred something different and this film is not really better than the first but not a weak entry either..
I thought the sequel of 30 days of Nights will be better than the previous one with that tagline of making Twilight look like a nursery school.
Not only does Dark Days not start out as strongly, it gets dumber, faster than the original and largely tosses those two good things down the garbage disposal.A year after the attack on Barrow, Alaska, we find that the vampire massacre of the townspeople has been covered up and survivor Stella Oleson is on a book tour trying to tell incredulous crowds the truth about what happened.
So of course, that promising beginning is completely discarded before Dark Days is 10 minutes old and it turns into every other vampire hunter flick you've ever seen that doesn't star a teenage cheerleader.
Some music that was rejected from the Terminator: Salvation soundtrack and closing scenes that look like outtakes from Aliens top off this crap sundae.From a gratuitous sex scene where Kiele Sanchez keeps her bra on, thereby negating the whole gratuitous thing, to a good guy vampire to the same final scene twist that got old in horror movies 20 years ago, Dark Days is terrible.
There are even points where it seems like co-writer/director Ben Ketai is going out of his way to take a leak on what was established in the first film.If you liked 30 Days of Night, do not watch this movie.
If you hated 30 Days of Night, still do not watch this movie.
If you've never heard of 30 Days of Night, go read the comic instead of watching this movie..
She gets personal reason after she get the idea that the vampires might be planning to attack Barrow again.Most of the fun of the movie is the easiness of Stella's character.
OK so I finally got around to watching "30 Days of Night: Dark Days" and at the start I felt I was gonna have a hard time watching this movie and being totally hooked in.
Had this movie ended any different I would say "yeah it did, but I can say it is worth seeing for Vampire fans who like their demons vicious and unforgiving.
If you saw the first "30 Days of Night" movie , well, this is nothing like it.
If you want to watch a nice vampire movie take a look at something else.
Good movie, but not a sequel.
As a stand-alone vampire movie, I rate this as 'Fair.' As a sequel to a really well-made, well acted, and scary as s#!t horror film, it fails on every level.
The terror came from not knowing "Why" and not understanding the guttural language of the vampires.With all due respect to the Director, Cast and Crew of "Dark Days," this is a sequel that should not have been made, and lovers of the Original should avoid this at all costs. |
tt0472160 | Penelope | Many generations ago, the Wilherns were a prestigious, wealthy, and respected family. However, things went downhill after young Ralph Wilhern had a romance with (and impregnated) a servant girl named Clara. Though he wished to marry Clara, Ralph was talked out of the idea by his family and married a young woman of his own social class. A devestated Clara commits suicide.Unfortunately for the Wilherns, Clara's mother happens to be a witch. To avenge her daughter, the old woman curses the wealthy Wilherns, promising that the next girl born into the family will have the face of a pig, until she is accepted and loved by "one of her own kind." For generations, only sons were born to Wilherns, and the curse was nearly forgotten. But finally, Jessica and Franklin Wilhern produced a baby girl, Penelope, born with the nose and ears of a pig.Penelope's parents attempt to have the nose surgically removed, but the placement of a certain artery makes it impossible. They resort to hiding ther daughter in their lavish mansion, with Jessica banning anything pig-related (such as bacon) from the household. Due to the media circus revolving about the rumors of the "pig-faced girl," Franklin and Jessica fake Penelope's death and dedicate their time to finding her a welathy husband, which they believe will break the curse.Though Penelope is isolated, she is well-educated and develops a love for horticulture. When she is 18, Jessica hires a matchmaker, Wanda, to assist with the husband-hunt. A room is set up with a one-way mirror, allowing Penelope to talk with potential matches while hidden in her room. When she reveals her face to them, however, they run from the house screaming. They are caught (by the Wilhern's butler, Jake), and legally forced to keep Penelope's condition secret. Seven years later, after one such meeting, the young man in question (the snobbish Edward Vanderman III) outruns Jake and attempts to report "monsterous" Penelope to the police. Edward is laughed at and imprisoned for the night. The next morning, his story is printed in the newspaper, citing his outburst as a "mental breakdown."Desperate to clear his name, Edward complains to the author of the article. About to be dismissed a second time, Edward has a chance meeting with Mr. Lemon, a reporter determined to get a photograph of Penelope. Lemon had nearly gotten the picture in Penelope's infancy, but was attacked by Jessica, resulting in the loss of his eye. He and Edward team up to reveal her existance to the community.Lemon decides to find a "down-and-out blueblood" who would be willing to meet with Penelope while rigged with a hidden camera. He finds a name of a nearly broke man from a wealthy family: Max Campion. Lemon visits a gambling hall that Campion frequents, and is directed to his poker table. Lemon bribes the young man he believes to be Campion with $5,000 to participate in the scheme. The following day, "Max" meets up with Edward and Lemon and is affixed with a jacket containing a camera. Max enters the Wilhern house and files into the observation room with other young, wealthy candidates. As Max's camera malfunctions, he drops behind a sofa to fix it. At that moment, Penelope enters the room and the other young men flee. A disheartened Penelope retreats to the kitchen, where she argues with her controlling mother about the futility of finding a husband. Jessica and Wanda spy Max through the security camera, sitting alone in the observation room (having been the only one to not see Penelope). They quickly send Penelope to speak with him through the one-way mirror.Max and Penelope bond in their conversation, despite Max's obvious crooked ways. Max promises to return the next day. He assures Lemon he will be back to secure the photograph, which he had failed to obtain. The following day, Penelope suspects that Max plays a musical intstrument, and he playfully asks her to guess which one while he demonstrates his (lacking) skills at guitar, drums, bass, and saxaphone. Penelope concludes that Max pays piano, and finally reveals her face to him while helping him play a chord. Max is taken aback, but does not run. He snaps a picture, and is immediately ashamed as Penelope runs from the room. Max returns to Edward and Lemon, destorying the camera and photograph, as Jessica spys them and recognizes Lemon from years before. After an altercation back in the house, a tearful Penelope begs Max to marry her and break the curse. Max sadly refuses, and is banished from the house.That night, Penelope steals her mother's credit card, covers her pig snout with a scarf, and escapes into the city for the first time. She calls her parents from a payphone, assuring them that she is safe, and books a room at a hotel. Franklin and Jessica face dilemmas about finding their daughter; they cannot describe her to authorities without mentioning the pig features, which will expose her.After having a beer at a bar, Penelope befriends a delivery girl named Annie who helps her explore the city. After nearly being discovered by her parents, Penelope decides to sell her own photograph to Lemon to avoid using Jessica's credit card. Though Penelope still hides her identity, her picture starts a media frenzy. Her parents spot her once again, and after a chase through the city, an exhausted Penelope faints. Annie removes the scarf to reveal the famous pig snout.To Penelope's surprise, she is welcomed and treated kindly by the community, and has no further need to conceal her face. Edward, however, still sees Penelope as a hideous monster, and angers his prestigious father by expressing his disgust to the press. To redeem his image, Edward proposes to Penelope, who is hesitant because of lingering feelings for Max. At a theater one night, a still smitten Max confronts Edward about hurting Penelope, but remains hindered by his own guilt for leaving her.At the newspaper office, Lemon overhears that Max Campion was recently arrested for robbery. Shocked, Lemon visits the police station where he discovers the real Max: a middle-aged, portly man who also played poker at the gambling hall. Lemon asks about the young man who claimed to be Max, and Campion identifies him as Johnny Martin. Lemon realizes his mistake: he had approached the wrong man at the poker table, but the phony Max had played along for the money.After visiting Johnny at his blue-coller job, he discovers why Johnny could not break Penelope's curse: he is merlely a plumber's son, not a blue-blooded aristocrat. Penelope must marry "one of her own kind."The day of Penelope and Edward's wedding arrives. Edward is still disgusted by his fiancee, but is assured by his mother that the curse will be broken once the wedding is over. Penelope does not love Edward, and stoically allows herself to be preened for the ceremony. At the alter, Penelope backs out of the marriage and retreats to her room, with Jessica in hot pursuit. Jessica pleads with Penelope to reconsider and rid herself of the curse, but Penelope replies "I like myself the way I am." At that moment, a flash of light and a swirl of memories occurs, and a stunned Penelope finds her pig nose has been replaced by a human one. By being accepted by one of her own kind (herself), she had broken the curse.Without the iconic snout, Penelope falls out of the media circle and is free to live a low-profile life. She leaves home and becomes an elementary school horticulture teacher. Jake, the Wilhern butler, also leaves the household, revealing himself to be the witch who had cursed the family generations ago (he also "mutes" Jessica, sparing the family from her constant demands). On Halloween, Penelope is surprised to find that she, in her pig-faced form, is the most popular costume among her students. Remembering who had accepted her from the beginning, she decides to reconcile with Johnny. Dressed as herself (by wearing a fake pig snout), Penelope goes with Annie to a Halloween party at the theater where Johnny works and rents an apartment. Penelope nervously knocks on his door, under the guise of "having to pee." She notices he is packing a suitcase, and he tells her he is leaving town. Still not recognizing her, he sadly tells her that her mask reminds him of someone he used to know. Penelope sees a piano in the corner and reveals her indentity, remembering that she had guessed his instrument correctly before. Johnny kisses her and apologizes for being unable to break the curse. With a smile, Penelope removes her mask, showing that she had the power all along.Penelope tells her story to her horticulture class (accompanied by Johnny, now in a relationship with her), and asks their opinion of the curse. One young student replies insightfully "It's not the power of the curse, it's the power you give the curse." After sending the class off to collect plant samples in the park, Johnny pushes Penelope on a nearby swing. Lemon sits in a rowboat in the nearby lake, ready to sneak a picture of the new Penelope. Seeing her happiness, he thinks better of it and rows away. | romantic, fantasy, magical realism | train | imdb | The cast was perfect and all did a great job, the looked like they had such a good time bringing this story to life.Penelope seems like the girl that should be living the high life, a wealthy family, part of royalty, but her life isn't perfect.
Penelope runs away though to find her freedom and instead finds herself and how wonderful she truly is.Penelope is a very cute film, I was very impressed with the story, there were some things I was a little disappointed in, like how they just abandoned some characters for no reason.
Catherine O'Hara played an excellent zany Mom which was more believable and real, in a weird way, then her role in Beetle Juice, (a film I adore.) Reese Witherspoon, was strong as usual, even in this odd, small supporting role (given her filmography).
Reese Witherspoon as a leather wearing, gum chewing, scooter riding messenger girl seemed a bit miscast, but she was actually good and had one of the funnier lines of the film.While there's nothing laugh out loud funny, this sweet story makes you smile again and again.
Oh and Reese Witherspoon is wasted, she's in the film I think for a grand total of ten minutes.Penelope also has problems with the middle section, the opening is absolutely brilliant and the ending works in some odd way, but the middle, and second third, is just bland and feels like it is treading water.
Nevertheless this is a good film for kids and in a time when kids will watch rubbish like Underdog, it would be a lot better for the kids to be taken to see a well made if slightly underachieving film that has a great moral.Penelope is hardly the disaster I assumed it would be due to its release being pushed back, but neither it a masterpiece.
The film may seem childish and too fairy tale-like but Ricci speaks with such a soft pleasing manner that she reminds us of the best kindergarten teachers reading to us so we relax and settle in and comfortably enjoy the film.Then we meet Penelope's mother (Catherine O'Hara) she is everything that Penelope is not: high-strung, over-bearing, intolerant.
Such that I would be glowing about his role and performance no matter what, so I will be conspicuously quiet on McAvoy to not over-colour this review.Listed as a modern-day fairy tale for the entire family, I actually found the movie much more slanted towards young adults (a few jokes would go over kids' heads).
Now all grown up she is playing the titular role of her 2006 movie Penelope.Filmed in London, and with a high level of English actors too, and cast as an American fairy tale, this is the unlucky story of a witches curse on the first-born daughter of the Blue Blood (aristocrat) family, the Wilhern's.
Simple I know, but in this case, it works, with all the surrounding American accents sometimes rubbing the wrong way, we can easily dismiss the poor adaptations.This ugly duckling fable will warm to your hearts and tingle you with delight, with a charming narrative and distinctive feel good factor, and if Disney had gotten their hands on the project, it just might have come across as over sappy, over benevolent and over too soon.
Meanwhile the tabloid reporter Lemon (Peter Dinklage) and the aristocrat Edward Humphrey Vanderman III (Simon Woods) that have issues against the Wilhern family hire the gambler Max (James McAvoy) to meet Penelope and take a picture of her.
And yet I love "Penelope" for its fine performances, deep truths, and genuine fairy tale quality."Penelope," through a curse placed on her snobbish, upper class ancestors by a spurned housemaid, is born with the nose and ears of a pig.
For a movie billing itself as a modern day fairy tale and romantic comedy, there is a surprising lack of magic in the story, and even less romance thanks to two leads that never generate any sparks together.
Penelope is a case of a cute idea that should work, but it's brought down by its underdeveloped screenplay.The title character (Christina Ricci) is a young woman who was born to wealthy parents (Catherine O'Hara and Richard E.
(A visual gag that is cute the first time the movie uses it, but tiresome the 30th.) Penelope eventually decides to run away from home and experience the outside world, wrapping a scarf around the bottom part of her face to hide her abnormality.
There might be someone out there who can break the curse, and that someone just might be Max (James McAvoy), a penniless piano player and gambler who initially is working for a sleazy tabloid photographer (Peter Dinklage) to snap a picture of the fabled and often rumored "pig girl", but starts to fall for her the more time he spends around her.Despite the support of Hollywood star, Reese Witherspoon (who not only produced the film, but also has a small role as a woman who befriends Penelope after she heads out on her own), Penelope has been sitting on the studio shelf for a little over two years.
It takes almost an hour for the story to finally reach the outside world, which means we have to sit through a good 50 minutes or so (and this is a 90 minute movie) of Penelope isolated in her own home, and the gag of people throwing themselves out the window or running away over and over for far longer than necessary.
Here is a movie that could have been spirited and uplifting, but its so concerned with the mundane aspects, it never takes advantage of its own potential.The love story that is supposed to be at the center of Penelope is also curiously lacking, due to the fact that the romantic leads spend so little time together, and the few scenes they do spend together are completely dull and lifeless.
This is a charming family movie with many strengths: good pacing, well- timed humour, strong acting performances, lovely whimsical sets.
at the mere sight of Penelope's face - scenes that, quite frankly, feel as if they were lifted straight out of an episode of "The Munsters." Still, an appealing cast, made up of the likes of Christina Ricci, James McAvoy, Reese Witherspoon, Peter Dinklage, Richard E.
This weekend we chose Penelope, a romantic fairy tale starring Christina Ricci.Ms. Ricci plays the titular character, a rich young woman with the nose and ears of a pigthe unfortunate result of an ancient family curse that can only be broken if the poor girl is loved by one of her own kind: a blue-blood.
However, finding a suitor of the right pedigree proves to be rather difficult, since no man can even bear to be in the same room as the porcine Penelope.Despite the film's rather clichéd moralitythat it is important to love yourself, no matter how strange you lookPenelope is a rather enjoyable tale: well written, well directed and quite charming.
It's actually a good film.Christina Ricci comes back to leading roles with flair, playing titular character Penelope with both sweetness and spunk.
Then there's Reese Witherspoon, fabulous as always...The entire family will delight in Penelope (the girl and the film), with it's inviting visual style and witty script full of great characters.
Penelope was charming, at times touching, at times funny, and an easy recommendation to anyone with 89 minutes and nothing to watch.The premise is, of course, absurd, but so is that of The Princess and the Pea. An absurd premise is not and never has been a problem for fairy tales, and it isn't for this movie.A lot of the dialogue made me cringe, but each character was well-acted and had great chemistry with those they interacted with.
There was a great chemistry between Christina Ricci and James McAvoy, which was crucial for the movie to work out.Definitely worth a watch if you like romantic comedies.
The good points that I saw: great camera work - the picture is a delight to watch; excellent timing - trust me, you won't be bored even for a second, the plot is unfolding exactly as it should, no long scenes, no jumping over important moments, the movie feels like 15 minutes; surprisingly good cast and acting - if you don't like the story, you're bound to melt at the sight of James' blue eyes and Reese's face act.
Overall, the movie lets you enjoy the story and think about it in the end.There is much food for thought about the danger of gambling one's life away, the hope of turning around and choosing a better path, about faith in true love and damage an unloving parent could cause, about the power of having control over who you are and the will to become a better person (or a better journalist in particular).
A modern romantic tale about a young aristocratic heiress (Christina Ricci) born under a curse that can only be broken when she finds true love with "one who will love her faithfully."My first thought was that the pig nose does not even look that bad, so I like the explanation of why surgery is impossible...
I am sure everyone's first thought was that this could be a simple fix.Peter Dinklage is great here as a one-eyed reporter, and even Reese Witherspoon is at her least annoying (not to mention she is the one who allegedly got Ricci on board, making the whole film worthwhile).Rotten Tomatoes says, "though Penelope has a charming cast and an appealing message, it ultimately suffers from faulty narrative and sloppy direction." I guess I thought nothing one way or the other on the direction, but the narrative was fine.
It's light entertainment for young couples, and maybe couples that have been around for a while and want to remember their warmer moments.We have the mercenaries out for a story, the dashing rogue they employ to subvert security measures, we have the protective parents, and, of course, Penelope, who's been stricken with a family curse.Do I have any real critiques of this film?
Meanwhile, Penelope yearns to catch a glimpse of the world outside.The story sounds pretty much like a standard fairy-tale but Caveny does a good job of combining modern elements and adding plenty of humour.
Penelope is an interesting story about a girl who is born with an abnormal nose due to a curse which can be broken by someone of her own kind.To be honest i expected it to be a bit boring and some dull fantasy but surprisingly it turned out to be much better than that.Its a romantic movie with a different approach.The film is all about believing and building up strength and patience to get out of bad situations even if they form a part of your daily life.Its a story depicting the fact that everyone is special and born with an unique capability residing within.Not a bad film to give your 90minutes to,in fact one might find it refreshing in a way.Definitely a good fantasy with a romantic side!!!.
The film Penelope has good intentions at offering us a picturesque fable which is full of colorful characters who learn valuable life lessons.But the main problem from this film is that the "Burton-esque" aesthetic from this film and its screenplay cannot capture all the magic the story requires,so the final experience is sympathetic and entertaining,but not completely satisfactory.The best element from Penelope is definitely the cast.Christina Ricci shows a lot of professionalism with her role,so she results credible.James McAvoy brings an expressive and detailed performance which makes us to get interested in his character.The great Peter Dinklage is perfect as the villain.And,finally,we also have solid performances from Reese Witherspoon and Russell Brand.Director Mark Palansky made a solid work on all the technical aspects from this movie.But,this film has various fails.The screenplay feels a little bit artificial and it has some moments which do not add anything relevant to the story.Besides,I think this film is a bit longer than what it needs to be,so near the ending,it feels a little bit tiring.In spite of those fails,I liked Penélope.It is not too memorable,but it is a good option for spending time..
The story (written by Leslie Caveny) is narrated by Penelope (Christina Ricci) who takes us back to the days of a curse placed on the wealthy Wilhern family who refused to allow a son to marry the impregnated common girl he loves and opts instead for a fellow blueblood.
So much on screen talent wasted..very talented actresses like Christina Ricci and Reese Witherspoon are given nothing but clichés to work with, and one of the great comediennes of our time, Catharine O'Hara is reduced to making funny faces.Not sure who this is supposed to be for..not witty enough to be for adults, nor visually engaging enough to be of interest to kids.Shame.
I read good reviews on IMDb and got interested to see this movie.The story is about a rich family who is cursed that whenever a girl will be born in their family she will look like a pig until she finds a suitable man in her life.
But the first time director Mark Palansky is not able to rise to cater to every movie goers needs and movie remains much to be enjoyed by children below 12-13 years of age.Mark tries to make the point through the movie that looks or being ugly does not matter and it is the person inside that counts, then why take a good looking girl Christina Ricci and do a ghastly make-up job of pig's nose?
Penelope (2006) *** 1/2 (out of 4)Cute fairy tale has a young girl (Christina Ricci) born with the nose of a pig after a witch puts a curse on her family.
This film is about a cursed young woman, who needs to marry a man who loves her in order to break the curse.Penelope, despite her (rather unconvincing) bad looks, is actually lovable and charming.
Penelope is a modern fairy tale co-produced by Reese Witherspoon who also has a small role in the movie.Once upon a time, a doomed love affair with a wealthy heir and a servant girl leads to a curse where the next born daughter would have the nose of a pig.
However she is now at an age to get married but all suitable suitors run away once they see her nose.James McAvoy is Max who has been put up by a journalist to unveil Penelope and her pig nose to the world.The film is brisk, quirky and charming enough.
Poor Penelope (Ricci) was born with a pig-like nose and the problem is greatly exacerbated by a mother (Catherine O'Hara) who seems more concerned about herself and her image than her daughter.
It is THAT GOOD.This movie reminded me why I love Christina Ricci and Reese Witherspoon.
Christina Ricci was very endearing, James McAvoy is a pleasure to watch as always, Reese Witherspoon's role was small yet enjoyable and Catherine O'Hara is often times hilarious.
The role is incredibly relateable, and delivers a great message- to always love yourself; no matter what.Christina Ricci did an amazing job with this character, along with James McAvoy.
And to think that it's a simple story is missing the point, as it comes filled with enough carefully plotted twists and turns of a Brit comedy, complete with dry wit, that makes Penelope irresistibly charming.I've grown up watching Christina Ricci on the big screen since her Wednesday days with the Addams Family movies, and from then on, her roles have been nothing but eclectic, from duds like The Gathering, to the more recent temptress type roles like her stint in Black Snake Moan.
When she finally appears to him, however, he reacts just like everyone else.Penelope then takes off (much to the consternation of mom), meets the gum-smacking motorcycle-riding pseudo lesbian, Anne (the film's producer Reese Witherspoon) and is finally outed by the media.Most of those who ridiculed her are remorseful by the movie's conclusion and the message is a "Shrek"-like, "Accept yourself for what you are." The problem is, after she accepts herself for what she is, the curse is (*SPOILER ALERT*) modified.Therefore, the message should be, "Accept yourself for what you are and you can then change to be like everyone else."Or, "Forget about individuality and conform, CONFORM!"I'm sorry, but sticking a small pig's nose on Christina Ricci does not make her any less beautiful.
The result is a decent little film, engaging enough to be worthy of a look despite its unambitious and fairly predictable narrative.An ancient family curse results in Penelope Wilhern (Christina Ricci) being born with the face of a pig.
The other memorable performance in the film comes from O'Hara as Penelope's insensitive mother, so obsessed with ending the curse that she never gives a moment's thought to her daughter's actual feelings.
Amazing to me that former Oscar winner Reese Witherspoon would appear in this stinker in a supporting role.Christina Ricci is born with the face of a pig as a result of a curse put on the family from generations back.The one bright shiny part in the film is Catherine O'Hara as the intolerable mother who tries to shield her daughter from the outside world.James McAvoy from the recent Ann Hathaway film on "Becoming Jane" co-stars in this wretched production.How many times must we hear that by being yourself and accepting your lot in life, you can rid yourself of the miserable curse?
The really sweet thing about the movie is the twist to it...it's not quite as cut and dry as you might think and one of my favorite lines in the film is Ricci's character Penelope falling back exclaiming "I like the way I am!" Also they made sure that the romance that blossoms doesn't develop because of Ricci's change from her original appearance but that he loves her for who she was and will be. |
tt0056265 | Muz z prvního století | In the near future in Czechoslovakia (the movie was made in 1961, after all), a space flight is in the final stages of preparation. As the astronauts are being interviewed, Joseph the upholsterer (Milos Kopecký) is gluing the last bits of padding in place. Joseph is lazy and incompetent, and always complaining -- the classic goof-off who tries to shift blame to anywhere but him. While his supervisor berates him for being behind schedule via the communicator screen in the ship, Joseph manages to kick the takeoff switch and the rocket takes off into space with him as the only passenger.Next we see Joseph (with a full beard now, apparently to demonstrate that much time has passed) returning home in the ship with an alien companion from the "Blue Star" named Adam (Vít Olmer). The viewer never sees Adam's home world, but we learn that he has accompanied Joseph home to learn more about the "pattern" of humans. Adam looks exactly like a human except for a slightly larger, hairless cranium. His clothes are very "futuristic", even more so than those the humans are wearing when they reach Earth. After landing, Adam uses a small handheld device of his to become invisible, the better to observe the humans.Joseph discovers to his surprise that 500 years have passed. During an interview with the local government administrators and scientists, Joseph is amused then he administrator asks him, "When did socialism come to Luxembourg?", and he responds, "Socialism? Radio Luxembourg? Oh boy!" In turn, they laugh at him when he asks "Is this the East... or the West?", with the obvious implication that the East prevailed over the years and everything is now a happy worker's Socialist paradise: "He IS from the First Century." Everyone he sees is happy and content, with modern conveniences everywhere and no apparent conflicts anywhere. War appears to be a thing of the past.Joseph is given a guide (Josef Hlinomaz), a new apartment and access to a machine that can deliver anything a person wants to select from a catalog. Confronted with the ability to fulfill his every desire, he goes wild with gluttony and begins tearing pages from the catalog and feeding them into the machine. Dozens of boxes of "stuff" appear -- including a giraffe, which seems to be the ultimate symbol of consumption for its own sake. This begins to make the locals wonder if there's not something wrong with "The Man from The First Century", and they decide he's been infected with "greedyitis".Ultimately Joseph is called upon to explain himself, and is interviewed by people from around the world via television. Joseph's self-importance and lack of knowing anything important, even about his own time, disgusts the assembled viewers, and they begin to drop out of the meeting. Desperate for attention, Joseph claims to have discovered a new fuel source he "invented" on the Blue Star (which is actually Adam's people's technology), which brings renewed interest in him. Of course, he knows nothing about the subject, and convinces Adam to help him as part of his continued study of humans. Adam agrees, but his studies are beginning to show that Joseph is quite different from the other humans on Earth, and he begins to distrust Joseph.Much of the movie is Joseph making a complete buffoon of himself everywhere he goes -- a museum, a bar, etc. He can't fit in because everyone else is happy and content with their lives (one character says he enjoys cutting up onions because it's his only chance for a good cry), while Joseph is still his old incompetent, greedy and blame-shifting self.A love interest is introduced by the characters Peter (Radovan Lukavský) and Eve (Anita Kajlichova), young scientists who are obviously in love and want to marry, but Peter is depressed because he doesn't have a dowry (?), and can't make the offer. The fuel formula figures prominently in this subplot, and in the denouement is presented by Adam to Peter and Eve as a gift, "Because you're in love."Ultimately, Joseph's increasing inability to fit in begins to disgust his hosts and they begin to reject him, and in a fit of near-madness Joseph tells them about Adam and claims that he is studying Earth in order to attack it with advanced weapons. Joseph is finally sent off to the "sanitarium" to have his greedyitis cured, and while there sees via the video screen when Adam greets the others and declares his peaceful intentions: "Why would thinking beings want to make war with one another?"Realizing he's ruined, Joseph sneaks out of the hospital and makes his way back to the rocketship, where he takes off, intending to go back to the Blue Star. Adam is watching with the others on the video screen, and alters the rocket's course to send him back to where he came. The final shot is the administrator breaking the Fourth Wall and speaking directly to us: "Look out, people. He's coming back to YOU." | satire | train | imdb | null |
tt0288045 | The Medallion | Eddie Yang (Jackie Chan) is a Hong Kong police inspector co-operating with Interpol in the capture of a crime lord named AJ "Snakehead" Staul (Julian Sands). Snakehead procures an ancient book from a Chinese bookstore keeper, which tells the story of a boy being chosen every thousand years to bind the two-halves of a legendary medallion. In Hong Kong, Eddie and Interpol agent Arthur Watson (Lee Evans) lead a raid to capture Snakehead and his men, who are about to kidnap the boy, named Jai (Alex Bao). Eddie and the agents fight off Snakehead's men, infiltrating the temple containing Jai. Jai is saved but Snakehead eludes them. Two weeks later Snakehead captures Jai aboard a cargo boat in Hong Kong. Eddie and a team of Hong Kong police engage and defeat several of Snakehead's men, but Snakehead escapes with Jai to Dublin, Ireland.
In Ireland, Eddie is assigned to help Interpol with the investigation, much to Watson's chagrin. Eddie is also reunited with his girlfriend, a British Interpol agent named Nicole James (Claire Forlani). By chance Eddie later encounters and apprehends one of Snakehead's top men, who confesses Jai is being held in the harbour. Eddie, Watson, and Nicole move to rescue Jai, defeating several Snakehead agents in the process. Eddie and Jai end up trapped inside a container, which is knocked into the water by one of Snakehead's men before they can be released. Eddie keeps Jai alive by finding an inflatable tent, and securely putting Jai inside but Eddie dies from drowning. After being rescued, Jai uses his medallion on Eddie's body.
In the morgue, Watson is grieving over Eddie's body and is prepared to say his last words, when Eddie suddenly appears beside him. Eddie realises Jai used the medallion to resurrect him, and his former body vanishes into nothingness. Jai splits the medallion into its two-halves, giving one of them to Eddie. Snakehead's men appear in the hospital to recapture Jai and during the fight, Eddie discovers the medallion has also granted him superhuman strength and immortality.
Nicole looks after Jai but he is captured again by Snakehead. At his castle hideout, Snakehead forces Jai to activate the medallion so he can gain its power, but with only one half of it, Snakehead only gains superhuman strength and remains mortal. To steal the other half, Snakehead and his men attack Watson's family. Watson's Chinese wife is revealed to be a police operative like him, much to Watson's surprise as he kept his job secret from his family. Together they fight off the attack from Snakehead's men.
Eddie, Watson, and Nicole learn the location of Snakehead's castle lair and go to finish him once and for all. The operation runs smoothly at first, but Snakehead kills Nicole and becomes immortal. He and Eddie engage in a vicious fight, until Eddie uses the medallion to take away the life it gave, which leads to the two dragons from the medallion appearing and taking Snakehead, which traps him in the medallion. Jai allows Eddie to use the medallion to resurrect Nicole, who also gains super-strength and immortality. The two then run at superhuman speed into the distance as Jai enters another dimension through a portal, frightening Watson. | comedy, murder, cult, violence, good versus evil, action, humor, revenge | train | wikipedia | The movie centers a police agent (Jackie Chan) who will face down an evil baddie called Snakehead (Julian Sands) for the possession a medallion with an extraordinary power and he wants to use its magic for his own nefarious plans .
Chan and other agents (Claire Forlani and Lee Evans) will have to face off nasties who are waiting to rule over the world and obtain eternal youth , but the medallion is carried by a boy and he hands over one halve to Jackie Chan .
The action by Jackie Chan is proceeded by means of special effects , FX , and wires to difference other films in which he makes his owns stunts .
Meanwhile, Hong Kong police detective Eddie Yang (Jackie Chan) and Interpol agents Arthur Watson (Lee Evans) and Nicole James (Claire Forlani) have been pursuing Snakehead because of his criminal activities, and stumble into the grander scheme.While The Medallion is certainly not a film without flaws, it is satisfying on the whole if you approach it as a comic book/cartoon-styled Jackie Chan actioner.
Director Gordon Chan packs a lot of information into the film and barely pauses for a breath--if you blink, you're likely to miss some bit of crucial action, a plot point, or a joke.In short, it's a complex stew of different genres, with a mixture of adult themes and childlike lightheartedness, wrapped in a dense mythology of fantasy and served at a non-stop, breakneck pace.
Jackie Chan fans seeking a return to films that are solely kung fu-oriented will likely be disappointed, but if you have broader tastes, The Medallion might hit the spot.
It has taken Jackie Chan about 27 years, a good 60 movies or so, and a few near death experiences for him to decide that he can start making movies that don't regularly involve certain death, thanks to CGI.
In fact, I'll just say it: 'The Medallion' is a terrible action movie.Jackie plays Eddie Yang, a Hong Kong detective chasing a villain named Snakehead (those villains and their crazy names).
Now I'm not a fan of CGI action, but I assumed that with Jackie Chan starring and Sammo Hung directing the action - two action masters - could still pull of some entertaining action scenes.
In 3 words, awful, awful, awful.I began watching Jackie Chan movies because it was SO cool that anyone could move like that.
As I sat in shell-shocked silence at the end of the movie (having tried desperately yet unsuccessfully several times throughout to go to sleep), all I could wonder is, what was Jackie Chan thinking?
"The Medallion" has a pretty good first half: there are enough scenes to prove that Jackie Chan's still got it, from a fight aboard a ship (where he ties a guy's arm to his leg using his own shoelaces and a piece of clothing!) to a fun freewheeling foot chase, and other minor stunts.
From a pure martial arts perspective, Claire Forlani's close-quarters fights near the end are the best that the second half of this film has to offer (more proof that Sammo Hung can make anyone look like a genuine martial artist!).
I'm going to look at two perspectives of film, the pros and cons.PROS - There were two action scenes where Jackie doesn't do any wire martial arts nor requires cgi involvement during the first half of the movie.
I suspect there were a number of other scenes cut that did explain things better, but that were left out by Sony in perhaps embarrassing realization their American editors did a terrible job.But even with a story that would make no sense, this would still be tough going, not just with the mishandled action scenes but also because of the movie's incredibly bad sense of humor.
Anyway, Jackie Chan is backed up by Claire Forlani, who does an "Angels" class job with her character, and the side splitting comedy of Lee Evans as the bumbling Interpol inspector Watson.
I was really anticipated about this film, but I found out that this movie, like most of Jackie Chan's movies from Hong Kong that came here to the U.S. and the rest of the world get cut and shortened.
Like little bits and pieces which makes the movie feel short and you think to your self that, "I paid this much to watch this short of an action movie?"I feel the fighting got cut short too.
It also seems we see the other co-actors, Lee Evans and Claire Forlani pretty evenly seen throughout the movie with Jackie Chan.
If you are a Jackie Chan fan like me go see the movie and see what you think.6/10.
Whatever made Jackie decide he wanted to do this movie I don't know, and frankly - I don't think I want to know!The story, or what's left of it, is like a copy of "The Golden Child" from Eddie Murphys black years (pun intended).
Thats how bad this movie is.The supposedly funny sidekick appearing with Chan, Lee Evans, is a total disaster.
It may well be seen as an under-achiever in the action, plot, direction, sound, romance and even the comedy aspects..HOWEVER it is a quirky, often funny and curiously likeable little flick....infinitely MORE than the sum of its parts admittedly.Seems to be fashionable to knock Chan's martial artistry these days.
Despite going on 50, Jackie Chan is still up to his antics in this action and special effects filled fantasy.What could have been a fantastic film ends up a complete mess what appears due to studio interference.
Lee Evans and Jackie Chan make this great feel good comedy a good one to watch, with great stunts as you would expect from Mr Chan and they always leave you thinking how does he do that!!
This light- hearted comedy gives Lee Evans some brilliant scenes to show his funny visual excellence!Claire Forlani makes a great support actress.
Don't miss the usual out takes we all know and love with Jackie Chan movies running through the credits.
The music was composed by someone called something like Adrian Lee, it was on par with the movie, that's means it was bad.Sorry Jacky, next time better I hope.
Lately every Jackie Chan movie i've seen has been a disappointment, I really didn't expect much from this movie and i was right.Eddie is a Hong Kong cop helping Interpol grab a criminal called Snakehead, who seems to be after an ancient medallion and its a keeper, a young boy, who has been chosen to give life, power and immortality to whomever he heals with it.
When Eddie dies whilst saving the boy, the boy gives life back to Eddie, which leads him to discover new things about himself.The movie is senseless, the comedy sidekick (Lee Evans) Watson is a total bore and the only thing good about this movie were the few stunts and scenes by Jackie himself, I'm still wondering how he managed to fit through that gate, but I guess that's just Jackie.
Claire Forliani was great in this and so was Jackie Chan, Lee Evans was doing his usual stuff so if you like that there is plenty of it here.Unfortunately the script and story could almost be considered the definition of the word bland.
Those who criticize this movie for having short action scenes, special effects, wires and so on should realize, that Jackie is not that young guy anymore and it's harder and harder for him to do the same difficult stunts he did when he was 30.
The movie contains some very good acting (the only character I really disliked almost from the beginning of the movie was Lee Evans, he seemed to me like a bad parody on Mr. Bean), some corny dialogues and funny moments, big amount of fantasy and mysticism, great stunts (especially the one where he chases one villain across the city, running over walls, jumping across fences etc.- some wires were used but that doesn't make it less amusing) and some fantastic fight scenes.
In Honk Kong, the detective Eddie Yang (Jackie Chan) together with many Interpol agents leaded by the Irish agent Arthur Watson (Lee Evans) try unsuccessfully to arrest the bandit Snakehead (Julian Sands), who kidnaps a powerful boy with his magic medallion.
special effects and jackie chan doesnt work, even though some stunts in this movie was alright but the whole movie itself wasnt good at all.
That's great for Jackie Chan and all, because he is a likeable guy, but there is absolutely nothing redeeming about this movie.Jackie Chan movies are known for their slapstick-like humor and awesome martial art effects, but The Medallion is severely lacking in both departments.
They emphasize way too much on crappy computer effects that they forgot to concentrate on the main draw of a Jackie Chan film - his whimsical, impressive, and unique fighting style.
I enjoyed this movie cause of the nonstop humor by chan and evans and the fight scenes were great.
If u want to go see a good action/comedy movie then go see this 90 minute fun filled jackie chan movie.
This is a very typical Jackie Chan movie in terms of action, fun and story.
Eddie Yang (played by Jackie Chan), a police officer from Hong Kong, finds himself face to face against the villainous Snakehead (played by Julian Sands) in a race to obtain the medallion.There is a good amount of action and fighting, as you would expect from your standard Jackie Chan movie.
And they were joined by some impressive actors and actresses, which includes Lee Evans, John Rhys-Davies, Anthony Chau-Sang Wong and a cameo by Sammo Hung."The Medallion" is a fun and entertaining action movie, just don't set your self up for something grand.
erm i didn't find it really satisfying, it wasn't a jackie chan movie, i think if he had more control over the film it would be a lot better.
There was lots of people coming back from the dead and in one part of the film, Jackie Chan,(Eddie Yang),"San wa",'05, found himself in a time space situation.
Most of the jokes were poorly translated when they overdubbed the film for European/American audiences, and I was often found squinting and asking, "Did Jackie write that script?" Typical Chan humor and stunts, so if you're a fan of the man, it's well-worth a watch.
The results are often lackluster - you just can't beat the clock, but some actors manage to continue giving decent performances, even if it is a shallow version of their finest work."The Medallion" marks Jackie Chan's 89th movie, and a lot of aging has occurred to the man since his first role in 1962.
At 49 years old, Chan tries to mask his shortcomings in the film by using a lot of "wuxia" special effects, that is, gravity-defying camera work made famous in films like "Crouching Tiger, Hidden Dragon" and "The Matrix." Try as he might, though, this just isn't the same Chan.The story concerns Hong Kong detective Eddie Yang (Chan) who is working with Interpol to track down a mysterious crime boss known as Snakehead (Julian Sands).
While in Dublin, he meets his old Interpol flame Nicole James (Claire Forlani), who playfully harbors a grudge against him for leaving her, and also teams up with Arthur Watson (Lee Evans), a fellow officer with whom he had trouble working with back in Hong Kong.While rescuing the boy from the thugs, Yang ends up being imbued with invincibility and must use this new power to fight off the forces of evil.
But then Jackie Chan movies have never been know for being morally ambiguous - the good guys are good and the bad guys are bad, and that's that.In the hands of a decent comic book writer like Kevin Smith or Garth Ennis, this premise might have been expanded out into a unique story.
There are some films of Jackie Chan that I like, Rush Hour especially.
I have no idea who to blame it on, probably everyone since this has the feel of a movie that had too many cooks.The director, Gordon Chan, I know by reputation only, his other films are suppose to be at good.Don't get me wrong, its not bad, its not anything its just sort of there.
There are some genuinely fun action sequences in this, although oddly enough the best sequences are those before Chan gets the special powers at the heart of the movie.
another old re-hashed jackie chan movie,poor dubbing and poor attempts to make a good movie,ever since "the tuxedo" jackie has been slipping,what once was a great movie maker,is now "americanized" into making bad movies.the worst is the lame comedy and sight gags..
The fight scenes are quite poor for any other film in this genre, for a 'Jackie Chan' film they are worse than a bad joke.
The "romance" between Claire Forlani (who's normally pretty engaging -- great in Mystery Men) and Chan was about as bad as it gets in movies, even though there have been many terrible pairings recently.However, Christy Chung deserved a bigger part.
Claire Forlani is a fox and Jackie Chan proved to me that even in his 40s he's better than most action stars half his age.
Watson was horrible, although I liked the fact that his wife was not a librarian either, and I don't see why that was not used more in the film.Let's face it, Jackie is getting older, and he is doing too many movies now.
However, Jackie is fun to watch as usual, although in this film, you can see the wires & the CGI, the fights scenes don't look natural in some places.
I was really let down because I like Jackie Chan so much, but a lot of the action was replaced by a bad CGI shot.I could go on and on about what didn't work in this movie, but I will just leave it at what you see.
I never really liked Jackie Chan: his movies were full of the same fighting scenes, where he used all kinds of props to defeat adversaries - not really my kind of a movie, and moreover, it was boring as hell after a time.
In The Medallion, it gets all better.Okay, let's not overrate the movie: it was a comedy/action/adventure film with a fair story (enough for a background, too little for a real adventure) and directing, as well as great stunts and - fortunately - only a bit of prop-fighting from Jackie (fans don't hate me please, at least it was very-very entertaining this way), and a great deal of supporting roles (cliches, I give you that, but superbly played anyway).
Jackie Chan, yes he's a not a great actor, but in his other movies he's not so bad that you just want to walk out but your brother wants to see the end of the movie.The special effects were so poorly done and so pethedic I couldof done better and I'm not professional.
I'm continually amazed at Jackie Chan's sense of humor and timing in the action scenes.
*****Awesome ****Good ***Average ** Don't see in theatres * Never seeTHE MEDALLION(2003)**** Jackie Chan, Lee Evans, Clare Forlani, and Julian Sands.
This Jackie Chan action comedy is way better than his film "The Tuxedo".
Review: This movie was made during the period when Jackie Chan was trying to conquer the US, so the corny storyline and tamed down action scenes were expected.
I liked the concept of the movie but the execution wasn't that great and I expected better action scenes from Chan.
I'm slowly beginning to realise that you don't know what your going to get when you watch a Jackie Chan movie but your always guaranteed some great action scenes and some decent acting.
Its just a a shame that I can't say the same about his movies which I personally find pretty bad at times.Budget: $41million Worldwide Gross: $34millionI recommend this movie to people who are into their action/comedy/fantasy movies starring Jackie Chan, Lee Evans, Claire Forlani and Julian Sands.
Whoever decided to make a Jackie Chan movie with CGI should be shot.I was pretty tired when I attended a screening of "The Medallion," which may have something to do with why I couldn't properly follow anything in the film.
This is possibly Chan's worst effort, not even a guilty pleasure like last year's "The Tuxedo" (which was a pretty awful movie, but fun in a strange sort of way).
Jackie Chan and his supporting characters look like they are having a good time during this movie.
One of Jackie Chan's worst movie.
horrible fighting scenes, crappy love story, bloody lee evans and the one thing i really can't stand is that Jackie actually used WIRES for his stunts and fighting scenes ( which he never did on his previous film, but i don't know about Tuxedo because i haven't watched it yet ).
it is really not like the Jackie Chan i know in the movies...
Everything about this movie was bad: The acting, the story, the directing, the editing, the action, the fight scenes, the stunts and wire work, the camera-work, the characters, the locale, the dialog, the sound, the special effects...the list could go on until every element of the film has been exhausted.
Jackie Chan's recent career seems to be a series of hits and very bad misses - guess which one this supernatural action film is?
While much of the movie is with the necessary Jackie Chan action, it is loaded with childish fantasy elements and annoying slapstick comedy with extreme overacting, at the expense of Lee Evans.
Maybe little kids will enjoy this flick, but adults may probably well find better Jackie Chan films to watch.
When the fight scenes are obviously cgi (and very poorly) it destroys exactly what made Jackie Chan's previous films good. |
tt0498353 | Hostel: Part II | About a week after the events of Hostel, the film opens with Paxton (Jay Hernandez) in seclusion with his girlfriend Stephanie (Jordan Ladd). The two argue over Paxton refusing to tell the authorities about the Elite Hunting Club in Slovakia since Paxton is aware that the conspiracy and cover up is wider then anyone can imagine. The next morning Stephanie wakes up to discover Paxton's headless body seated at the kitchen table with their cat licking blood from his neck. Meanwhile, in Slovakia, a mysterious package is delivered to Sasha (Milan Kako), the owner of Elite Hunting. From the reaction of Sasha's hounddogs and the size of the box, it is left to the audience to deduce that this package contains Paxton's head.In Italy, American art students Beth (Lauren German), Whitney (Bijou Phillips) and Lorna (Heather Matarazzo) are convinced by Axelle (Vera Jordanova), a nude model they are sketching, to join her on a vacation to a luxurious spa in Slovakia. The four travel by train to a small Slovakian village and check into the local hostel (the same one from the previous film), where the desk clerk (Milda Havlas) (the same clerk from the previous film), uploads their passport photos to an auction website, where hotshot American businessman Todd (Richard Burgi) bids on Whitney and Beth for himself and his passive best friend Stuart (Roger Bart) as their victims for their murder-vacation.Later that night, at the village's "Harvest Festival", Lorna discovers that Beth has inherited a vast fortune from her mother. Stuart approaches Beth and the two share a friendly, if awkward, conversation. An intoxicated Lorna leaves to go on a boat ride with Roman, a charismatic local, who proceeds to kidnap Lorna with the help of two accomplices. A local walks up to Beth and asks her for a dance, she declines. He responds with "I could have helped you." Beth doesn't understand and shortly afterward the hostel's clerk approaches and tells her "He won't bother you anymore." Beth and Whitney leave the party, while Axelle volunteers to stay behind and wait for Lorna.The next morning the three girls head to the local spa to relax. Basking in the relaxing atmosphere of the hot springs, Beth is able to fall somewhat at ease and dozes off. Meanwhile, a naked and gagged Lorna is shackled by her ankles and hanging upside down in a large room, where a woman named Mrs. Bathory (Monika Malacova) enters, undresses, and lies beneath Lorna. She then kills Lorna by slashing her several times with a long scythe and bathing in her blood, then slitting her throat with a sickle.Meanwhile, Todd and Stuart arrive in Slovakia where the self-assured Todd continues to try to persuade Stuart to go through with their plan which is apparently an escape to cope with the frustrations of their daily lives and of their nagging wives. Stuart is still reluctant to kill a person as a way of acting out his frustration over living with his own nagging wife, but agrees to accompany Todd to the Elite Hunting site.At the spa, Beth awakens to find herself alone and her belongings stolen. As she looks for her friends, she notices several men approaching and surrounding her. Fearing for her life, she climbs over the spa's walls. While making her escape, she is ambushed by the "Bubblegum Gang", a gang of violent street children (also from the first Hostel film). Before they are able to descend upon her, however, Axelle and Sasha appear and ward them away from her. Axelle escorts a flustered but somewhat relieved Beth to their vehicle. With Axelle and Beth away, Sasha confronts the children. He is angered that they interfered with his "business operations." As punishment, and to warn against future transgressions, Sasha draws out his gun and has one of the children brought forward before him. Sasha summarily kills the boy, and the rest of the gang flees.After being taken to Sasha's mansion, Beth realizes that Sasha and Axelle are responsible for Whitney and Lorna's disappearances after seeing the men who tried to kidnap her at the spa coming up the stairs of Sasha's home. She tries to hide and discovers a room filled with severed heads, including Paxton's, before being captured and taken to the factory. At the factory, a sobbing Whitney is strapped to a chair in one of the cells while an old woman applies makeup to her face. Whitney severely bites the woman's nose and escapes, only to be captured by the guards.Stuart then enters his room where Beth is strapped to a chair with a sack over her head. Stuart looks around the room at the tools with horror. He then takes the sack off Beth's head and explains about Elite Hunting. Stuart tells Beth that the group is a worldwide secret society where wealthy members come to Slovakia (one of a handful of countries) to kill people that the organization abducts as a twisted satisfaction for the psychopath members and first-time clients to kill people in various fantasy-like ways for the sole purpose to watch them die and to get the satisfaction of killing a human. All the high-paying members are important people of society in every country in the world (politicians, lawyers, doctors, policemen, directors, actors, businessmen, etc). He then unties her from the chair and lets her think she is escaping. He then punches Beth in the face. The passive Stuart now suddenly becomes angry and ranting and raving at Beth and begins yelling at her as if he feels he's talking to his domineering wife.Meanwhile, Whitney is taken to Todd's cell and strapped to a chair, where he taunts and terrorizes her with a circular saw. Overwhelmed with excitement, Todd accidentally cuts into her face with a power saw, maiming her, which disturbs him so much that he now realizes the horrors of committing such an atrocity. He tries to leave, claiming he no longer wants to kill her. The guard explains that he must kill her if he wants to leave; when he refuses, the guards set the dogs on him, killing him for violating his contract.The guards then bandage Whitney and show her photograph to other clients in adjoining cells, offering her at a discount. In one room, a middle-aged, Italian-speaking cannibalistic client (Ruggero Deodato) puts in a bid. He is then shown cannibalizing Miroslav (Stanislav Ianevski), the friendly local guy who Whitney met at the Harvest festival. The young man's right foot is gone and on his left, several layers of flesh are missing. The 'Italian Cannibal' continues to cut off pieces of the young man's flesh with a knife and fork and eat it while listening to the classical music score "Habenera" from the opera Carmen. The guards then move to another client, where the man bids. He is shown torturing a man on a caged bed that electrocutes the victim.The deranged and sadistic Stuart, now torturing Beth and blaming her for his friend's death, accepts the offer and kills Whitney. As he returns to finish with Beth, she seduces him into releasing her from the chair, then fights him off as he lies on her and chains Stuart to the chair. Beth grills Stuart for the code to the cell, then sticks a needle in his ear when he refuses to tell her. Stuart tells Beth the code, but she still needs to be buzzed through the door, which inadvertently summons Sasha and the guards to the room. Beth offers to buy her freedom with part of her inheritance. When Sasha explains to her that she must kill somebody to leave, Beth cuts off Stuart's genitals and tosses them to one of the guard dogs; Beth then orders Stuart to be left to bleed to death as he screams in pain. Per the standard contract, Beth is given an Elite Hunting tattoo and is made an honorary member. Beth is then permitted to leave, but she is sternly ordered to keep silent about the organization for the rest of her life.In the closing sequence, Axelle is lured from the village festival into the woods by the Bubblegum Gang, where the revenge-seeking Beth surprises and beheads her for leading her friends to their deaths. The film then ends on a shot of Axelle's decapitated body with the Bubblegum Gang dancing in the background and playing soccer with Axelle's severed head. | violence, dark, murder, sadist, flashback | train | imdb | null |
tt0082484 | La guerre du feu | Eighty thousand years ago, a brutal Wagabou attack on a sleepy Ulam cave dwelling causes much death and injury. Naoh distinguishes himself in the attack, killing a couple of the gorilla-like Wagabou. Nevertheless, the attack, followed by wolf depredations, leads to the extinguishing of the Ulams' fire. Even the flame kept in a small bone and hide receptacle and guarded by a special fire-keeper, who flounders while slogging through a lake, is lost. The ragged survivors, in miserable conditions, send forth Naoh, Amoukar, and Gaw to find "atra"--fire. A rival faction of the clan seeks to claim the receptacle and the quest for themselves, but an elder chief-figure restores it to Naoh. Crossing a savannah landscape, the three are treed by a pair of sabre-tooth cats. Trapped for some time, the men eat all the leaves of the perilously small tree before the cats leave. Continuing on, they hunger for meat, and Amoukar and Gaw quarrel. They see smoke in a distant forest, but arrive too late to capture the fire. Pawing through the ashes of the campfire, they find bones to gnaw, but stop in disgust as they uncover a humanoid skull. Stalking the cannibalistic Kzamma by the light of their campfire, they see two captive women (one is Ika, who we are soon to meet) hanging captive from a tree. While Amoukar and Gaw run a diversion, Naoh tries to steal fire, but ends up in a fight. He seriously injures two Kzamma, but not before being bitten in the groin. In the end, Naoh absconds with two fire sticks and rejoins his mates. They are soon approached by Ika. The men try to drive her off, but she follows, and eventually wins over Naoh by applying a vegetable poultice to his injured gonads while Amoukar and Gaw are off gathering gourds. The Kzamma have pursued, however, and are poised to attack in superior numbers when miraculously a herd of Wooly Mammoth enter the scene. Naoh wins the day when he approaches the head Mammoth and, supplicant, offers a handful of grass. The animal accepts the offering, and the herd drives off the Kzamma. That evening around the fire, the sexual tension is think. Amoukar makes a try for Ika, but she appeals to Naoh, who warns off Amoukar and--a fast healer--promptly mounts her himself, despite her screams and struggles, though the brief interlude seems to conclude in mutual satisfaction. The following day, Ika attempts to divert the men toward another route, but they ignore her. Later, Naoh seems on the verge of a discovering the stone age breakthrough of flint-knapping when a stone dislodged by Gaw hits Amoukar in the head; Ika's laughter is foreign and somewhat alarming to the men, who, we realize have not yet learned the art and luxury of laughter. The following morning, Ika runs off, and, later that day and to the disgust of his fellows, Naoh leads them in pursuit. They let him go on alone and, nearing Ikas village of mud and reed huts, Naoh bogs down in quicksand and is taken prisoner by her people, the Ivaka. Ika's more advanced people feed Naoh and watch laughing as he has sex with four of the plumper village girls. The following day, Naoh is moved to tears as he watches a demonstration of the wooden drill the villagers use to make fire. Meanwhile, Amoukar and Gaw, having gone in search of Naoh, are found in the quicksand. That night, Amoukar and Gaw escape with an armload of atlatls (another new technology) and with Naoh, whom they must club unconscious in order to bring along. Ika follows. Later, with loving looks, Naoh and Ika decorate one another with mud. Up a tree, Amoukar drops a rock onto Gaw's head, and all have a good laugh. Still later, Naoh mounts Ika but she soon turns onto her back and teaches him another position, to his delight. As this continues, Amoukar makes overtures to Gaw, but Gaw makes clear his refusal. Soon after, the four encounter their old Ulam rivals who challenged them at the outset of their quest. While Naoh and Amoukar reconnoiter, Gaw and Ika hang back at a cave; suddenly, a massive brown bear comes out of the darkness of the cave and mauls Gaw. As the others carry Gaw toward home and safety, the rival clansmen attack, demanding the fire the travelers carry with them. With their new stone-tipped spears and atlatls, they make short work of the Ulam ingrates, and even Ika getting in on the atlatl action. Returning to the main Ulam group, the people are overjoyed to see the travelers returning with fire. During the celebration, which takes place in the shallows of a lake, the original fire-keeper again falls with the receptacle into the water, extinguishing the flame. Naoh makes an oratory to a skeptical Ulam audience before sitting down with the drill to make fire. He soon becomes frustrated and Ika takes over, starting the fire and winning over the Ulam people in the process. That evening, as Amoukar regales his audience with tales of their epic quest and the injured Gaw enjoys the ministrations of a clanwoman around the roaring campfire, Naoh and Ikah sit side by side in the moonlight admiring her swelling tummy. | violence, historical, realism | train | imdb | Their journey brings them not only into contact with other tribes of prehistoric humans at different stages of evolution but also advances their own humanity, as well as teaching them to be "prometheuses" in their own right.An absolutely fascinating film.
At points, there scenes that capture a sense of humor that is so basic to our modern way of thinking, but for these characters they are just discovering such things like the concept of laugher.
Just as knowledge is for modern human beings.This film succeeds in it's proportions,direction, settings, music, great special effects,and acting.
In other words, the film in my mind fell into the 'One Million Year BC' category and I ignored it.Later, I learned who Annaud was and admired 'The Name of the Rose' for its direction, its translation of a difficult book and its effort at realism.
First, it tells you a very complex story without a single line of dialog successfully.Second, the story is universal: Every civilization on earth can pick up this film and understand it, because it goes to the most basic, primitive issues of a species (mainly, survival).
One of the elements of this film I liked the most was the realistic depiction of the diversity of anthropoid types that existed in those times.
I also liked the language used by the main tribe, there was a suggestion that the language was evolving right before us as the travelers, having been sent on a quest for fire, returned with quite a bit more to talk about.This is one of my favorite movies, possibly the most favorite..
Yes, the mammoths looked a bit like Mr. Snuffolopogus and some of the makeup jobs could've been done better but it's still a great movie.The story line was captivating and the characters were well-developed.
In prehistoric times, having fire meant survival from the cold and protection from predators.In this film, facial gestures, hand movements, general body language and mannerisms of the characters are all consistent with conclusions about early man, as a result of thorough anthropological research.
All of these technical cinematic elements combine to create a reasonably accurate visual and audio impression of mankind as it existed some 80,000 years ago.As you would expect, the film is shot entirely in rugged, remote locations, resulting in landscapes that are stunningly beautiful.
And that clearly is the case here, with a plot that drones on with a monotony and repetition that can be tedious, and at times difficult for some viewers.Although the story's entertainment value may be marginal, "Quest For Fire", with its low tech cinematic style, is interesting not only for its technical elements but also for its over arching theme of modern human's continuity with prehistoric man, based on the element of fire..
The filmmakers portray the development of human attributes such as humor and laughing, connection between males and females beyond the pure sexual, language development, story telling, cross-pollination of ideas between tribes of different levels of advancement, and at the end, the awakening of a sense of the transcendent.
(The characters from different tribes don't know the other languages and they often act out what they need.) This is a movie about the primal fight to survive and how even though they are forced to travel to find a new fire, their experiences expand their horizons in ways they could never have anticipated.
If their own fire hadn't gone out they would never have met the cannibals or the clay people, who ultimately hold the key to their survival.At its core, this is a movie about how although we may look different and have different customs we are all human and what we can learn from each other is irreplaceable..
The acting is superb (imaging telling a story of this depth through acting alone without the aid of spoken word), the makeup is believable, and the score all work together to tell this entertaining and informative story.In many instances, it's not just the viewers who are left with having to figure out what is happening in a particular scene, the characters in the movie are often met with peoples and situations which are just as alien to them as they are to us.Sure there are no chiseled dimpled leading actors or stunning buxom leading actresses, but even that, I found so refreshing.
It's actually a movie about the transition from ape to man condensed into a relatively short time for one tribe.
After several days of walking and having to face many dangerous situations like wild animals, down temperatures and even cannibal tribes, they found the Ivakas, a more evolved human group that had already discovered how to "make" fire.
Their contact promotes an evolution of their own tribe.This is the third time that I watch this fascinating and unique "La Guerre du Feu", which is an unforgettable masterpiece of the great director Jean-Jacques Annaud, now on DVD.
The story is awesome with amazing performances without words but with a wonderful choreography, and in my opinion Rae Dawn Chong and Ron Perlman deserved nominations to the Oscar in this earlier works.
I watched this movie for the first time and was blown away by how good it was, visually beautiful and very realistic.
The relationship in the tribes and their interaction between other tribes was very insightfull and realistic.How they did those Sabre tooth Tigers in 1983 without computer graphics is beyond me.The importance of fire at that time was life and death I would imagine so that makes this story all the more believable.
This one is fiction rather than fact, and it incorporates some decent scientific accuracy, as well as some VERY primitive, but clever humor, and some cute creature effects for the amazing beasts which shared Ice Age Europe with us a hundred thousand years ago.The great thing about movies like Quest for Fire is the way they can be universally appreciated.
I doubt that the majority of people who watch quest for fire will care about science and anthropology, but I think the film is more interesting if you do care.
The story is interesting and well-acted, especially considering that the cast was working with the significant limitation of not speaking a word of English (or any other known human language) in the whole movie.
As might be expected, given the context, the story is violent (and, at times, even brutal.) Somewhat surprisingly, there is also a more gentle touch included, especially contributed by the character played by Rae Dawn Chong - belonging to a tribe more advanced than the primary tribe of the movie, who introduces the lead tribe to more advanced human traits such as laughter and affection, if not love.The presence of the various tribes was one of the weaknesses here as well, though.
I thought they looked exactly like what they were - elephants with makeup on.Still, this is a good movie, if a bit fanciful and even with the possibility of inaccuracies.
I am not so sure that very prehistoric people had much of a plot, but they were very well damn human!I can only recommend this movie because it is the most realistic that I have ever seen about the subject.
The movie is adventure, drama, a love story, and it ends with the protagonist doing what probably every human has done.
A large part of what makes the story so realistic is the simple fact at the amount of effort to make the place and people come alive, you look at the list of Linguists who created the Language, Desmond Morris who created the physical movements and body language for the cast, the primary cast itself who had to endure cold and wet in next to nothing (or in Rae Dawn Chongs case...
This film is timeless and has no language barriers, it is set in the past evolution of human history and makes you wonder if you could survive if placed in the same circumstances.
I still am amazed at the fact that you can make a very, very interesting and involving movie without the use of any spoken word!Indeed, the story is not very complex, but it has its twists and turns, a couple of comic moments, moments of pure terror, some manticism...
(apart maybe from something like "Atra" which supposedly stands for "fire") I have seen this movie several times and it never got me bored.I personally think that J.J. Annaud did a terrific job ingeniously directing actors that were not supposed to utter a single meaningful word (he later semi-repeated his efforts in The Bear).
In terms of what the movie is about and the time period of human existence the film deals with no other production comes to close to depicting and dealing with the topic of the surge of mankind in such a true, honest, subtle, but yet ambitious manner.
As the Quest for Fire was made in the early eighties and a lot of insight and knowledge about prehistoric times has been gained since then this movie needs to desperately be remade for today's audience..
Ron Perlman, Rea Dawn Chong and Everett McGill are all excellent in their roles, playing these early humans as people, not apes.
I rated the movie an "8", with the rating having inched up over the years since I originally saw the film in the theaters, at which time I only gave it a 6 on a 0-10 scale.
After 20 years of movie going, I now realize that 95% of all films are stupid in places..
Jean Jacques Annaud's marvelous epic tale "Quest for Fire" deals of a tribe of Neanderthals who lose their precious fire, essential for their survival in this cold and hostile prehistoric world, after a vicious attack by more primitive ape-like humans (probably Homo Heidelbergensis).
In their journey they encounter cannibal Neanderthals, Homo Sapiens, mammoths and saber tooth tigers, they travel into freezing and windy steppes, up mountains and through swamps, in a beautifully realistic Paleolithic Europe carved by the ice age, like no movie has yet managed to grasp so beautifully.
Actually, there is dialog, only it is in a primitive language (invented for the movie) which we do not understand, and there are no subtitles so its to the viewer to interpret what's going on (don't worry, its not hard).As a student in archeology specialized in prehistory and mainly in the Neanderthal cultures, I must say that this film corresponds quite well to what I imagine Europe was like 80,000 years ago.
"Quest for Fire" is realistic, not because every little historical fact has been detailed, but because it makes a serious effort at appearing historically accurate, without sacrificing or compromising dramatic story elements.Most movies that aim for realism fall flat in terms of drama.
As we follow one humanoid group and their war for fire we watch how four groups of humanoids in various stages of evolution utilize and master the most precious element in this setting - fire.What makes the film really good is that you feel immersed in the world that has been presented.
A great movie highly recommended for those interested in human history and the big picture..
I wanted to still like this film, but I just don't think it stands the test of time.
Yeah, this movie shows its age when you look at the makeup, and there have been changes in what we know about primitive cultures, but this is still a fascinating look into what life was like in our deep-dark past.That the movie can convey a story without using one word of a known spoken language is remarkable and tells a lot about the actors and directing.
This primeval epic has quite a solid reputation as the best caveman movie ever made – even sparking a brief run of prehistoric films in its day, including THE CLAN OF THE CAVE BEAR (1986) which I have been meaning to revisit for the longest time now – yet there was still the odd dissenting opinion (such as the late Leslie Halliwell's) with which, I have to say, I find myself agreeing.
As the film opens, the Wagabu, a savage tribe of ape-like Neanderthals, attacks a tribe of Homo sapiens, the Ulam, as they lounge in their cave.
The tribal elder sends three men, Naoh (Everett McGill), Amoukar (Ron Perlman), and Gaw (Nicholas Kadi), to find a new source of fire, since they cannot create it themselves.Along the way, Naoh, Amoukar, and Gaw rescue Ika (Rae Dawn Chong) from a tribe of red-haired cannibals, the Kzamm.
The Clan of the Cave Bear (1986) is the only other movie to come close to trying to accurately portray prehistoric humanity, and its acting, costumes, and settings are almost laughable in comparison.
I read the reviews about this Movie - "Quest for Fire" (1981) - and a set of similar films on the same Prehistoric theme.
All those movies deal with life and adventures of Cavemen in real surroundings, using (hypothetical) artificially devised language and there is no thread of modern civilization involved, which is another lead plot where time is disposed and Lost Worlds discovered with strange Nature and extinct Animals.
Even my wife, who doesn't particularly fancy films such as this, found it a good watch.Whether this film is historically accurate or not, it opened my mind to the struggles and intelligence of early man.I would highly recommend this to movie buffs that like historical films, and something a little different to your mainstream drama/action..
Set 80.000 years ago, this is all about a tribe of early homo sapiens, and the harshness of life back then(with predators, climate, etc.), specifically focusing on them losing fire(this was before we knew how to start it by ourselves), and with all its life-preserving qualities(cooking food, surviving rough winters), three men are sent out to find more, any way they can.
Quest for Fire straddles a line that is somewhere in the range of nature documentary and sillier caveman films of the olden days of B movies.
Shot in the early 1980s and now a classic of sorts, it delineates the fate of a small Neanderthal tribe which has lost its most important possession, a torch of fire, in a fierce battle with some ape-like hairy creatures resembling Homo erectus (which actually didn't exist at the same time as the Neanderthals, one of the movie's many paleoanthropological blunders not diminishing the flick's general cinematic value).
set 80,000 years ago when fire was of the utmost importance and languages were in their infancy, this film follows three tribesmen on their quest for fire.
the spoken language that the characters employ is completely made up and primitive, and the film speaks to fairly universal themes of love, life, survival, our origins, success and defeat.
I found myself falling out of the story and thinking about what a great job they did making these actors look and sound like cave people, instead of being wrapped up in their situation.
The lack of dialogue, spare acting and breathtaking scenery really gives one a taste of what it may have been like for our early ancestors.An interesting aspect of the movie is the migratory, and very probable, mating between various peoples that crossed paths.
If you can get past the fact thata) different types of early hominids all exist at the same time, and that b) a pack of hobbling neanderthals/homo sapiens(?) manage to wander across nearly all types of terrain in an astonishing short time frame (and still find back to their tribe which is _still_ for some absurd reason standing in the same small patch of land in the swamp whence they had left...),then I guess it's a passable, even engaging, movie.The wildly varying outdoor shots are beautiful but of course totally out-of-place.When they chose to film in multiple (and likely very expensive) outdoor locations probably meant that they could only afford to show exactly two saber-toothed tigers and a pack of mammoths...Only the two most recognized animals that everyone will expect to see in a "Stone Age" film?
This is a fun movie, and shows (if nothing else) that silent films can still be powerful today, even if they are done in a slightly different way..
Rae Dawn Chong also gives a believable performance as a young Cro Magnon girl the trio encounter on their quest.The film is, of course, flawed in some ways, but until someone has the motivation to make a REAL prehistoric epic that doesn't involve bad acting and CGI smilodons, CfF is as good as it gets..
Despite there being no recognisable language spoken in the film, the story is very easy to follow and basically consists of the quest undertaken by three cavemen to capture and bring back fire for their tribe, who will be wiped out without it.
QUEST FOR FIRE is definitely the most realistic caveman film of all time and also perhaps the best.
This is certainly not true of 'Quest for Fire' but the comment from your user, 'Evolvest' from Texas, ("It really looks like we are seeing through a window of time 80,000 years ago, in all its beauty and ugliness") seems to say almost all that is necessary in just 20 words.
I'm pretty sure that the Ulam tribe were suppose to be Neanderthals and the woman they encounter on their journey is a modern human female (homo sapient).Overall this film is a classic, only a few scenes depict nudity and sexuality which doesn't really matter since it's human nature anyways.
I would have liked the film better if we saw more of her tribe, who provided the most potential for interesting characters.
This movie begins approximately 80,000 years ago with a primitive tribe known as the "Ulam" huddled in a cave around a large fire.
Quest for Fire is a somewhat transfixing film about prehistoric times, but without dialogue and the vulgar nature, it isn't compelling.While the premise of the search for fire and its understanding of creation is a good one, it lacks much else. |
tt0110148 | Interview with the Vampire: The Vampire Chronicles | A Vampire of 200 years named Louis (Brad Pitt) follows a reporter named Daniel (Christian Slater) hoping to prey on him. Instead, Louis agrees to an interview with a man that does not believe in vampires. After Louis convinces his new friend of his powers, he tells his story beginning with how he was transformed by Lestat (Tom Cruise), a vampire. Louis describes his transformation and what vampires are truly vulnerable too. He is shown learning the ways of vampires, 200 years ago(in the time of African slavery in America), while he drinks his first tastes of blood. Louis becomes angry with Lestat for cursing him to "this Hell". Next Louis gives in to the thirst as the slaves start to revolt and he kills a female slave for her blood. They kill again, and then Louis finds the girl Claudia, who has just been orphaned. Though he has great compassion for her, he bit and turned her. Lestat congratulates him and welcomes Claudia to the realm of the dark. Soon, Lestat kills for her to drink and Claudia has turned. A Vampire family emerges.
The two adults treat her as each of their daughter. She learns to play the piano, play with dolls, and kill people. Then on her 30th vampire birthday, Lestat gives her another doll. Then, he discovers a female corps in her pile of old dolls. They argue and she explodes about the fact that she will always be a little girl, deprived of a normal life. She attacks Lestat and then she runs away saying that she hated them both. Later, Louis finds her and they make peace. But then, filled with anger with Lestat, she goes to him and leads him to the deadly trap she has set for him. He curses her as he dies.They dump his body together and they start their new life .Then one night, they return to their loft to find Lestat, badly scarred returning for his revenge. Then Louis, using an oil lamp, burned him and their loft. Knowing that Lestat may return again, Louis takes Claudia and they run off to live on the lamb. Louis is shown talking to Daniel again, about the myths that mortals believe about vampires. Then Louis is shown in 1890 where he meets two fellow vampires, Armand (Antonio Banderas) and one of his subjects. Then, Louis and Claudia join their new "friends" for a theater production of vampires, playing humans, playing vampires. On stage Armand and his pack kill on young lady as part of the "act". Later, father and daughter join the brood of vampires in their lair. Then, after Claudia tells Louis that Armand means to kill her. She believes that she is in the way of Armand's plan. Then Armand spoke to Louis of Lestat and his death, and how turning Claudia the way they did was forbidden. Louis realized that Claudia was doomed. Though Claudia found a female that she wanted turned, to become her mother, Louis refused. Then he conceded and bit the adult woman. Just then as she was changing, Armand's large brood barged in and took Claudia and her new friend to a roofless dungeon. Louis was placed in a box for all of eternity. Then Claudia and the new vampire watch the sun rise, and they parish. When Armand learns of what was done, he frees Louis. Then, filled with rage, Louis sets the hive on fire. After the entire brood is dead, Armand and Louis leave in a carriage where they would be protected from the sun. The two men are the only vampires left from this tale, and they talk about their fellows that were just killed. When he realized that Armand regretted none of their deaths, Louis went on to live a night life around the world, by himself. Then Louis returned home and then to the creepy, abandoned plantation. Of course, Lastat was waiting for him. Though Lastat was insane, Louis left him, and told his interviewer Daniel that he does not know what ever happened to him. Louis told Daniel to pass on what he has learned, but Daniel wants to be turned. He wants to experience the life that Louis told him about. Louis grabs him and scares off Daniel, to change his mind. Then, afraid Daniel flees to his car and starts listening to the interview. Before long, Lestat attacks him in his convertible and bite the moral and drives his car away. In the closing scene, Lestat says to Daniel, who is still alive, that he is giving him the same choice that Louis was given. Death or eternal life! | comedy, fantasy, gothic, murder, dramatic, cult, violence, horror, atmospheric, good versus evil, revenge, historical | train | imdb | All of these questions help us explore philosophical ideas as old as time, and that exploration is the focus of this film.The story is propelled by vampires Louis (Pitt) and Lestat (Cruise), each representing a different take on life.
Yet might survival require the forgetting of moral consciousness, like Lestat?'Interview with the Vampire' explores all of these deep, important issues whilst delivering an incredibly powerful story populated by charismatic characters, haunting and diverse settings and immortal dialogue.
INTERVIEW WITH THE VAMPIRE: THE VAMPIRE CHRONICLES Aspect ratio: 1.85:1Sound formats: Dolby Digital / SDDS17th century New Orleans: The relationship between an ancient vampire (Tom Cruise) and his bloodsucking protegé (Brad Pitt) is tested to destruction by a young girl (Kirsten Dunst) who challenges their established dynamic, leading to betrayal and murder.A doom-laden meditation on life and death and the nature of grief, based on Anne Rice's bestselling novel (written as a response to the death of her beloved daughter), and featuring two of contemporary Hollywood's most recognizable stars (both astonishingly beautiful here) as vampire and willing victim, remaining eternally young as the world evolves around them.
Cruise plays a seasoned killer who revels in bloodthirsty excess, while Pitt is a conscientious objector who balks at the prospect of drinking human blood, until Cruise creates a 'companion' for Pitt in the shape of a little girl (Dunst) who refuses to grow old gracefully, with tragic consequences.Scored with melancholy grace by composer Elliot Goldenthal, and beautifully designed and photographed (by Dante Ferretti and Philippe Rousselot, respectively), the film is epic in concept and execution, spanning the social upheavals of 17th and 18th century America and the horrors of 19th century Europe, where a nest of ancient vampires (led by scene-stealer Antonio Banderas and a miscast Stephen Rea) wreak terrible revenge on those who transgress against vampire lore.
The movie contains some beautiful, transcendent passages, including a breathtaking transition from 19th century Europe to modern day America via the introduction of motion pictures (everything from SUNRISE: A SONG OF TWO HUMANS to GONE WITH THE WIND and SUPERMAN!), and an incredibly moving sequence in which a once-proud vampire is discovered in exile, laid low by his own vanity.The film's delicate tone is upset by a trick ending which comes completely out of left-field, though Jordan has denied any suggestion of studio interference.
Sadly, the movie is dedicated to the memory of River Phoenix - originally cast as the interviewer who provides one half of the film's title - who died of a drugs overdose during pre-production; his role was taken by Christian Slater.
But Interview With a Vampire was a movie that excelled my expectations.I refused to see this film for 3 years because I believed it would be what I perceived it to be: glitzy Hollywood garbage geared toward adolescent girls with posters of the 3 main actors all over their walls.
At 12 years old, this girl was able to hold her own against her co-stars, and often stole the scene (particularly the incident in which Claudia tries to cut her hair and subsequently Lestat discovers the corpse in her bed.)You don't want to look for the meaning of life in this movie.
With a combination of Anne Rice's script and Neil Jordan's direction, the overlooked Interview with the Vampire not only looks great but contains good material.
Minor quibbles aside like some hokey dialogue from time to time and despite Pitt underplaying his performance a little, among the Vampire genre and even as a drama this is a classy piece of work from a intelligent director with a flair for dark style (in most of his other films too), and more importantly produces a epic tale with sturdy direction.
It doesn't look dated at all, particularly in this day in age of CG, blue screen galore.The acting....i hate to admit, because i'm not by any means a brad pitt or tom cruise fan....is pretty darn good.
A man (Brad Pitt) who turned into a vampire way back in 18th century New Orleans tells his life (and afterlife) story to a skeptical modern-day journalist (Christian Slater) in novelist Anne Rice's unique take on the famed supernatural creatures of the night.
Pitt goes into major details on how he became a vampire (thanks to vampire loon Tom Cruise in a wickedly wild over-the-top turn) and his run-ins with others like him (a very young Kirsten Dunst and a then-unknown Antonio Banderas).
When Louis has trouble disconnecting his human moral compass from his blood-lusting monster of a self, Lestat tries to test him and eventually brings him another companion when he makes Claudia (Kirsten Dunst) a vampire as well.
Jordan really brings Rice's screenplay to life, or else you'd be looking at a particularly boring film.Cruise as Lestat was a good choice.
Pitt's performance in this regard is particularly fine.However, the one thing that everyone who has seen this movie cannot fail to agree on is the fact that, whilst there is indeed an all-star cast (notable characters are Brad Pitt, Tom Cruise, Antonio Banderas, Christian Slater and Kirsten Dunst), it is the twelve year-old Kirsten Dunst (playing Claudia) who steals the show.
His grief and pain for the loss of his wife and daughter; his transformation into a vampire and relationship with the Lestat; his love for the vampire girl Claudia; his wrath for the vampires in Paris; his return to New Orleans are told in a screenplay written by the author of the novel Anne Rice and directed by Neil Jordan.
Anne Rice would truly be proud of how much a great movie her most famous book turned out to be.We have some great and very attractive actors who star in this film like: Brad Pitt, Tom Cruise, Antonio Bandares, Christian Slater, and Stephen Rea, not to mention a very young and new Kirsten Dunst.
The story starts off with Christian Slater interviewing Brad Pitt, who plays Louis, he makes the most interesting statement to Christian that he's a vampire.
Obviously, Christian doesn't take this seriously, but Louis offers him one thing: his story.Louis was born and grew up during the time when America was just being discovered in the late 1700's, he just lost his wife and child in labor, a little different than the book, but anyways, but his misery brings him to wanting death, and Lestat, played by the brilliant Tom Cruise, brings him that with becoming a vampire.
Hard to believe she was only 12 when she made this film.Having read Anne Rice's infamous 'Vampire Chronicles' a hundred times, it wasn't until I saw this movie that I'd even heard of them (shameful, no?).
Yes, there is blood and feeding but it is the vampires you feel for.The three leads are incredible, Kirsten Dunst deserves special praise due to her age and anyone who says Tom Cruise can't act should see this film.
Brad Pitt's Louis is just as whiney and annoying as he should be, but you understand this given the circumstances of his turning.It thoroughly involves you in the vampire world and displays how lonely and isolating it can be (yes, I know it's not real but you get the point).Here's hoping they film some more of Rice's novels (hopefully more in this vein than the slightly OTT Queen of the Damned) - I want to see Blood and Gold!
The story of depraved love, lust and hunger is told to a reporter(Christian Slater)by Louis(Brad Pitt)the conscience-stricken protege of the unremorseful and lascivious Lestat(Tom Cruise).
Armand(Antonio Banderas)the oldest living vampire in the world lashes out his judgment of the three blood suckers.It is fun watching Cruise and Pitt living as a couple in hopes of hiding their vampirish way of life.
At least we see that in the case of Brad Pitt's character here, a vampire who needs the blood but knows it's morally wrong to kill human beings for it.The acting in this movie is excellent, which includes the star of it, Tom Cruise, and young Kristin Dunst.
Based on the Anne Rice's novel and with a screenplay adapted by herself, this film tells the story of Lestat and Louis, two vampires with over three hundred years.
And Brad Pitt makes you care about Louis and what he has become.The rest of the cast was well done, too, with stand out performances from Kirsten Dunst as Claudia, and Antonio Banderas as Armand.This, plus the extraordinary cinematography and musical score make this movie a 9 for me..
While Pitt carries the main role well, the movie is all the more accentuated by Tom Cruise as the dark-humored vampire Lestat and Kirsten Dunst as the forever-young vampire Claudia.
The story begins with an avid reporter named Daniel Malloy (Christian Slater) being granted an interview with an enigmatic young man named Louis (Brad Pitt), who eventually claims to be nothing other than a living, breathing vampire.He recalls his story to the reporter in dismay and disillusionment, telling how his dreams turned to ruin and he was deceived by the seductive Lestat (Tom Cruise), who promised him eternal life...but never divulged into the misery it would provide him.The story traces back hundreds of years to the revolution and Louis and Lestat's tale drastically alters through the years as the eras change and new faces come and go.
For Louis, this is the most disheartening aspect of being a vampire - having to see the ones you care about disappear forever.Louis forms a friendship with an orphaned vampire named Claudia (Kirsten Dunst) and their friendship completes the tension between Louis and Lestat, which escalates as the film progresses."Thelma and Louise" might have made Brad Pitt semi-famous as a pin-up boy for a while but it was "Interview with the Vampire" that gave him his career as we know it today.
And Pitt has succeeded quite well at not only equaling Cruise's star power, but arguably surpassing it.His performance is the key to "Interview with the Vampire." He's far better than Cruise, who demanded praise for his "camp" performance - it's alright, but it's basically just Tom Cruise acting out his personal life...after the whole thing with him jumping on Oprah's sofa, it's really not so hard to see him acting this over-the-top in reality.Pitt conveys emotional conflict behind his cold stare, and that is the vital element of the film.
Another powerful aspect is Neil Jordan's direction - the cinematography is beautiful and perfectly captures the essence of the modern day Gothic vampire film, picking up where Coppola left off with "Bram Stoker's Dracula." In fact, they form nice companion pieces, although "Interview" boasts far superior acting.All vampire movies are based upon a heavy amount of eroticism - the seduction of the vampire as a metaphor for sexuality.
After seeing the movie, all I can say is that I agree more with Rice's first opinions and that Pitt should have been Lestat and Cruise should have been Louis.
This movie featured the likes of Brad Pitt, Tom Cruise & Christian Slater, which are 3 of my favorite Hollywood men, who bought life into their characters, making us feel that they were not actors portraying a role but the actual characters themselves, which is important in an actor to get into every movie's individual character(Do you know what I'm saying?
Basically, this movie is about the life of the vampire Louis( Brad Pitt).
Film begins with a modern-day prologue as a reporter played by Christian Slater interviews Brad Pitt who claims to be an ageless vampire.
Rating: 7.5/10.This film narrates the life of a plantation lord, Louis(Brad Pitt), a 200 year old vampire.
"Who will take care of me my love, my dark angel, when you are gone?"I just recently got around to watching Interview with the Vampire, twenty years after Neil Jordan directed this successful film, and I have to admit the recent overload of vampire films and novels over the past decade did affect my viewing since most of the innovative elements that Anne Rice introduced here I have seen in later films and TV series (like True Blood).
If you are a fan of vampire films or of Anne Rice's work then you will probably enjoy this much more than I did because it is dark and Gothic, but it does have its weaknesses and the ending is a bit off note.As the title suggests, the story is told in the form of an interview as a journalist named Daniel (Christian Slater) encounters a 200 year old vampire named Louis (Brad Pitt).
Louis hates who he has become, but his life changes when Lestat turns a little girl named Claudia (Kirsten Dunst) into a vampire and together they form a family.
Louis continues to narrate his story through two centuries as they encounter troubles and betrayals along the way.Tom Cruise is a huge action star and at times it's difficult to separate him from his characters, but surprisingly he lost himself in the role of Lestat and gives a convincing performance as a blood lusting vampire.
He seeks for a way to end his sorrow and Lestat (Tome Cruise) offers Louis a cure, but is it the right one?This was the first film I saw directed by Neil Jordan and I'm certain it won't be the last.
He has adapted the book into a film that couldn't have been made better.The duo of Brad Pitt and Tom Cruise as Louis and Lestat is nothing short of memorizing.
But "la piece de resistance" is of course, Claudia - the beautiful vampire woman entrapped in a little girl's body for eternity.Louis's and Lestat's monster-daughter is a living (undead actually) work of art the way Kirsten Dunst plays her..
Continuing my plan to watch every Tom Cruise movie in order, I come to Interview With The Vampire (1994)Plot In A Paragraph: Louis (Brad Pitt) a vampire tells his epic life story: love, betrayal, loneliness, and hunger.At the time of release, this was not like any other vampire movie I had seen.
The book, I feel could possibly have done a lot for civil rights, normalize it in the mind of Americans and the movie, with Brad Pitt, Tom Cruise, and Antonio Banderas, well it could have been as hard hitting as Rage Against the Machine if they left it in.It took pure brass to write in that way in 1976 and feet of clay to leave it out of the movie.
Lestat (Cruise) is one of the vilest Vampires I have ever seen but towards the end of the film I found I understood him and somewhat sympathized with the character.Claudia (Dunst) I felt really bad for her...
But if you HAD to cast these two actors in "...Vampire", they're playing each others' parts!: Pitt would have been far better as LeStat than Tom.
I was hoping for a kind of "La Jetee" feel to the empty netherworld the story was attempting to portray, but these actors, especially Tom, simply weren't the ones).The film is directed with some style, but the wrong casting keeps the movie a bit shrill and at arm's length the entire time.A missed opportunity, nearly-ruined by Hollywood....
With its photogenic cast and a story-line revolving around the emotional anguish that goes hand in hand with vampirism, Interview With The Vampire could be accused of being the 90s precursor to Twilight; its vamps might be sad, however, but they sure ain't sappy: the vampire Lestat (Tom Cruise) would happily tear Edward a new one; Claudia (Kirsten Dunst) would rip out Bella's throat without batting an eyelid; Louis (Brad Pitt) would find it hard to join in at first, but his hunger would prevail.
Antonio Banderas is a bad-ass as always, unfortunatley he is criminally underused (his name is there on the box, I spent the first 2/3's of the movie thinking "To blazes with this chick-flickery, when's Antonio going to arrive on the scene?") and Kirsten Dunst is surprisingly good as a little kid vampire (h er performance was actually stonger than Cruise's and Pitt's).
Cruise - The Worst Bloodsucker Of Them All. For me - When it comes to the likes of vampire movies - I'd say that they can all easily be slotted into one of these 3 following categories - Good - Mediocre - Awful.And - With that said - I will give you just one guess as to which category I place "Interview".Without question - This dreadfully disappointing horror film's 2 biggest and 2 most damaging deficits were, of course, the total miscasting of Tom Cruise and Brad Pitt into the story's all-important lead roles.It was especially the casting of Cruise (Mr. Zero-Charisma, himself) as the "Lestat" character that promptly brought "Interview's" potentially promising story down to an absolute dead halt.It seems that every time I see Cruise in any picture - I'm always left completely perplexed as to why the hell his vast popularity (and roles in big-budget productions) continues to prevail.
Although I suppose we need to call it a "dark comedy" because of the subject matter and all the people who die such horrible deaths.Big stars Tom Cruise, Brad Pitt, Antonio Banderas are vampires.
200 years of Pitt's vampire life, as it is being told to Christian Slater, thus the "interview" in the film's title.
Tom Cruise, Brad Pitt, and Antonio Banderas play interesting characters, but it's Kirsten Dunst who really makes an impression.
I believe despite his great looks that Brad Pitt is 1 of hollywoods best and what an amazing performance by Tom Cruise as Lestat!
I also liked the plot of the movie and the beautiful interpretations of Brad Pitt who plays as Louis de Pointe du Lac, Tom Cruise who plays as Lestat de Lioncourt and Christian Slater who plays as Daniel Malloy."Interview with the Vampire: The Vampire Chronicles" is a movie that everyone has to watch it because I think that is one of the first movies with Vampires (nowadays)..
It stars Tom Cruise, Brad Pitt, Antonio Banderas, Kirsten Dunst, Stephen Rea and Christian Slater. |
tt0028212 | Sabotage | First we see a dictionary page highlighting SABOTAGE, then a power station with one chimney smoking in the moonlight, then a gaudily lit London street at night. The lights in the streets go out. Lit only by flashlight, we see a large machine half in water. Several hands excitedly fuss with the machinery, digging up a muddy substance. A first voice says: "Sand!", then another voice "Sabotage!", and a third : "Who did it?" The face of Karl Verloc (Oscar Homolka), walking in the shadows, emerges to fill the screen.Customers at the BIJOU cinema exit to the street after the power goes off. Some loudly insist on getting a refund. At the box office, the clerk and the owner's wife are hesitant to refund anything, as they are short of cash.A youngish man Ted Spencer (John Loder) stands on a step and spouts off comically as though he knows the law and repeats there is no need to return money, as there is no fault by the cinemas owners.Meanwhile, Verloc comes into the BIJOU surreptitiously although Ted observes him. He quietly goes to bed at the dwelling in back of the screen and lies down as if he had been napping.Verloc's young wife Sylvia (Sylvia Sidney) is hesitant to give refunds, and believes her husband is still out, but Ted tells her he saw him come in, so she goes into the apartment, finds Verloc, and asks whether to refund the money. Verloc tells her to go ahead and give refunds, as he will be getting some money shortly.Just as refunds are about to be given, the power comes back on, customers laugh and reenter the BIJOU.The Verlocs are the owners of the BIJOU. They live, together with her little brother Stevie (Desmond Tester), in the rear apartment. Right after the blackout, the cook leaves, leaving Stevie in charge of finalizing dinner. Stevie fumbles and breaks a dish, which he hides in a drawer.Scotland Yard suspects Verloc is an agent for a foreign power, part of a gang planning other attacks. Detective Sergeant Ted Spencer was assigned to investigate Verloc under cover, and attempt to get hard evidence against him. Spencer poses as a greengrocer's helper, selling fruit and vegetables in a shop right next to the cinema. The family comes into the shop often, and he ingratiates himself with Stevie and his sister by providing many extra services.Ted is attracted to the beautiful Sylvia but she wants nothing to do with his advances.Ted invites Stevie and Sylvia to a full lunch at Simpson's, a fashionable restaurant. At the lunch, Sylvia explains that her husband is a good man who has been kind to her and her little brother.She is an American who came to London with Stevie to escape the Depression in America, but when the economy crashed in England, too, they were down on their luck and to survive she married a kind older man who protected them. They are running the BIJOU, but struggling economically.Verloc receives a phone call and goes to the London aquarium to receive pay and more instructions. He is tailed by police, who want to identify the entire saboteur gang, but knowing the foreign bosses are "people you and I will never catch" as one policeman tells another.Verloc meets his contact in front of an illuminated tank where a huge turtle is swimming. A passerby (Charles Hawtrey) enthusiastically describes the reproduction of fish at the aquarium and compares them to humans.Verloc is paid but scolded because his power station stunt was disappointing. "London must not laugh" is the order given to Verloc. "We want the English to worry about what happens in England and thus pay no attention to what happens elsewhere in Europe". Agents must not fear retribution to earn their money.Then the contact assigns Verloc to put a bomb in Piccadilly Circus station "the center of the world", and produce fear, not laughter. Verloc isn't a forceful villain, just a weak, man of no moral fiber who objects to the idea of murder but decides to go through with it for money.The bomb is to be prepared by an agent who runs a pet shop as a front. Verloc realizes that he is in over his head, and tries to get out of the fearsome responsibilities, but he is scolded again and he accepts.
In a dreamy sequence the scared Verloc sees the fish swimming in the tank and imagines them as motor cars filled with passengers moving around Piccadilly Circus when an explosion demolishes all buildings around. Suddenly the fish in the tank reappear.Again tailed by Scotland Yard, he proceeds to the pet shop. At the pet shop, an old biddy wants to return a canary that won't sing. The shop owner Professor Chatman (William Dewhurst), has no trouble getting the bird to warble, implying that it's the lady's fault. Verloc is led to a stuffy kitchen where a chaotic nconventional family of three, a father, daughter, and granddaughter live, to talk to Chatman.Chatman opens a cabinet, reaching for bomb making stuff and first finds the granddaughter's doll in the cabinet. He then explains to Verloc that the bomb is up to Chatman, only the delivery will be up to Verloc.They agree to disguise the bomb in a cage with canaries, addressed to Stevie, who will enjoy the birds.A clandestine meeting for gang members is arranged for Verloc's apartment. Ted has no difficulty identifying something is afoot, since anyone wanting to see Verloc must walk up to the front of the Bijou, pass into the dark screening room, walk along its side to a curtain next to the screen. Behind the curtain is Verloc's door.Ted gets Stevie to show him how to get behind the screen to a window from which he might overhear what is going on at the meeting Verloc is having with other shifty-eyed foreigners in ill-fitting suits. Unfortunately, he is spotted by the conspirators and pulled into the room.The conspirators end their meeting, telling Verloc the job is his alone. Verloc exits to talk to his neighbor the greengrocer, and elicits comments that confirm that Ted is a policeman under cover.Meantime Sylvia has become gradually more suspicious about Verloc's activities. However, she hesitates and delays.Professor Chatman sends Stevie a pair of canaries in a cage, with the package bomb concealed in a drawer underneath. Verloc reads a sealed message that the bomb is set to go off at 1:45. Ted admits he is a detective and detains Verloc asking him details over and over, pretending he has no suspicions of Verloc himself. Verloc, wanting an alibi for the time of the explosion, arranges for Stevie to take the package to Picadilly and leave it in the station cloakroom by 1:30. The excuse is that a film canister needs to be returned nearby. It must be walked over, because it is inflammable and it cant be carried on a bus.The heartbreakingly cheerful brother is carrying the bomb along with film canisters labeled "Bartholomew the Strangler. Because the Lord Mayor's parade is on that day, Stevie is delayed by all manner of events. A street vendor pulls him out of a crowd in order to demonstrate a new toothpaste. He's stopped from crossing a street because the parade is marching by. He enjoys watching the parade. The parade has snarled traffic. When he gets on a bus the conductor ironically warns, "Don't set fire to me or the other passengers." The bus keeps hitting red lights.There are many cuts between the oblivious Stevie, with a time bomb in a package under one arm while petting a fluffy puppy with his free hand and talking to an old lady, those big outdoor clocks whose arms get ever closer to 1:45, until the explosion.Ted receives orders to go to the explosion scene. When Stevie does not get back home for a meal, Sylvia starts to worry and ask questions, and learns the awful truth from Verloc.Verloc confesses his part in the sabotage, while standing near the model boat which she and her brother had made, then blames Spencer for Stevie's death, saying he prevented Verloc from delivering the bomb himself. Verloc suggests to Sylvia that they could have a child of their own, as if to compensate for her loss.Sylvia, deeply depressed and confused at the revelation, hears laughter from the audience. She wanders into the theater in shock, and sits to watch "Who Killed Cock Robin," a 1935 Disney cartoon featuring a parody of Mae West. Momentarily, she laughs, but when the arrow is loosed and slays poor Cock Robin, the laughter on her face changes to an expression of agony and terror.Her eyes and expressions subtly convey an emotional cascade of stunned realization, immense sadness, and suppressed hysteria. She realizes what a monster her husband is.Sylvia explodes after sitting to dinner with Verloc. He orders his still shocked and dazed wife to a "get a grip" and get prepared to deny everything. He goes on to order her to scold the cook about the overcooked cabbage soup on the dinner table.Without dialogue, the camera shifts from her face, to Verloc's, to the food they are eating, to her hold on a carving knife, until they both rise, stare at each other, and it happens: she stabs him in the stomach with the knife.Meantime, Ted discovers, at the scene of the blown up bus, part of the film canister from the BIJOU that most likely was carried by Stevie, so he returns to the BIJOU.We see Sylvia sitting, dazed, right past the doorway, and in the foreground, the feet of the slain Verloc.When Spencer arrives at the apartment, he realizes what has happened, but insists that Sylvia shouldn't admit that she knifed her husband. He takes her out of the apartment and tries to convince her that he is in love with her, and talks about getting on a boat crossing the Channel to France and together escape the police.Professor Chatman's daughter berates him for leaving a bird-cage with the shop's identification at Verloc's, and insists he go back to retrieve it. Chatman enters the apartment just ahead of a squad of detectives coming for Verloc. When the detectives knock, he locks the door and announces he has a bomb and will blow it up if they enter.The detectives at the door assume they are hearing Verlocs voice, and take the threat seriously. They evacuate the building. They argue about who should stay near the apartment: the single guy says he will stay and let the married ones go to a safer place, but one of the marrieds jokes that since hes already married, his life is over anyway so he might as well stay.Sylvia is dazedly responding to Ted's love declaration, and kisses him, but she refuses to run away, and is just on the edge of confessing to a policeman when an explosion and fire at the cinema intervenes. The evidence of her crime is destroyed, and effectively prevents the policeman from remembering whether it was before or after the explosion that she said, "My husband is dead!"At the end we see Sylvia and Ted walk away together. | suspenseful, murder | train | imdb | Hitchcock later said he should have ended the sequence differently, and many viewers might agree, but what happens is in keeping with the themes and plot of the movie, and the suspense sequence is also masterfully done.
Then there is a tense, famous scene at the dinner table, filmed as an absolutely masterful montage by Hitchcock.These scenes, and the finely crafted atmosphere of "Sabotage", make it worthwhile despite a few small faults, and despite the possibility that many viewers will not be comfortable with some of the plot developments.
Like most Hitchcock films, "Sabotage" is a great thriller directed with a fluid, self-assured style.
They moved to London to run the Bijou, a struggling movie house.Among the notable scenes is the meeting between Sidney's husband (played by Oskar Homolka) and a spy contact at the London aquarium; to the backdrop of a huge turtle swimming in an illuminated tank.
It is a rare example of the visual power of film and an illustration of what acting for the camera is all about.And perhaps most amazing is the long and unbearably suspenseful journey of young brother Stevie across London, unaware that he's carrying a ticking time bomb..
Such a great loss for each.The way Hitchcock handles the delicate situation involving the cute boy, Mrs. Verloc's (Sylvia Sidney)little brother, riding the bus with a time bomb in a package under one arm while petting a fluffy puppy with his free hand is necessary for what happens at the end of the film.
Hitchcock skillfully blends the clip from "Cock Robin" into his story of "Sabotage." Mrs. Verloc deeply depressed and confused following her brother's death hears the laughter coming from the audience.
One is reminded how a later director/writer Preston Sturges would use a similar technique with a Mickey Mouse cartoon in his classic "Sullivan's Travels."There is also a clear message by Hitchcock on sabotage, today terrorism; those so-called martyrs for a cause are in reality misguided devils who end up killing the innocent and helpless instead of the ones their feeble minds believe to be the deceivers and exploiters of the human race..
We even see a British crowd in the movie theater watching a Disney flick (which is well noted in the opening credits).1934's THE MAN WHO KNEW TOO MUCH was an effective early thriller, better than the 1956 remake, however, this is the film to start with if studying Hitchcock's career.
One of the best sequences in the film is when Mrs. Verloc's younger brother (played by Desmond Tester) is asked to deliver a package (unknowingly a bomb) for Adolf Verloc.
It gives you characters to care about, especially Mrs. Verloc, played masterfully by Sylvia Sydney as a happy wife who discovers the hard way that her husband is a terrorist (don't worry, no spoilers here; we find this out in the first scene).
The films caught attention in American (especially "The Thirty-Nine Steps" and "The Lady Vanishes"), and Hitchcock was invited to come to America by David Selznick, who would be his producer from 1939 onward.The other comments on this film have pointed out some of the best moments, such as the explosion scene and the death of Verloc (Oskar Homolka).
Adapted from the Joseph Conrad novel "The Secret Agent" but markedly better both in terms of its linear treatment of the thin central story and its sharper, more measured ending, "Sabotage" introduces us to Mr. Verloc (Oskar Homolka), the owner of a London cinema who sidelines as a secret agent for a mysterious foreign power, "the people you and I will never catch" as one policeman tells another.
After causing a power outage that produces laughter rather than the desired fear, Verloc is assigned a more deadly job, to cause an explosion in Piccadilly Circus, "the center of the world," as Verloc's controller calls it.It's impossible to watch the film now without thinking of 9/11 or the London subway bombings, a world of murderous, anarchic terrorism Conrad's novel and Hitchcock's film anticipated without quite comprehending.
Mrs. Verloc, played by screen vet Sylvia Sidney (she was the case worker helping the Maitlands in the afterlife in "Beetle Juice" 52 years later) is the closest we have to a rooting interest, though her concern seems less with the husband or the policeman who woos her than her little brother, Stevie (Desmond Tester).Hitchcock's direction offers a little of the comic relief more prominent in his other films, and some arresting visuals for their time, especially that of a fish tank which morphs into a London street under attack.
(Verloc's owning a cinema may be a comment on the deceptively transformative power of cinema, or a wink in the direction of his sideline activity in the novel, selling Edwardian porn.) Mostly "Sabotage" is a film that grabs you by the throat and never lets go, making its 80-minute running time feel like forever going by in an instant.It all comes down to the scene on the bus.
The picture is an adaptation of the Joseph Conrad's novel about Verloc (Oscar Homolka) , an anarchist bomber and owns a theater who actually is an unknown secret agent for the foreign government in London pre-WWII .
The movie has the expressionist German atmosphere , the suspense is continued and appears lurking and menacing in the theater , streets and during the bus scenes , when the boy carries the bomb .
Sabotage Based on Joseph Conrad's 1907 novel " The Secret Agent," the story concerns Detective Sergeant Ted Spenser ( John Lodger), who is disguised as a greengrocer in order to uncover the details of a plot to destroy London.
The owner of the theatre, Mr. Verloc ( Oscar Homolka), is involved in the plot, but his young wife ( Sylvia Sidney) and her younger brother Stevie ( Desmond Tester) are ignorant of it.
Soon feeling that something is up and under pressure from his co-conspirators, Verloc sends Stevie to deliver something for him, only the young boy doesn't know he's delivering a time-bomb.There are many standout scenes in this film.
For example, the suspense Hitchcock builds on the bus with the conductor, who ironically warns Stevie, " Don't set fire to me or the other passengers." The last is the entire sequence in which Mrs. Verloc finds out what has just happened.
At the tail end of his British period, at a time when standard cinematic technique and narrative convention were well established, Hitchcock was effectively a researcher, of the kind that hadn't really been seen since the days of Griffith.Sabotage is adapted from the Joseph Conrad novel Secret Agent, and it's worth taking a peek at a synopsis of the book to see the differences in the movie version, two of which are very significant.
There are a few pointless technical touches, such as Homolka's vision of London in the fish tank glass, or Stevie's face popping up among the crowd of boys, but these are not as distracting as they could be in Hitch's earliest pictures.Hitchcock rarely gave his actors any coaching, and relied upon a good professional cast to deliver the goods.
Little-known stage veteran William Dewhurst, who plays the "professor", is a joy to watch, and it almost looks as if his scenes are about to turn into Monty Python sketches.Much as I detest the phrase "experimental film", this was truly an experimental era for Hitchcock, or at least one in which his pictures were going through a process of natural selection.
Hitchcock makes centrepieces out of several scenes; the best of which include a cross-fade with an aquarium and a London street, the striking opening sequence that sees London go dark; of course, the infamous scene on a bus - and my personal favourite and the crux of the film - the climatic scene that sees saboteur Karl Verloc (played to perfection by Oskar Homolka) try to pass the blame for his actions on to the Scotland Yard inspective who rumbled him.
The only third party who does know is Sgt. Ted Spencer; the Scotland Yard inspector employed to work a vegetable stall next door as a cover to investigate Mr Verloc.This film is most famous for the sequence that sees young Desmond Tester carry a bomb onto a packed London bus.
By having the story run the way it should, Hitchcock showed early on the sort of flair that would ensure Psycho a place on 'best film' lists forty five years after its release.
It's obvious why Joseph Conrad's novel appealed to the great director, as the story itself is packed with suspense and Hitchcock always makes the best of it.
Based on a Joseph Conrad story - The Secret Agent - Sabotage presents us with an Eastern European terrorist living in London with his unsuspecting British wife and her young brother (Tester).
Unfairly overlooked by most film critics in favour of Hitchcock's more famous British movies like "The 39 Steps" and "The Lady Vanishes", this thriller actually surpasses both of them in terms of agonising suspense and story.
The jocular response is "All the more reason for me.." just as the conversation on marriage with the milkman in "Blackmail." In "Sabotage," there is a brief mention of having a child from the marriage—indicating that the marriage had little physical relationship, probably because of the wife's interest in raising her young brother with their meager means.The kissing scenes in Hitchcock's film are noteworthy: "Notorious," "Marnie," "Torn Curtain," "Topaz" etc.
Yet, "Sabotage" is a good film despite these flaws."Sabotage" is interesting if only because it is a great example of Alfred Hitchcock's talent for building suspense.
It is Pure Hitch and even though in Later Years He Commented on Regrets concerning a Major Plot Point, it is Exactly that Plot Point that Exclaims His Unorthodox Artistry and Experimental, but Polished, Flourishes that made Alfred Hitchcock a Film Artist of the First Order.The Film's Ingredients: Actors Sylvia Sidney, Oskar Homolka, and Desmond Tester are Superb and Fleshed Out. In Melodramatic Cinematic Terms the Center by which Hitch Unleashes His, now Familiar Themes within a Movie Making Playground are Classic and Copied to this Day.The Cityscape Terrorism Plot has become a Timeless Time-Bomb.
Why Homolka didn't just pack it in and call off the bombing is not quite explained.Sabotage certainly does have the usual Alfred Hitchcock tension built into the film.
And a Bomb On a Bus. Released in 1936 - This intriguing early film directed by Alfred Hitchcock contains a great opening scene where the electrical power goes off all over London, which is caused by a willful act of sabotage.The camera then gives the viewer a sweeping panoramic view of the situation, scanning over the city that's now in shadows and blackness with an emphasis placed on selected historical sites.This excellent beginning immediately grabs the viewer's attention as Sabotage's gripping, well-crafted story gets underway, moving the action along at a fine clip.Adapted from Joseph Conrad's novel "Secret Agent", Sabotage tells the tale of a Scotland Yard undercover detective who is hot on the trail of a suspected saboteur who's part of a diabolical plot to set off a powerful bomb in broad daylight in downtown London.When the detective's cover is blown, the plot begins to unravel and go haywire.Even at this early phase of Hitchcock's career as a director, it's plainly obvious to see that he had something of a strong fascination with butcher's knives, already.Featuring a really strong cast, this first-rate, b&w Suspense/Thriller has a running time of only 76 minutes..
This isn't one of Hitchcock's finest...it's an example of what happens when a filmmaker relies overmuch on a transcription from the written word, rather than conceiving things anew to make it all work as a film.The acting is mechanical, the characters are all revealed to us up front to be exactly who they are with no discovery or irony, the outcome as plainly inevitable as clockwork.But there are images of note...particularly Verloc imagining London blasted into ruin as a film frame jammed in front a projection lamp and then melting.
It is not a Hitchcock film without a memorable or suspenseful set-piece, Sabotage has those, the highlights are the scene on the bus with the bomb and the death of Verloc though Verloc imagining London in ruin is chilling stuff too.
However, "Sabotage" lacks one key element keeping it from really being a classic: context.For a basic plot summary, "Sabotage" sees an English theater owner (Oskar Homolka) and his wife (Sylvia Sidney) get caught up in an espionage plot with shades of terrorism.This movie is classic Hitch through and through.
This is probably one of Hitchcock's better-known movies from his early British period, but that's only because of the famous "bomb on the bus" scene.
The movie stars Sylvia Sydney, a New Yorker by birth, who also appears in the film as an American married to Oscar Homulka, a terrorist by the name of Verloc, and John Loder, an under-cover detective for Scotland Yard, who assumes the role of a green grocer and keeps an eye on the evil plots of his neighbor Verloc, who runs a cinema as a front for his gang of conspirators.
Mrs. Verloc's brother's role, played by Desmond Tester as Stevie must be the most heart-wrenching child character in Hitchcock's body of work.
The excellent Oscar Homolka, Sylvia Sidney, John Loder and that winning youngster Desmond Tester, are held tightly to the frontier of plot development and, inside the slender confines Hitchcock allows them, supply thoroughgoing characterizations.For reasons vague, minor cinema owner Verloc has been ordered to terrorize London.
I thought the film was filled with great performances, most notably Sylvia Sidney (who is very beautiful by the way!) and her husband Oskar Homolka.
The most memorable sequence in "Sabotage" (you'll know it when you see it end) contains what Mr. Hitchcock later admitted to be a misjudgment in the way a character's demise is conceptualized.****** Sabotage (12/2/36) Alfred Hitchcock ~ Sylvia Sydney, Oscar Homolka, Desmond Tester, John Loder.
There is suspense, there are funny scenes, but Sabotage is, compared with The Man Who Knew Too Much or The 39 steps, a rather serious movie that investigates the dark sides of the condition of human nature in modern times.
Because there is another character, Mrs. Verloc (played by Sylvia Sidney), who will eventually come to realize what she has been slowly fearing all along -- that her husband is the person behind the acts of sabotage -- she has to lose a person close to her to take action.
Watching Alfred Hitchcock's early British films is a treat for this viewer, particularly in seeing the director's experimentation with themes that will become better known in his more famous American movies.
"Sabotage" becomes an intriguing psychological drama even after the early revelation of the parts his key characters play in the story.Particularly vile is Karl Anton Verloc (Oscar Homolka), a terrorist conspiring to plant bombs in association with an underground cadre.
'Sabotage' is a film that Hitchcock did not like later in his life.
'Sabotage' is a neat little thriller directed by Alfred Hitchcock when he was still working in Britain in the 1930's.It has many flaws, but also contains one of the best, most suspenseful scenes you'll find in a Hitchcock film.
Hitchcock actually regretted filming the breathtaking sequence where an innocent young boy naively takes a bomb on a London bus, after negative critical response.
He's really a terrorist plotting evil deeds against London, but his wife remains largely unaware until her live-in teenage brother Stevie is killed as a result of Verloc's actions.Some great scenes and ideas presented here.
Desmond Tester as younger brother, Stevie, and John Loder as undercover detective, Ted, are merely serviceable.Notable moments include: Homolka visualization of a bomb's effect on a city block superimposed upon an aquarium fish tank; inner workings of a clock and a bomb superimposed upon each other; the incredible suspense of the boy on his way through town carrying the bomb, intercut with clocks he passes; the confrontation of Sidney and Homolka over the dinner table.Controversy met the film over the shock of the bomb's damage.
For the technique are few or no errors presented but on the performances Hitchcock doesn't look that the characters develop their emotions instead they just living the moment, so when the end comes no one believes the melodramatic reaction of Mrs. Verloc and the agent of Scotland Yard attitude towards her, this character in particular is at times quite pathetic.
A group of foreign agents are involved in terrorism blackouts and bombings in London, and a young wife (Sylvia Sidney) has no idea that her movie theater owner husband (Oscar Homolka) is one of them.
With its elements of meta-cinema and characters like Verloc and the bomb-maker, we can see that Hitch is using the Conrad original as a base for revealing his darkest thoughts...his power as a film maker to sabotage an audience's preconceptions...simultaneously empathising with a woman that no-one seems to listen to.
I'm not sure if in the final analysis the movie had anything important enough to say in order to justify showing the death of a child by terrorism, but I salute the director for willing to attempt it from Conrad's story.Oscar Homolka is quite a bit more handsome than I've seen him in other films, although it's interesting to note that the film features absolutely no romantic scenes or signs of affection between his character and his wife, played by the lovely and talented American actress Sylvia Sidney.
In this 1936 film from Alfred Hitchcock, a foreign terrorist group is operating in London, and their agent (Oskar Homolka) operates a movie theater as a cover, along with his unsuspecting wife (Sylvia Sidney) and her teenage brother.
Basically Karl Verloc (Oskar Homolka) is a cinema owner and a member of a gang planning to sabotage operations in London, and he lives with his wife Sylvia (Beetlejuice's Sylvia Sidney) and her teenage brother Stevie (Desmond Tester). |
tt0095740 | Nightmare Beach | At dusk, a number of bikers are standing together outside a prison as if in mourning. Inside, Diablo, a prisoner, is led down "the mile" for his execution. When strapped in the electric chair, Diablo screams and curses at the guards, in particular the police officer, Strycker. Before he is executed, the prison warden asks if he has any last words or make a last statement. Diablo says: "I've been framed, but I'll come back to get even!" The switch is thrown.A few days later, a local policeman says: "welcome to spring break, the annual migration of the idiot". Thousands of college students are flocking up and down the Florida east coast for their week of spring vacation, settling in on Fort Lauderdale. Two teenage boys, Skip and Ronnie, are checking into a small hotel where Skip is recognized by the hotel desk clerk as the quarterback who threw an interception at the Orange Bowl.Meanwhile, the cops learn that Diablo's body has been taken from the cemetery. Reverend Bates, who was present at the execution, is at the cemetery, and he reminds everyone of Diablo's last words. That night, a girl is hitchhiking, and a biker clad in black leather stops. She asks the biker if he is going to Manatee Beach for spring break, and he slowly nodes his head. After driving at a breakneck speed, the girl complains. The biker stops and lets her off, and then electrocutes her to death with a system attached to the motorcycle.The next day, Skip and Ronnie almost get into a scuffle with the Demons, the motorcycle gang whom Diablo was the leader, outside a local bar. Officer Strycher shows up and stops the Demons from doing anything, and the boys go inside the bar. Skip meets Gail, the bartender, who was seen in the opening scene at Diablo's execution. Skip does not seem to be into the bar scene, and Gail seems impressed by the football player. Skip also turns down a date with Rachael, the Reverend Bates' daughter. Ronnie is later picked up by Trina, a lady biker of the Demons. She leads him into an alley where the Demons proceed to beat him up and rob him. After the Demons leave the scene, the mysterious helmeted, black-leather-clad biker shows up when Ronnie is able to stand up. Ronnie takes a swing at him, steadies himself with the motorcycle, and is electrocuted and incinerated.When the mayor of Fort Lauderdale hears about this latest killing, he wants to cover up Ronnie's murder so that no one will suspect a serial killer. While looking for his friend, Skip spots Trina wearing a football medal similar to the one Ronnie had. She tells Skip that she got it from her "old man", but Skip, who does not believe her, follows Trina to the Demons hide out. Skip is spotted and captured and when the Demons prepare Skip for another brutal beating, Strycher arrives with a warrant; he is looking for Diablo's body.Back at the hotel, a voyeuristic clerk is murdered while peeping through a small hole in the wall of a closet. Kimberly, a student having sex with an older man and providing him with sad stories about her parents lost business (in order to exact pity/pleasure compensation), sees the peephole and an eye looking through it. After sending the man on his way, Kimberly runs to check the closet and finds the dead man. Before she can escape in the elevator, the killer murders her.Gail goes with Skip, first to the hospital for his injuries, and then to the police station to report Ronnie's disappearance. Later, Skip waits for Dr. Willet in the doctor's car and demands to know where his friend is. Dr. Willett tells him where Ronnie is buried. Skip travels to the cemetery where Strycher finds Skip, threatens him and orders him to leave town.Meanwhile, Dawg (the Demon's new leader since Diablo's demise) is arrested for the hotel murders. At the same time, Skip hides out at Gail's place where he tells her that someone might have killed Ronnie. Together, they catch Trina alone and she tells him she does not know who killed Ronnie, and that Diablo did not kill Gail's sister Mary (the murder for which Diablo was blamed and executed for). Earlier, Diablo's innocence was verified by Strycher, who told the mayor, "you wanted a patsy," in reference to Mary's death. Skip and Gail suspect that Officer Strycher to be the one responsible for the killings. They sneak into his place and find photographs of the dead girls.That evening, the Demons bust Dawg from the county jail. When Skip and has a run-in with Strycher, the Demons show up. Dawg shoots Strycher, and the bikers drag the wounded officer around on a chain until he is dead. Gail finds Diablo's corpse at the gang's hideout and soon the murderer arrives where he reveals himself to be Reverend Bates, who tells Gail that he has been killing people whom he believes are sinners (and admits to the murder of Mary). Skip shows up in Strycher's car, and he and Gail try to escape from the reverend. Bates chases after him, but wrecks his motorcycle and is electrocuted by power wires. | murder, prank | train | imdb | You get young people partying, 80s metal non stop, wet t-shirt contests, pretty girls making a buck or two on the side with older gents, sharply dressed biker gang, shady local government figures, and a leather-clad masked killer who offs everybody in high voltage fashion.
The story isn't very special, a beach town biker gang leader gets fried on electric chair, while John Saxon the sheriff and Michael Parks the doctor see to it.
I'm not a big fan of this type of film, but Nightmare Beach succeeds where other slashers fail because it doesn't try to be anything that it isn't, and the focus is always on the dumb teens at the centre of the story and the over the top murder scenes.
The movie seems to take a lot of influence from Lamberto Bava's 'Demons', as trashy eighties metal is mixed in with just about every sequence...and was that the logo for said film that I saw on the back of the biker's shirts?
A biker by the name of Diablo was put to death by electric chair after supposedly being framed for murder by the local officer, and now the authorities have a problem on their hands as the biker going round electrocuting people threatens the business boom.Umberto Lenzi's career peaked in the late sixties to early seventies with Giallo classics such as Seven Blood-Stained Orchids and several awesome crime flicks such as Almost Human.
While Nightmare Beach is nothing like as good as Lenzi's earlier efforts, and certainly doesn't represent a return to form, at least this film is enjoyable throughout, and personally I didn't care too much that I know the director is capable of better.
The electrocution style murder scenes are well shot, and while they don't all look particularly realistic; and don't feature much in the way of gore, it's nice to see a slasher that doesn't just feature knife killings.
I hoped that the latter would be the closest to the truth as I opened the jiffy bag in which my shrink rapped VHS arrived in and placed it into my video recorder
It opens with a menacing looking guy whom we later find out is named Edward Diablo' Santor being escorted to the electric chair for being found guilty of the murder of a beach bunny named Mary.
So has Diablo kept his promise and returned from the grave to raise hell among the living?To describe this flick to you in the best possible way, I'd have to say it's like a late night Baywatch complete with a psychopathic killer working his way through the lifeguards!
Other than that, the acting isn't good enough to pass muster in a junior high school class play, the script is laughable and has holes big enough to drive the 3rd Armored Division through, the identity of the killer is painfully obvious long before the final unmasking and the film fails miserably at whatever it is it's supposed to be--it's too mild to be a slasher flick, it's not coherent enough to be a crime drama, it's far too obvious to be called a thriller and, despite its alternate title of "Welcome to Spring Break," there's not enough T&A in it to qualify as a decent T&A flick.
John Saxon, Michael Parks and Lance LeGault, usually reliable actors, must have needed to pay the rent to have appeared in this thing, but they're professional enough to give it their best shot; unfortunately, the odds are stacked against them and the whole picture looks like a really bad student film.
Here in his attempt to shamelessly imitate the success of American teen slasher-movies, veteran Italian director Umberto Lenzi bids you welcome to a lot more than just Spring Break!
Some people and websites describe "Welcome to Spring Break" as a Giallo, but that's probably just because its director is Italian and maybe even because the DVD-cover proudly depicts the image of a maniacal killer wearing a pitch black motorcycle helmet (which was one of the favorite disguises of Giallo-killers), but it's actually a full-blooded and prototypic slasher in the trend of "Friday the 13th", "Happy Birthday To Me", "April Fool's Day" and other so-called holiday-themed splatter junk.
Try and raise confusion by suggesting the killer may be the vengeful reincarnation of a wrongfully executed biker, cast the almighty John Saxon as a sadistically corrupt cop, throw in some totally random images of a wet T-shirt contest and you got yourself the true definition of an 80's guilty pleasure.
If you've seen a few movies like this, it shouldn't be too difficult to guess the maniac's identity quite early in the film already, but at least Umberto Lenzi's efforts to provide red herrings are admirable.
Although, things turn bad when the biker's body is now missing from its grave and a serial killer biker has hit the scene and is killing teenagers.
When watching this, I was thinking that I was going to get mostly a slasher film, but Umberto Lenzi (who's going by Harry Kirkpatrick for the occasion) seemed more occupied with the pointlessly low-brow partying.
This costs the mystery element of the story with Porky's-Revenge of the Nerds II antics winning out.This low-budget, b-grade effort is pretty much a loudly obnoxious copy and paste slasher/goofball item that recycles the usual stereotypes, clichés and red herrings with less than desirable results.
Nicolas De Toth makes for a sluggishly vapid heroine and the foxy Sarah Buxton's fine performance adds the much need sparks in their pairing."Welcome to Spring Break" is averagely plain, which in the final product I didn't find to be as fun as it could have been.
The clichéd title (Welcome To Spring Break) makes this sound like an '80's T&A teen comedy, but it's not.
A biker is juiced in the electric chair and soon the teens on Miami Beach on spring break start dying, at the hands of a maniac riding a motorbike and wearing a helmet to hide his/her identity (Night School?).
The movie has average production values, but scenes of real spring break action which is shown frequently is distracting, and the beach the thing takes place on is always cloudy.
Also known as Welcome to Spring Break, this is in fact a rather uneasy mix of slasher and beach party blow out.
"Nightmare Beach a.k.a Welcome To Spring Break" is an interesting addition to the 80's slasher genre in many ways, firstly the beginning where we have a guy executed for the murder of a local girl, then swearing revenge that he'll return to punish everyone involved, is certainly interesting.
Then shortly after a leather glad biker is randomly picking off youngsters on spring break by mainly electrocution, is certainly quite different to the usual stalk and slash deaths of this decade and could have offered something fresh and original, but it doesn't and rather quickly becomes standard and by numbers, which isn't a bad thing but it does border on bland at times.But given the fact that this movie was done by an Italian director, who is known for over the top kills and thrills, and adding in sleaze, this movie doesn't really have any of that.
The first half of the film is very underwhelming and light on momentum, and by the time the gore rolls in is a saving grace and the mystery element does work, as there are a few suspects to choose from and some of the deaths are quite nasty and inventive, but the endless scenes of college kids getting drunk just isn't interesting enough and gets tiresome rather quickly.It's always nice to see a familiar face in these movies though and that is John Saxon who does give an interesting and menacing turn as the local policeman, but seems rather bored at times and going through the motions, but despite all that he does give by far the best turn, but his earlier work is far better (Black Christmas, A Nightmare On Elm Street & Tenebre).
But the same cannot be said of the two main leads Nicolas De Toth who's about as fun as a wet fish and very wooden and Sarah Buxton who's very beautiful but shows no range.All in all "Nightmare Beach" comes nowhere near to becoming a slasher classic, but it's still okay and it does have some tense moments that make it better than the usual late 80's slasher movie..
Umberto Lenzi's possible and probable name change to Harry Kirkpatrick shouldn't have mattered much at all to anyone who might have caught a glimpse of this highly dreadful U.S. made film (titled as WELCOME TO SPRING BREAK).
Nicolas De Toth and Rawley Valverde play Skip and Ronnie, a pair of college football players who, along with thousands of other like-minded youngsters, head to the beach for spring break in search of sun, sea, sand and sex.
The pair's fun is interrupted, however, when they get on the wrong side of the town's local biker gang, and a mysterious killer begins to bump off the Easter revellers in truly shocking style.Hiding behind the pseudonym Harry Kirkpatrick and shooting on location in Fort Lauderdale with an all-American cast, Italian horror director Umberto Lenzi is clearly intending to pass off this 80s slasher as a product of the US of A; to complete the illusion, he sets his sexy spring break shenanigans and murderous mayhem to a suitably loud hair metal soundtrack (he's not fooling me though: with a Claudio Simonetti score that sounds like leftovers from the Demons and Phenomena soundtracks, a really silly motorcycle that electrocutes its pillion passengers, and a daft denouement that could have come straight out of a giallo, this film's Italian origins seem only too apparent).Whenever Lenzi's attention is focused on either the wild antics of the sex-mad teens (wet t-shirt competitions, drunken zany pranks etc.,) or the gruesome activities of the psycho killer (best death: the roasting of a young woman in front of an open incinerator), Welcome To Spring Break is reasonably enjoyable trashy fare.
Sadly, the plot frequently wanders into territory far less likely to entertain, the business with the bikers soon getting tiresome and a ridiculous sub-plot about the town's corrupt officials (which sees John Saxon slumming it as a sleazy sheriff) only serving to add to the tedium.All in all, this is a pretty uneven effort, one for those who have already seen the slasher classics and wish to explore lesser known examples of the genre, or who simply enjoy their 80s horror extra cheesy.4.5 out of 10, rounded up to 5 for all those lovely, big-haired, 80s beach babes..
This one of those goofy slasher movies which lacks those elements that bring cheesy entertainment and isn't even any good on a so bad its good level.Following the execution of a bikey leader a mysterious biker goes a killing spree during spring break in Florida, dispatching his victims mainly by electrocution.
Even the old hands like Michael Parks and John Saxon don't exactly distinguish themselves, phoning in poor performances.The whole movie just trundles along each scene trundled through in a workman like fashion by the directors and actors with no flair or style right up till the Scooby Doo style plot resolution.
Even the exploitative elements fail to disappoint; there is little gore other than in the lame and fake looking deaths by electrocution and for a slasher movie set a spring break it is remarkably chaste.
What is left over is bad actors going through the motions in the paint by numbers plot and a lot of padding, involving spring break hijinks, some of which I think was meant to be funny and filler subplots like the one involving the bikey gang, which isn't even properly resolved.
Executed biker returns from the grave and heads to spring break to kill the girl who sent him to the electric chair.
Yes, I find it interesting that the first review I saw for this movie called it a feel good slasher flick.
Well roll me is flour and slap me in a skillet...ah musta missed that part of the movie.What this movie has: Sarah Buxton, John Saxon and Michael Parks.What this movie is missing: Action, suspense, tension, and much of anything associated with slasher flicks, including the all necessary sleaze factor.A biker affectionately known as Diablo is put to death in the electric chair for the murder of a young woman.
A few days later his body ends up missing from his grave, unfortunately at the same time spring break week begins for this beachside town.
It aimlessly wanders about its story with John Saxon, well...being John Saxon, Michael Parks being assured his career has sunk this low and a killer with an amazingly obvious identity who couldn't scare a timid cub scout let alone inspire chills in anybody watching this who succeeded in staying awake through it.It does succeed in telling its story from beginning to end, but it does not succeed in providing a very threatening killer or much blood and sleaze as one would expect from a slasher flick..
Make no mistake though, WELCOME TO SPRING BREAK (the titling I saw on a decrepit old home video tape) is a trashy 80s slasher with all the good/bad things that implies.
Usually he's the calm professional law enforcement official in these things (BLOOD BEACH) and it was nice to see him chew the scenery.The killings are all appropriately gory and like Umberto Lenzi's giallo creations the murderer has a back story that goes beyond the obvious "back for revenge" plotting.
This is a movie filled with nightclubs, rock bands, spandexed bimbos, square jawed heroes with feathered hair, and everyone dresses like they just walked out of a Stryper video.No screwing around in the woods, though for a film supposedly set during spring break there wasn't one pair of bared, drunken tits in the whole shebang.
Welcome to Spring Break (1988) * (out of 4) Notorious Italian director Umberto Lenzi traveled to America to make this slasher film, which is one of the worst out there.
A biker gets sent to the electric chair but he swears he was framed by a local cop (John Saxon).
The biker screams he will return for vengeance and after his death it just happens to be spring break.
Director Umberto Lenzi, working from a slim, yet serviceable script by Larry Kirkpatrick (who also wrote the equally dumb, but satisfying "Primal Rage" for Lenzi), keeps the proceedings lively and eventful by tossing in a rowdy gang of hog-ridin' hellions called the Demons (!), a bunch of thrashing' heavy metal tunes roaring' away on the soundtrack (the theme song "Don't Break My Heart" by Kristen really smokes), a few wet t-shirt contests, several grisly murder set pieces (Alessandro Rambaldi did the great, gruesome gore f/x), a throbbing' rock score by Goblin's Claidio Simonetti, crude condom gags, plenty of attractive babes in skimpy bikinis, a "Jaws"-style "let's keep this homicide stuff quiet 'cause it's bad for business" cover-up conspiracy sub-plot, more idiotic horny toad college revelers than you can shake an empty beer can at, and even a little gratuitous female nudity.
As if feeling like a social pariah in the 80s isn't bad enough, there is also a killer cruising around the beach on a motorcycle killing any immoral party animals.
Sheriff Strycher (John Saxon) thought he just witnessed the killer be executed by the State but now it looks like he will have to work some more.
Meanwhile, Skip teams up with bartender Gail (Sarah Buxton), whose sister was murdered by the alleged killer, to do their own detective work.More 80s Italian Florida-filmed madness.
This one easily trumps stuff like Miami HORROR because 1) it is an amazing time capsule of 80s spring break and 2) it isn't boring!
Director Umberto Lenzi doesn't seem too bothered with details (how is it that Saxon shows up right before a fight anywhere in the county), but the electrocution murders are well staged.
Umberto Lenzi (aka Harry Kirkpatrick) made this film during the teen slasher era of the 1980's.
But, the film did have its moments, like when John Saxon gets dragged off by the biker gang, well, he deserved it.
Not your typical Lenzi film, but ok for the good 'ol 80's teen slasher era..
Slasher Movie Meets Spring Break Epic with a Hint of "Jaws!".
"Cannibal Ferox" writer & director Umberto Lenzi appropriated the spring break beach movies, the slasher movie, and the murderous animal movie and came up with the imaginative but ghoulish Welcome to Spring Break.
Sleazy Police Chief Strycher framed the biker for the murder at the insistence of the paranoid mayor who did not want the town to acquire a bad reputation that might dissuade spring break students from populating their sunny beaches.
Later, after Chief Strycher (John Saxon of "Enter the Dragon") has run him out of town, Skip teams up with Gail (Sarah Buxton of "Today You Die") to learn who really committed all the murders.
Umberto Lenzi adopts the pseudonym of Harry Kilpatrick, but he need not have concealed his identity because Welcome to Spring Break qualifies as an above-average whodunit.
Clocking in at 90 minutes, Welcome to Spring Break is not the best Lenzi movie, but it boasts a mystery, a genuine surprise, red herrings galore and several interesting characters..
~Spoiler~Welcome to Spring Break is an uninspired effort from Umberto Lenzi.
"Welcome to Spring Break..the annual migration of the idiot."A maniac in a biker suit and helmet is randomly murdering college kids visiting Manatee Beach on their Spring Break.
Questioning whether or not the murders are being committed by a recently executed biker gang member, Diablo, the mayor(Fred Buck)wishes to cover them up and hopes that corrupt cop Strycher(John Saxon, playing a mean, brutish thug with an ugly backstory that surfaces for the viewer when our protagonists search his trailer)and Doctor Willet(Tarantino regular Michael Parks)can keep the crimes hush-hush.
Skip also has run-ins with the bikers for his dead comrade had a series of altercations with them.Umberto Lenzi's slasher flick features the excess of the 80's. |
tt2714900 | Finding Vivian Maier | The film opens up cutting between footage of a handful of people, each in their home, and each pensively waiting to be interviewed. The brief snippets shown clarify that each will be speaking about their recollections of the same woman, as a part of finding insight into the mystery.
Switch to the filmmaker,John Maloof explaining how a trip to a local auction house, in search for old pictures to use for a book history of his neighborhood resulted in him bidding, and winning a box full of old negatives. John, goes through the massive quantity of negatives, describes how impressed he was by the quality of the images, quickly determined they were not relevant to his project and just put them away. That could have very likely had been the end of the story, if the power of the images had not pushed him to fall in love with photography. John confides that his photo hobby quickly motivated him to set up a darkroom and devote large amounts of time shooting. As he learned more about photography, he recognized that those negatives he had bought, then stored, were the work of a real master. In an attempt to confirm his suspicion, he selected about 100 images and put them online with the hope that the feedback would confirm his judgement as to the strength of the images. He got his confirmation!Mr. Maloof had the artistic vision and business savvy to go back to that auction house, track-down others that had bought Vivian's negatives that day and buy them all, returning the collection to whole. The amount of images was truly astounding, and total over 100,000, and unlike today's digital world, she was shooting primarily with a Rolleiflex Camera, a roll of 120 film holds 12 images.In addition to the film, John found receipts, notes and just enough information to attempt to find out who was this prolific mystery woman. Interestingly, it was not that difficult to discover who she was and people that knew her, the secret was that she had been a masterful artist. Everyone knew her as the slightly odd, but rather nice nanny.- Lane J. Lubell of Cinemashadow.com | violence, home movie | train | imdb | This element of mystery is what makes John Maloof and Charlie Siskel's documentary Finding Vivian Maier so intriguing, yet also leaves us wanting to know more.
The subject of the film is an unknown photographer whose art has been compared to the masters, though she never exhibited her work and little is known about her life.The photos, discovered by Maloof, display a segment of society invisible to many in the 1950s - the old, the poor, the black, the young, and the disenfranchised, a kaleidoscope of stunning images that poignantly capture the faces of humanity with humor and rare sensitivity.
The story begins with John Maloof reporting how he purchased a box of negatives at an auction in Chicago in 2007 for a book he was working on.
After stashing the box away for two years, Maloof decided to scan some images and post them on Flickr.Writing on the website that he had about 30,000 negatives of Maier's work that cover a period ranging from the 1950s to the 1970s, he requested direction, asking whether the photos are worthy of an exhibition or a book.
Still digging for more information, the second half of the film is devoted to discoveries the director made about Maier and they are not all pretty.What we do know is that Maier was born in 1926 and spent some time in France before working as a nanny for upper middle class families in the Chicago suburbs (including a brief time with Phil Donahue).
Though this has resulted in her work now being displayed in galleries all over the world, the question of why her photographs have not been accepted by the Museum of Modern Art is left unexplored.The bigger mystery - why she chose to withhold the photos from the world, of course, is still unknown and the film sheds very little light on this puzzle.
Like last year's Searching for Sugar Man, a documentary about Sixto Rodriguez, another unknown but very talented artist, Finding Vivian Maier is a fascinating ride.
The documentary "Finding Vivian Maier," written and directed by John Maloof and Charlie Siskel, tells the fascinating tale of a woman who lived and died in obscurity - then, through a serendipitous fluke of fate and an undiscovered talent for photography, became well known and celebrated long after her death.
The negatives, it turned out, belonged to a woman named Vivian Maier, born in 1926, who had spent most of her adult life taking pictures of the world around her - more than 150,000 of them to be exact.
Vivian never shared her work with the people in her life, even though the images were of a quality to rival some of the world's greatest and most famous photographers.
Intrigued by what he had unearthed - the treasure trove included many 8 MM films as well - Maloof decided to re-create the life of this talented woman by seeking out those who knew her and using their knowledge of her to help piece it all together.
It seems that Vivian spent her life as a nanny to the well-off families of Chicago; in fact, she was hired by no less a figure than Phil Donahue to look after his four children for a short time.Through the movie, there emerges a portrait of an eccentric, intensely private woman, who never married and was seemingly devoid of family, who kept her personal background a secret, frequently used pseudonyms, affected a phony French accent (despite the fact that she was a native New Yorker), voiced strong opinions on politics and society, and traveled the world with only a camera for a companion, continually documenting, through both stills and film, the world as she and few others saw it.One of the interviewees describes Vivian's work as reflecting "the bizarreness of life, the incongruencies of life, and the unappealing- ness of human beings." Yet, what comes through most vividly in her work is its humanity, her ability to capture the essence of people from all ages and walks of life in a single moment in time.However, if you thought "Finding Vivian Maier" would turn out to be one of those unalloyed "feel good" movie experiences, you'd be sadly mistaken.
and becoming increasingly reliant on the kindness of strangers before death finally came for her in 2009.Yet, now her work adorns the walls of many an art gallery the world over, as ever-increasing legions of admirers come to appreciate her talent.For all its speculation, the movie demonstrates at least a certain amount of self-awareness by admitting that it may be a trifle unfair to judge a person and the life she led based entirely on how others saw and felt about her, without the person being given a chance to clarify or defend herself.
Vivian Maier's personal and photographic story, along with John Maloof's story relative to purchasing the photos and fleshing out information on Ms Maier are the subject of the movie and the two interwoven stories are most interesting.Interviews of those that knew her or her work are in the movie, many of her photos are shown, as are shows of her photos.I, like the previous reviewer, would like to see the movie again.
The story of an eccentric, possible mentally ill mystery woman and her prolific photographic work.
The film starts with those who knew her, openly expressing their amazement to her unknown and mysterious life as a street photographer, filled with the images she kept a secret from everyone.
And, it's just debuted on Netflix in case you'd like to give it a try, as it's amazingly original and worth your time.When the documentary begins, a young and rather unusual young man, John Maloof, talks to the camera to explain how he came to know Vivian Maier.
Overall, it's less like a biography and more like a forensic case where some people are trying to re- create a dead person by interviewing all those who knew her during her odd life as well as using Maier's own photographs, film footage and audio tapes.
And, what's really unusual is that most of the people she knew seemed to have no idea that she was a great artist...as she took this secret to her grave.Fascinating....this is probably the word that best describes this film.
This film is recommended.Filmmaker John Maloof stumbles upon a trove of unwanted photos at an auction by a relatively unknown artist named Vivian Maier and this documentary, co-directed with Charlie Siskel, wants to make her well known and just may do so.
His Antique Roadshow story becomes the basis for his documentary, Finding Vivian Maier, and it's almost too obvious that this filmmaker wants to create a legend and myth in this well done infomercial for this talented woman.
Through interviews and archival footage of her photographic work, we learn little about this eccentric artist's life, she remain an enigma.
Finding Vivian Maier tries to uncover this artist's personal life, but never achieves that goal, due to conflicting stories by interviewees and the lack of physical evidence left by Maier herself.
None of her pictures were ever published during her lifetime, but after death, street photographer Vivian Maier attained fame when undeveloped negatives from her deceased estate were published online.
This documentary from first-time directors John Maloof and Charlie Siskel follows their attempts to probe into Maier's background and discover why she took so many photographs, yet never shared them with anyone.
Some have commented that the documentary spends far too much time towards the end on the question of just how unbalanced Maier is (especially considering that nobody still knows for sure); then again, it is always understandable why Maloof and Siskel are so set on pursuing her past.
First, I would suggest everyone of you to go online and watch "Vivian Maier: Who Took Nanny's Pictures?" produced by the BBC, and please come back to read the rest of this review.The BBC documentary being released a few months before John Maloof's film, I was interested to learn what Maloof had more to show or tell about Vivian Maier, and risk a unflattering comparison with professional journalists.Technically, I have to say that "Finding Vivian Maier" is not impressive.A documentary about a photographer would be asking for voice-over narration, to give full screen-time to the photos, videos and belongings of Vivian Maier.
All of it went way too far in making him seem like he was some kind of a savior who gave the world a gift -- and ignores the fact that Vivian was the kind of artist who only wanted to practice her art without all the hoopla and celebrity that follows most of the pretentious egocentric photographers like Annie Leibowitz or Cindy Sherman -- where the personality of the photographer becomes more important than the images themselves.
Well - That, my friends, is probably something which we'll never, ever know for sure.But, with that said - I certainly must give John Maloof (this documentary's co-writer/co-director) a helluva lot of credit for his thoughtful and extensive investigation into the identity of this very private, yet incredibly prolific, street-photographer who, in her lifetime, took an estimated 150,000 photos (most of which were never developed).It was only by a stroke of sheer luck that Maloof came across this surprise discovery of negatives amongst Vivian's possessions, which he had purchased at an auction (of her abandoned personal property) in 2007.Vivian (who worked as a nanny for various families for nearly 40 years) apparently never showed her photographic work to anybody.
But thanks to Maloof's uncovering of Vivian's personal possessions, it is now realized that her photographic-eye was truly exceptional.For the most part, this documentary was quite an extraordinary experience for this viewer.
She seems not to have had any creative training or worked professionally as a photographer, had no book published, no exhibitions, no freelance commissions yet after her death a whole treasure trove of her wonderful creative work is slowly being revealed.I enjoyed this documentary made by John Maloof (who seems to have acquired the largest amount of her work) and Charlie Siskel and their credible attempt to piece the life of Maier together.
There are plenty of people talking here, the children, now adults, who she looked after, photographers Joel Meyerowitz and Mary Ellen Mark, neighbors who knew her when she was old but they are all left to tell their stories straight to the camera.Many of her photos are shown in the film and of course they are wonderful to look at but her work really can't be considered strong enough to change any notions of the meaning of photography.
Screenwriters, producers and directors John Maloof and Charlie Siskel's documentary feature which they co-wrote and produced, is inspired by real events in the life of a 20th and 21st century American street photographer.
It tells the story about a photographer who in the late 2000s in America, found some property which belonged to a nanny.Distinctly and engagingly directed by filmmakers John Maloof and Charlie Siskel, this finely paced documentary which is narrated by John Maloof and interchangeably from multiple viewpoints, draws a gripping and multifaceted portrayal of secretive activities which began in early 20th century France.
While notable for its versatile milieu depictions and reverent cinematography by cinematographer John Maloof, this narrative-driven story about the eccentricities, family relations, interpersonal relations, identities and views on humanity and men of the person in question where interviews with friends, family members, photographers and acquaintances communicates objective stories about someone who got significantly near whilst keeping a pivotal distance, depicts an extraordinary and unsettlingly in-depth study of character and contains a timely instrumental score.
This somewhat historic, humorous and atmospheric found photography documentary which is set mostly in America and France in the 21st century, where an, according to this representation, reclusive and autonomous person is given to the limelight and where the unpublished work of a daughter and sister who managed to remain a mystery for as long as she could is presented, is impelled and reinforced by its fragmented narrative structure, substantial and cinematically appropriate character development, rhythmic continuity, psychological undertones, noteworthy examination of its central theme and the bilateral photographs.
This is story about unknown photographer Vivian Maier who is discovered after her death which you probably already know since you're reading the reviews.
Finding Vivian Maier shoulders the task of condensing a life time of over 100,000 photographs in to an hour and a half.
"Finding Vivian Maier" was certainly one of the more interesting documentaries that I've seen in quite a while.Eccentric, secretive, enigmatic - Vivian Maier (who, besides being nanny) was also an amateur street-photographer with an exceptionally acute "photographic-eye".To me, the most surprising thing about Vivian was that throughout her lifetime she never once showed her photographic work to anyone (and yet her output was phenomenal).
This is a fascinating documentary about Vivian Maier , an odd woman , but a genius with a camera.
John Maloof , the director of this film started to discover , that these pictures where extraordinary and he set out to find what this woman , and her life , was all about.
Well, get to know Vivian Maier.This is a wonderful documentary about an eccentric woman.
Like me, you'll find yourself Googling Vivian Maier to find out details of her life, her work, and this story.
Vivian Maier, living incognito as a nanny, led a mysterious double life – unbeknownst to all, she was a prodigious street photographer, taking more than 100,000 pictures in her lifetime.
Finding Vivian Maier is part mystery, part documentary, part biography, and never boring.O'Toole likes the story behind the work.
I have only the highest admiration for the photographs of Vivian Maier that I have seen on this documentary..
He discovered these amazing street photographs taken by a woman named Vivian Maier and started posting them on his blog.
Through interviews of people who knew Vivian years ago, Maloof tries to understand what motivated this mysterious woman to take these brilliant photographs.
The documentary works extremely well as this mysterious character study that begins to take form through Vivian's photographs and interviews with the few people that actually had interacted with her when she worked as a nanny for a number of families in New York.
An unknown street photographer pops onto the scene posthumously, changing the landscape of the art form, Finding Vivian Maier is that story.
Finding Vivan Maier is a documentary about the reclusive and mysterious woman who devoted her life to taking photography, and yet, never let any of it be seen.
Omitted from the documentary are interviews with those members of the art world that still fail to acknowledge Vivian Maier as a distinguishable photographer, and it certainly is a missed opportunity.
But this obscured and even troubled woman left an unusual trail of breadcrumbs in the forms of unpublished photo negatives as evidence for us, and the producers of the film Finding Vivian Maier, to construct an understanding of this riveting individual.
It certainly gave a more rounded view of Miss Maier than the BBc documentary in my opinion.I look forward to continue to enjoy Vivians images that may even inspire me to pick up a camera..
This film covers the fascinating discovery and commercializing of one of the un-seen masters of 20th century photography.You probably want to start with the BBC documentary about Vivian Maier before watching this one, called The Vivian Maier Mystery.
The BBC film also presents multiple viewpoints on key topics, and was not financed by the company that sells her prints.That said, the tale as told in Finding Vivian Maier is good reality TV drama, and has more of an emotional tug -- and really makes you want to go out and buy some of this artists' work..
"Vivian" introduces us to a unquestionable talent, one shaped by mysterious forces and incidents we might never really know or understand but presented in such a way that we might never forget who or what we have seen.A photographer finds an incredible amount of photos, films (developed and undeveloped), and the trigger is that the artwork is unquestionably beautiful, haunting, special, and begs the audience to inquire how and why it was made.
She is revealed to be a nanny and a caretaker.As layers are removed and more information is provided, we see a complex and mysterious individual who had the obsessive need to document what she saw, and with the help of a very good camera, an excellent eye for visual composition, and some interesting emotional baggage, we put together most of the puzzle.The documentary takes you through interviews of some of the children she took care, the impressions she made along the way.
FINDING VIVIAN MAIER (2014) **** An intriguingly bittersweet documentary in the discovery by filmmaker John Maloof of a treasure trove of amazing photography and an unknown artist-who- should've been in the unlikely form of French-born nanny-for-hire Vivian Maier, an eccentric and at times frustrating source to pin point who she truly was, after Maloof goes on a journey into unraveling the shutterbug's lifelong mystery.
If, as Maloof does, we divide the footage in two, with one half spent interviewing people who met, knew, or were nannied by the elusive Maier, and the other wallowing in what can only represent a handful of the literally thousands of photographs she left behind then the photos win hands down and more than justify the film.
The movie itself has to tell the story the way that the person would want it to be told, and Finding Vivian Maier achieves it greatly.This documentary definitely perfects the genre.
Impressed in the quality of Vivian Maier's work Maloof began posting her photos over the internet.
He learned that Vivian Maier worked as a nanny and began interviewing the kids - now adults - that she took care of.
Maloof examined these photos and was able to locate her home town and learned that Vivian Maier's mother was a photographer too. |
tt1374989 | Pride and Prejudice and Zombies | Set in an alternate England of the early 1800s, the film opens with Colonel Darcy (Sam Riley) traveling to the home of a wealthy family to investigate the emergence of a zombie. He arrives at the home and sits with the family before taking out a small vial containing a particular set of flies that can detect the undead. The flies land on the house's patriarch, whose eyes turn red. Darcy breaks a glass and stabs the man in the throat before decapitating him. This frightens one of the young girls in the house, and she retreats upstairs. When she is discovered, she has turned into a zombie as well and proceeds to attack.Over the opening credits, we hear the voice of Mr. Bennet (Charles Dance) narrate the origin of the zombie outbreak, which is represented in the form of a pop-up book. The Black Plague hit London and began to create zombies. A wall was built to separate London from the zombies, leaving them in an area called The In-Between. It is said that the Four Horsemen are ready to rise up from Hell and bring about the apocalypse.The five Bennet sisters: Elizabeth (Lily James), Jane (Bella Heathcoate), Kitty (Suki Waterhouse), Lydia (Ellie Bamber), and Mary (Millie Brady) have all been trained by their father in the art of weaponry and martial arts after being sent abroad to China. Mrs. Bennet (Sally Phillips) wants her daughters to be married off to wealthy suitors. As it turns out, the Bingley family has moved in nearby and are throwing a ball, wherein Mrs. Bennet hopes that the young and handsome Mr. Bingley (Douglas Booth) will win over one of her girls. Elizabeth doesn't want to seek out a husband, to which Lydia makes a snide comment about Elizabeth not being able to attract men. She proceeds to chase Lydia out of the room.The Bennets attend the ball. Bingley instantly sets his eyes on Jane. Darcy is in attendance and takes notice of Elizabeth, but he makes comments that she is unappealing, which Elizabeth overhears. She walks outside tearfully and encounters a woman she knew named Mrs. Featherstone (Hermione Corfield), who is a zombie. Mrs. Featherstone is about to tell Elizabeth something until her head is blown off by Darcy. A horde of zombies then attacks the party, prompting the Bennet sisters to spring into action. As they slay every zombie in their path, Darcy instantly becomes smitten with Elizabeth when he witnesses her in combat.Jane is outside by herself on a rainy day and encounters a zombie. She kills it but then spots a zombie woman with her child. Jane hesitates and is attacked by the zombie. She is confined to her room, where it is feared that she may have been bitten. Darcy arrives at their home with the flies to detect a zombie, but Elizabeth catches each fly with her hand and returns them to Darcy.After Jane recovers, the sisters attend another ball for the Bingleys. There, Elizabeth meets the soldier Mr. George Wickham (Jack Huston), who seems to be charming and polite. He tells Elizabeth that he has had a history with Darcy and does not wish to further challenge him. Another group of zombies attacks the party, resulting in Bingley injuring himself (but not getting bitten), and Darcy joins Elizabeth in fighting the monsters.The Bennets are visited by Parson Collins (Matt Smith), who intends to marry one of the sisters. He initially sets his eyes on Jane, though he is told that she is with Bingley. He later tries to make a move on Elizabeth, but requests that she give up her life as a warrior, something that she adamantly refuses to do, even for a man. Mr. Collins later decides to settle with Elizabeth's friend Charlotte (Aisling Loftus).Elizabeth and Darcy meet with Darcy's aunt, Lady Catherine de Bourgh (Lena Headey), a notorious zombie killer with major authority. Lady Catherine, who has several scars on her body that she carefully hides as well as a black eyepatch over her left eye, wants Darcy to marry her daughter Anne, but Catherine's skill are also needed to fight off the zombies.Elizabeth travels with Mr. Wickham to the In-Between, an area outside of walled-in London but inside a royal moat, to a church filled with zombies, who feed on pig brains to keep themselves from going completely savage. Mr. Wickham wants Elizabeth to join him in helping the zombies. He also suggests that she run away with him, but she remains conflicted.Back home, Elizabeth is told that Darcy has convinced the Bingleys to move away. When Darcy approaches Elizabeth with a proposal of his own, she expresses her outrage at his actions and fights him in a duel. Elizabeth gets the upper hand, and Darcy leaves.Mr. Darcy writes Elizabeth a letter to apologize for his actions and to state that he separated Jane and Mr. Bingley for fear that Jane only wanted to marry Mr. Bingley for his wealth, having overheard Mrs. Bennet drunkenly mention it. Mr. Darcy also mentions that Mr. Wickham had tried to elope with Darcy's 15-year-old sister for her fortune. Mr. Darcy's letter states that he is battling zombies in London, and that they have overrun the walled city. Elizabeth is then cornered by Lady Catherine and her bodyguard Wilhelm (Ryan Oliva). Lady Catherine states Mr. Darcy has been intended to marry her sickly daughter, Anne, from their youth and confronts Elizabeth about rumors over Elizabeth and Mr. Darcy. When Elizabeth denies it, Lady Catherine instigates a fight between Elizabeth and Wilhelm in place of Lady Catherine who Elizabeth has refused to fight. Wilhelm attacks Elizabeth, but she claws his face and fights him off, causing him to get crushed under a pile of bricks. Catherine then holds her sward at Elizabeth's neck and states she doesn't know if she admires Elizabeth's skill as a warrior, or her resolve as a woman. She leaves Elizabeth alone.Afterwards, Lady Catherine decides to protect Elizabeth's family from approaching zombies and takes them to her estate. Elizabeth later finds out that Mr. Wickham ran off with her younger sister, Lydia and decides to go rescue her.Elizabeth and Jane travel to the canal on the outskirts of London where the Royal Army is blocking the last bridge out of the city. Elizabeth the leaves Jane behind in the army camp and hides her horse alone across the bridge to find her sister.Meanwhile, the zombies make their way toward London. Mr. Darcy then encounters Mr. Wickham at the old church and rescues Lydia in the basement. When a horde of zombies, who had been living normally until the pig brains they had been eating were switched with human brains by Mr. Darcy storm the cellar, Mr. Darcy escapes with Lydia.Elizabeth rejoins Darcy in the In-Between and helps him battle the undead. Darcy encounters again Wickham and fights him, eventually impaling him and seeing a bite mark on his chest, revealing he was undead all along. Before Wickham can kill Darcy, Elizabeth rides in and chops his right arm off and knocks him out. Darcy rides with Elizabeth across the bridge as other Londoners blow it up to keep the zombies away. Darcy is injured in the explosion and is rendered unconscious. Elizabeth tearfully admits her love for him.After Darcy recovers, he finds Elizabeth and tells her that he heard what she said on the bridge. They share their first kiss and agree to marry. The Elizabeth and Darcy have a joint wedding with Bingley and Jane, officiated by Parson Collins. Everyone attends including Lady Catherine, Mr. and Mrs. Bennett, as well as Lydia, Kitty and Mary. The two couples walk away together to live happily ever after...Until a moment during mid-credits when everyone sees something beyond the church gates. The now one-armed Wickham is leading the four zombie Horsemen along with a HUGE army of zombies towards them, ready for war.... | comedy, murder, violence, flashback, good versus evil, romantic, melodrama, revenge, alternate history | train | imdb | I know most people who love PRIDE AND PREJUDICE by Jane Austen are furious about this movie even existing, let alone being successful.
But I actually liked it a lot!I know the original classic fairly well (I'm a former high school English teacher and a current college librarian) and I was astonished almost from the very beginning at how much of the dialogue comes direct from Jane Austen's novel.
It follows the story of Pride and Prejudice so closely I kept looking for Keira Knightly to appear.The production quality however is what surprised me the most; it's incredibly high with great sets, realistic costumes, lighting and cinematography.
However, I am very glad that I didn't listen, because I feel like since this is a beloved classic book with zombies people may be upset that this movie was made in the first place.
The action is very well done and if you're a fan of women being in charge in an action movie then you will really like this!If you're a fan of Matt Smith then this is a MUST SEE, i've never watched Doctor Who, I'm not a fan of him (just b/c I haven't seen him in things) but he stole every scene he was in, he was excellent.
I purposely try to keep my reviews vague so as not to give anything away; the bottom line is this: if you're in the mood for a fun night with a movie with a crazy premise and some good action then I highly recommend it!I am quite surprised by the low rating currently (5.4); I imagine it is people who don't like seeing the novel turned into something with zombies.
The peculiarities of the novel are self evident and, when the zombie influences are absent, you could think you are watching another excellent version of Pride and Prejudice.
The zombie apocalypse has landed in the middle of Austen's prim and proper story, including the repressed attraction between Elizabeth Bennett and Mr. Darcy.Anyone expecting the serious undertones of Ms. Austen's1813 novel will be disappointed
but the title should have provided a pretty solid hint.
While her characters and general story line act as a structure here, it's really based on Seth Grahame-Smith's YA hit novel
delivering zombie battles and often zany humor.
The sets, costumes, dialogue and fight scenes work together to create an unusual movie experience that will generate plenty of laughs while not dwelling on the zombies or violence (it is PG-13).
Expect most critics to destroy this one because it's made simply for fun, not for art.Of course, any Pride and Prejudice spin-off (even one with zombies) must pay particular attention to Elizabeth Bennett and Mr. Darcy.
It's this element of strong women (physically and emotionally) that might even allow Ms. Austen to appreciate what's happened to her characters
were she alive to see it.Even though the film offers plenty of fun with laughs and action and romance, let's hope it doesn't kick off a new zombie-adaptation trend.
And the atmosphere kept a good mix of an old Pride and Prejudice feel while also adding a new element of dark zombie-apocalypse tension that I loved seeing.
There were a few parts that I rolled my eyes at, especially when things got a bit too dramatic between the lead characters Darcy and Elizabeth, but all in all it was a good movie that I enjoyed.
I was curious to see how it played on the big screen and was not totally disappointed in the effort.I must confess that I watched the Kiera Knightly version of Pride and Prejudice to get some feel for the story on film.
However, the adjustments made to the classic tale in order to fit into this zombie adaptation actually cause parts of the story to make more sense.Pride and Prejudice and Zombies isn't a bad movie.
The actors are magnificent and the argument stay hold to the original story, the origin of zombies it not only well explained but also is not abused and it stick with the drama perfectly.The scenes are beautiful, the costumes are gorgeous also the action scenes fit perfectly on the right time having the right length for it not being tedious or non sense.That post-credit just puts an awesome cliffhanger for a second movie that i will obviously going to watch.
It wasn't perfect, but I thought it was a pleasant surprise.So, while this movie departs from the classic story, my problems with Pride and Prejudice and Zombies don't have anything to do with those changes.
There's a considerable buildup with the rivalry between Mr. Darcy (Sam Riley) and George Wickham (Jack Huston) and the movie seems to be preparing you for a bad@$$ zombie fight.
I liked the tongue-in-cheek humour, how they decided to work in the zombie elements in and the movie boasts a dynamic lead performance from Lily James.
I would recommend this to people looking for an interesting mashup of genres, but I would also warn you ahead of time, if you're a fan of the classic novel, this film probably will seem like blasphemy..
I have to admit I'm coming to this film as someone who has never seen the original movie or read the book, therefore, I enjoyed it possibly more than someone who knows the story.
Wickham is a proper villain, the zombies are better placed as an integral part of the story instead of just a silly backdrop, the fight scenes are awesome, the zombie war more plausible if you will, and thank goodness they did away with a lot of the silliness like Wickham's weak sphincter muscles and the cauliflower heads (readers of the book will know).
I loved the acting in this movie, like I said Lily James stole the show, but Sam Riley playing Mr. Darcy also did an amazing job.
The bad taste and lack of respect of "Pride and Prejudice and Zombies" by Burr Steers is impressive, destroying the wonderful romance with a brainless and silly version.
( assuming you don't take anything with zombies in it too seriously.)The acting was good, the story was believable, the characters were developed and there was even some humour (Matt Smith added a lot of this).
Like most people, when I heard about Pride and Prejudice and Zombies being turned into a film, I scoffed.
With some surprisingly good visuals, a well developed history behind the story, and some great action sequences, I had a fun time with the film.Lily James stars as Elizabeth Bennet and Sam Riley as Mr. Darcy.
I think overall, it does what it set out to do, and that is to pull off an interesting twist on the classic love tale, even with that romance is actually rather weak.+Great action+Cinematography and landscape was set up well+Matt Smith+Lily James kicks butt-Romance is iffy-Sam Riley brings nothing new to the role of Mr. Darcy6.5/10.
And with each one the film grows more and more unbelievable and boring.'Pride and Prejudice and Zombies' may offer an interesting cross over type movie but it doesn't actually do anything with this offer.
'Pride and Prejudice and Zombies' manages to improve on both versions of the book (the original and the zombie version), with an exciting and entertaining plot, comedy that is actually funny, and plenty of action.
Pride and Prejudice and ZombiesIf zombies had existed in Victoria times the wealthy would've just thought them ugly peasants.Mind you, the affluent in this horror movie are fully aware of their flesh-eating epidemic.In the wake of a zombie outbreak, 19th century England's most opulent families are required to send their offspring away to be trained in marital arts.
This was the case with Elizabeth Bennet (Lily James) and her sisters (Bella Heathcote, Suki Waterhouse, Ellie Bamber, Millie Brady).The undead, however, are not Elizabeth's only adversary as she has found an infuriating rival in zombie-hunter Colonel Darcy (Sam Riley).Not as over-the-top as one would expect a pairing of Jane Austin and the living dead to be, P+P+Z is also not as insipid either.
I guess that was a good choice because you want to see some action and drama if you pay for a "Just-for-entertainment-movie"The cast, expect Sam Rileys, was really fitting.
Although I wasn't expecting a zombie parody to fully satisfy this need, I watched this film expecting a nice blend of comedy-romance-female badassery.P&P&Z can indeed be credited with some achievements (and even dare-I-say improvements to the original dynamics of the plot): the female characters are also warriors, there is an external motivator to the plot, other than the dull issue of who is going to marry whom, there is action and there is even the potential of well-justified character development and motivation for the two central characters (e.g. there's no much to justify the moodiness of Mr Darcy in the original, other than his minor family troubles, whereas in this one he is a seasoned zombie hunter who has seen and lived through a lot) The problem is that the film (sticking to the P&P&Z book, I presume, which is a parodic exercise) decides to keep whole chunks of P&P intact, retaining the original text and feel, despite the zombie apocalypse that's added into the equation.
If the P&P affiliation had been looser and the zombie apocalypse scenario had worked out as the main story-line, then we could have had a great movie.I still liked the comedic feel though - Parson Collins (Matt Smith) in particular was great..
The director (somebody named Burr Steers) understood from the ground up what matters about this movie is less the zombie half than the Pride and Prejudice half, ie, beautiful women and pretty girls walking around in cleavage and cute smiles, wielding knives like ninja warriors and guns like bounty hunters.
The movie, like the book, spoofs the classic 1813 novel 'Pride and Prejudice', by Jane Austin.
The movie stars Lily James, Sam Riley, Bella Heathcote, Jack Huston, Sally Phillips, Charles Dance, Douglas Booth, Matt Smith and Lena Headey.
Elizabeth (James) and Jane Bennet (Heathcote), look like they've found ideal suitors; but zombies threaten to spoil everything.The movie is surprisingly hilarious, that's what I most enjoyed about it; it's full of witty humor and clever dialogue.
Just putting zombies in a classic novel is not enough to turn into a movie, it's just not, and it upsets me that this is allowed to happen and that people spent good money making it.
This film didn't know if it wanted to be the actual pride and prejudice or pride prejudice and zombies, the filmmakers should have thought about that before going into production.This film had a good premise, but suffered due to poor direction, for the most part bad acting, pitiful cinematography, and lack of understanding of what it's supposed to be.
I can also handle pretty much everything else in terms of cinema, but I'm truly petrified of one thing: having to watch movies like "Pride & Prejudice", "Atonement" or "Sense and Sensibility" with my wife.
That being said, I feel that this movie would appeal to anyone who enjoys the zombie genre and Pride & Prejudice.
I saw a lot of reviews from Jane Austen fans who were doubtful about being able to enjoy a zombie version of her stories, but were pleasantly surprised to find it quite enjoyable.
If you like engaging characters, clever comedy delivered with gusto, a movie that knows when and how to laugh at itself, and which will sometimes make you want to stand up and cheer, then I highly recommend Pride and Prejudice and Zombies.
Pride and Prejudice and Zombies: the movie that makes you jump You may think you know pride and prejudice (the original story) but do you know it with dead people?!?
Pride and Prejudice and Zombies is based on the Quirk Books novel of the same name, by Jane Austen & Seth Grahame-Smith.
Pride and Prejudice and Zombies is a highly entertaining film.
However, Seth Grahame-Smith's decision to add zombies in his Quirk Books version of Jane Austen's classic is gutsy & works wonders for this movie.
Burr Steers' screenplay of the novel & his skillful direction, makes sure that this adaptation of the tale of the Bennet sisters, Mr. Darcy(Sam Riley), Mr. Bingley(Douglas Booth) & George Wickham(Jack Huston), feels like a brand new adventure.
I've seen Pride & Prejudice before and I love zombie movies.
Pride and Prejudice and Zombies should had been a fun mash up but it takes itself too seriously.Burr Steers seems to be overawed by the Jane Austen novel itself and was maybe too respectful.It is love in the picture pretty 19th century England.
This movie is just Pride and Prejudice.....with zombies.
But there is real drama and romance among the characters--Mr. Darcy is a tool, Elizabeth is inexplicably drawn to him, Bingley and Jane Bennet make the perfect couple--but it seems they're constantly being interrupted by zombies at the gates.The writers did a great job of making it all feel fairly believable--London is under siege, ringed with battlements and a wide no-man's-land to protect the city.
Movie Review: "Pride & Prejudice and Zombies" (2016)Carefully put into Sony Pictures' affiliated branch Screen Gems, a company constantly re-inventing itself since 1933 with mainly daring close to b-roll horror, science-fiction and daring comedy films since enterprising resurrection from December 8th 1998, rarely exceeding production bugdets of 35-Million-Dollar, nevertheless have fairly-expensive genre hits as the "Resident Evil" movie series starring Milla Jovovich under their rooster; here comes along this utterly re-interpretation of a Jane Austen classic love story book, firstly published in 1813, ingnited by film-maker Burr Steers, who had been nourishing industry connections since being part of "A Band Apart" production team days of Quentin Tarantino & Lawrence Bender realizing "Pulp Fiction" in season 1993/1994; a writer/director fulfills his dream of a genre-borderlining motion picture with a capable cast surrounding actors Sam Riley and Lily James as world-literature-inhabited famous soon-to-be fighting and coupling Mr. Darcy & Mrs. Bennett, while here so many obstacles are pushed to PG-13 timid endeavors of killing zombie creatures with no major red blood leaking wounds given, which might have saved the picture from a total brain-numbing experience of sweet-to-look at supplementary cast including short-passed actresses Bella Heathcote, Ellie Bamber, Millie Brady and Suki Waterhouse as samurai sword to short daggers swinging heroines to forget as soon as the curtain calls.FAZIT: Picture rejected (unprepared)
I wasn't expecting that much "Pride & Prejudice", but that worked and was portrayed very well.The demerits are the zombie parts of this movie.
That, and it does try to follow the original story of Pride and Prejudice, and it does a pretty great job actually (at least, in accordance to the 2005 movie).
Overall Pride and Prejudice and Zombies is a pretty good movie.
Pride and Prejudice is one of the most loved books in the world and the idea of mashing it with a zombie concept it could be fun.
Of course, it has the base on Pride and Prejudice (a movie and a novel that I love) but I was prepared to see it ripped apart by zombies in a really bad way
well let me tell you that I was so wrong I'm ashamed!
It has the perfect dose of weird romance, bizarre and funny (and zombies OF COURSE) stuff and a little bit of action that made the movie quite good, like a deceiver of the seven starts that I am giving to it.
Jumping on the zombie bandwagon, Burr Steer bets heavily on the popularity of Seth Grahame-Smith's quirky novel "Pride and Prejudice and Zombies." Perhaps, as a desperate attempt to interest people in Jane Austen's classic story of 19th century love tirades, Grahame-Smith creates a world in which the British aristocracy are all trained in Martial Arts, Zombies talk and have some debate about the merits of eating live humans over pig brains, and that Lena Headey is still rather fetching with a plucked out eye.
I've never read any Jane Austen novel, but I have watched a few traditional adaptations of her work including Pride and Prejudice with Keira Knightley that I really liked.
Two things I've never really cared for: the novels of Jane Austen, and zombie movies.
Based on a 2009 novel, the story isn't just a zombie movie set in 19th Century England, but instead a retelling of Pride And Prejudice, where there just happen to be zombies all around.
Normally, good acting isn't the sort of thing you'd expect in a zombie movie, or a parody for that matter, but everyone is right at the top of their game here.
Lily James is excellent in the main role, and shows how good she can be in both a serious romantic lead (because there are a lot of moments where the romance does take centre stage here), and as a great action hero, making her huge fun to watch right the way through.Also, Matt Smith, Sally Phillips, Douglas Booth and even Lena Headey were brilliant, but my favourite performance of the entire movie has to be Sam Riley as Mr. Darcy.
Having never watched Pride and Prejudice, I liked the idea of zombies infecting this era.
I was amazed at the critical reviews I had read about this film as I thought it was the most romantic version of Pride and Prejudice I had seen and that the fighting and the zombies made it great fun to watch .In fact I who loved Colin ,tolerated Matthew and laughed at Lost In Austen thought Sam Riley was the best ever Darcy and Lily James equally the best ever Elizabeth and this was the most entertaining film I had seen this year and I saw it on TV ,which doesn't say much for new ones ..
If you are just looking for good, entertaining, beautiful movie, and don't care about saving the original novel from creation, you will agree with me.I personally expected for more action scene from the girls. |
tt0105151 | The Player | Griffin Mill (Tim Robbins) is a Hollywood studio executive dating story editor Bonnie Sherow (Cynthia Stevenson). He hears story pitches from screenwriters and decides which have the potential to be made into films, green-lighting only 12 out of 50,000 submissions every year. His job is threatened when up-and-coming story executive Larry Levy (Peter Gallagher) begins working at the studio. Mill has also been receiving death threat postcards, assumed to be from a screenwriter whose pitch he rejected.
Mill surmises that the disgruntled writer is David Kahane (Vincent D'Onofrio). Mill is told by Kahane's girlfriend, June Gudmundsdottir (Greta Scacchi) that Kahane is at a theater in Pasadena. Mill pretends to recognize Kahane in the lobby, and offers him a scriptwriting deal, hoping this will stop the threats. The two go to a nearby bar where Kahane gets intoxicated and rebuffs Mill's offer; he calls Mill a liar and continues goading him about his job security at the studio. In the bar's parking lot, the two men fight. Mill goes too far and accidentally drowns Kahane in a shallow pool of water, then stages the crime to make it look like a botched robbery.
The next day, after Mill is late for and distracted at a meeting, Studio chief of security Walter Stuckel (Fred Ward) confronts him about the murder and says that the police know that he was the last one to see Kahane alive. At the end of their conversation Mill receives a fax from his stalker. Thus, Mill has killed the wrong man, and the stalker apparently knows this. Mill attends Kahane's funeral and gets into conversation with June. Detectives Avery (Whoopi Goldberg) and DeLongpre (Lyle Lovett) suspect Mill is guilty of murder. Mill receives a postcard from the writer suggesting that they meet at a hotel bar. While Mill is waiting, he is cornered by two screenwriters, Tom Oakley (Richard E. Grant) and Andy Sivella (Dean Stockwell), who pitch Habeas Corpus, a legal drama featuring no major stars and with a depressing ending. Because Mill is not alone, his stalker does not appear. After leaving the club, Mill receives a fax in his car, advising him to look under his raincoat. He discovers a live rattlesnake in a box and, terrified, bludgeons it with his umbrella.
Mill tells June that his near-death experience made him realize he has feelings for her. Apprehensive that Larry Levy continues encroaching on his job, Mill invites the two writers to pitch Habeas Corpus to him, convincing Levy that the movie will be an Oscar contender. Mill's plan is to let Levy shepherd the film through production and have it flop. Mill will step in at the last moment, suggesting some changes to salvage the film's box office, letting him reclaim his position at the studio. Having persuaded Bonnie to leave for New York on studio business, Mill takes June to a Hollywood awards banquet and their relationship blossoms.
After Bonnie confronts Mill about his relationship with June, Mill coldly severs their relationship in front of two writers. Mill takes June to an isolated Desert Hot Springs resort and spa. In the middle of Mill and June making love, Mill confesses his role in Kahane's murder, and June responds by saying she loves him. Mill's attorney (Sydney Pollack) informs him that studio head Joel Levison (Brion James) has been fired, and that the Pasadena police want Mill to participate in a lineup. An eyewitness has come forward, but she fails to identify Mill.
One year later, studio power players are watching the end of Habeas Corpus with a new, tacked-on, upbeat Hollywood ending and famous actors in the lead roles. Mill's plan to save the movie has worked and he is head of the studio. June is now Mill's wife and pregnant with his child. Bonnie objects to the film's new ending and is fired by Levy. Mill rebuffs her when she appeals her termination to him. Mill receives a pitch over the phone from Levy and a man who reveals himself as the postcard writer. The man pitches an idea about a studio executive who kills a writer and gets away with murder. Mill gives the writer a deal, if he can guarantee the executive a happy ending. The writer's title for the film is The Player. | comedy, suspenseful, murder, bleak, cult, satire, revenge | train | wikipedia | null |
tt0097858 | Meet the Feebles | The eponymous theatre troupe is rehearsing the title song with hopes of finding success through being picked up for a syndicated television show. Heidi (a hippopotamus), the star of the show, is insulted by pornographic director Trevor (a rat) and complains to her boss and lover, Bletch (a walrus), who is actually in an adulterous relationship with Samantha (a cat). Meanwhile, Robert (a hedgehog), the newest member of the team, arrives at the theatre and immediately falls in love with another newcomer, Lucille (a poodle). Samantha confronts Heidi, insults her, and reveals her relationship with Bletch. Robert confesses his love to Lucille, and the two become engaged. Sid (an elephant) receives a visit from his ex-wife Sandy (a chicken) with his alleged son Seymour (an improbable-looking elephant/chicken hybrid). Sandy informs him she will be preparing a paternity case against him.
At the toilet, the second most important star of the show, Harry (a hare), is suffering from a mystery disease. Meanwhile, drug-addicted knife thrower Wynyard (a frog) tells Robert his story of Vietnam, and convinces Robert to give him $50 to buy drugs from Trevor. After seeing Trevor's latest porno film, Bletch decides they need a new porn star, and Trevor chooses Lucille; he drugs her and tries to rape her as an audition but is caught by Robert. When he walks in on the scene Robert thinks that Lucille was drinking and throwing herself at Trevor, and tells her he never wants to see her again.
After a good beginning – the Feebles sign with a TV chain to appear in a prime-time television show – Bletch confesses to Heidi that he actually hates her and wants to give the main role to Samantha. After trying unsuccessfully to attempt suicide, Heidi goes on a shooting spree and kills many of the cast.
=== Sub-plots ===
Love Triangle
A distraught Heidi runs to Bletch after being insulted by Trevor. Bletch is having sex with Samantha, but hides the tryst. Although Bletch is physically disgusted by Heidi, he insincerely comforts her since he needs her talent on the show.
Later Samantha insults Heidi, claiming Bletch really wants Samantha. Distraught, Heidi drowns her sorrows in an entire chocolate cake, as she reminisces about her past romance with Bletch in a black-and-white flashback to her days as a lounge singer. Belching caused by the cake causes Heidi to lay waste to the set during the rehearsal of a feature number; Sebastian (a fox) then lambasts her. Heidi rushes to Bletch for emotional affirmation, but he is unable to spare her the sight of Samantha performing oral sex on him. Heidi locks herself in her room and refuses to perform, but relents after Bletch has make-up sex with her.
Heidi's performance helps secure the Feebles a syndicated series. Shortly afterwards, Heidi attempts to seduce Bletch in his office, but Bletch completely disowns her since Samantha is now to be the star of the show. Unfortunately, Bletch is unaware of Heidi's extremely fragile mental state.
Robert and Lucille
Robert shows up for his first day as a cast member, and is accosted by F.W. (a fly), who tries to corrupt Robert into informing on the cast.
Arthur (a worm) rescues Robert and shows him around, where Robert sees Lucille for the first time. Although he is romantically terrified of her at first, he later summons up enough courage to ask her out and they fall in love. Later Trevor drugs Lucille to manipulate her into performing in his pornographic films. Robert walks in on the drugging, but misinterprets it as Lucille's decision, and disowns her for being a drunk. They make up later after Robert saves her from Heidi's crazed gun rampage, and they eventually get married and have two children.
The Big One
Dennis (an aardvark) is shown peeping on Harry in a threesome with two female rabbits. Harry feels physically ill after this episode and is accosted by F.W., who assumes he has a sexually transmittable disease (STD) and wants to publish the scandal. Dr. Quack (a duck) diagnoses Harry with "The Big One". F.W. publishes the scandal in a local tabloid – to the dismay of Bletch, who presumably wants to avoid negative press on the cast. Trevor lures F.W. into the bathroom, where Bletch tears his wings off and flushes F.W. down the toilet. After vomiting all over the stage in the live performance, Harry finally learns that he only has 'bunny pox'. Unfortunately, while rejoicing in the news that "The Big One" will not cause his death, Harry's head is blown apart by a gunshot during Heidi's rampage.
Sexcapades
Trevor is shooting a porn film in the basement with the Masked Masochist (a weta) and Madam Bovine (a cow). They are interrupted by Robert, who mistakes the scene for torture and tries to save Bovine, who in turn accidentally crushes the Masked Masochist, suffocating him. Trevor later replaces him with Dennis (who has a snout resembling male genitalia) to perform 'nasal sex' on Bovine.
Drug Running
Trevor is approached by a sniveling Wynyard looking for his fix, but the drugs have not yet been delivered. Bletch is later shown on a golf course consummating a deal with Cedric (a warthog). However, after testing on Dennis, the drugs provided by Cedric turn out to be household borax, infuriating Bletch. Cedric's agent Louie (a dog) is literally liquefied after being force-fed some of the borax by Bletch's henchmen.
Bletch and his cronies venture to the docklands to fight Cedric and his crab-crewmen. Bletch's side prevails after killing Cedric and the crabs, maneuvering past a huge spider, and driving through the insides of Cedric's boss Mr. Big (a whale). However, the spider eats the head of Barry (a bulldog).
When the drugs finally arrive at the theatre, Wynyard is finally able to get his fix, which puts him into a stupor.
The Show
While the cast performs an opera number, Sebastian lambasts Robert for not failing his part as an extra on the stage. As punishment, he assigns Robert the task of replacing Wynyard's assistant, who has just been killed by Wynyard's knife throwing while going through drug withdrawal. Wynyard guilt-trips Robert into giving him money for drugs, after telling him a horror story about his time in Vietnam (shown as a flashback parodying The Deer Hunter). He eventually gets his fix from Trevor and injects himself into a deep slumber.
The acts gradually disintegrate – Heidi nearly destroys the set by botching a swing, Abi the Indian mystic (a humanoid) incapacitates himself by contorting himself into a ball, and Sid's tribble-like pets are crushed by a barrel. Seeing his show in shambles, Sebastian tries to convince Bletch to feature his personal performance, the sexually explicit number "Sodomy" (which he claims to have done before). This is summarily rejected by Bletch, who physically throws Sebastian out of his office who curses Bletch for his inaction. Sebastian later decides to use the number anyway when the situation gets worse and performs it in front of the silent and unamused live audience, much to Bletch's horror (who then schemes to have him eliminated when he gets the chance).
The Elephant and the Chicken
Sandy accuses Sid of being the father of their chicken-elephant child, to his dismay and denial. During the live show, Sandy again accosts Sid on stage with the paternity suit, declaring she wants everyone to know. During a later tragic crossfire scene, Sid braves the crazed Heidi's automatic fire to save his son. His heroism costs the elephant two bloody knee wounds, and he accidentally crushes Sandy's shot-off head (when she demanded the crazed Heidi to shoot Sid, but was shot by Heidi instead) after it squawks out one final invective.
The Climax
While the live show is proceeding elsewhere, Heidi attempts suicide by hanging, but her weight breaks the chandelier from the ceiling and she falls through the floor. She makes her way to Bletch's machine gun and tries to kill herself, but at the last moment, Samantha shows up and taunts her. Heidi, fed up with the cat's taunting and meddling with her life, drops all thoughts of suicide and responds by killing Samantha with the gun. Meanwhile, Wynyard, in a drugged stupor, tries to kill Robert before accidentally killing himself with his own knife (and the cheering audience not knowing it is real). Sebastian does his "Sodomy" number before getting injured by a prop, while Heidi rampages over the entire set on a killing spree (even shooting down any cameras near her). She finally finds Bletch and pumps many rounds into him as well. Bletch lies to Heidi about loving her having regret for all his actions, which distracts and brings her back to her senses and into dropping her gun and defenses before he then orders Trevor to kill her. Trevor fires at Heidi and grazes her shoulder, but he then prepares to deal the finishing shot. However, Robert swings in just in the nick of time to kick Trevor, giving Heidi the chance to get her gun back first and shreds the rat. Heidi then literally blows Bletch's brain out when he tries to escape. Realizing that she killed her love and ruined her career, she gives up her gun (promising to turn herself over to the authorities) and sadly sings "Garden of Love", leading into the epilogue and the credits.
=== Epilogue ===
The epilogue reveals the fates of only six survivors: Sid gets extensive repair on his kneecaps after being shot by Heidi and works in an orchard as a struggling horticulturist with Seymour. Arthur received an OBE for his lifelong service at the theater and retires to the country. Sebastian recovers from his injuries and achieved worldwide fame for his best seller The Feeble Variety Massacre: One Man's Act of Heroism! and is negotiating film rights. Robert, now an award-winning fashion photographer for a women's magazine, and Lucille are married with two children. Finally, Heidi, whose spree resulted in her imprisonment in a women's penitentiary for ten years (implying that, although released in 1989, the film's events occurred in the 1970s), has been rehabilitated under the community and now works under a new identity on the check-out counter of a large supermarket. | comedy, dark, boring, cult, violence, flashback, insanity, psychedelic, satire, revenge | train | wikipedia | MEET THE FEEBLES is one of the most outrageously insane films I've ever seen, and I mean that in the BEST possible way...Another home-run from Peter Jackson (BRAINDEAD, BAD TASTE, and most recently LORD OF THE RINGS).
FEEBLES is a gleefully perverse film where all the actors are Muppet-like puppets or people in full costume.The very basic story is that the FEEBLES is a variety show similar to the Muppets and that they are getting prepared for their first live telecast, when everything goes horribly wrong.
Characters include (but are not limited to) a heroin-addicted frog, an over-sexed rabbit, a hippo with low self-esteem (and a short fuse...), a cow and insect porn film-making duo, a sleazy fly tabloid reporter...and a lovable and friendly porcupine.MEET THE FEEBLES is a gleefully twisted comedy that is often shocking and strangely endearing at the same time.
Sure, Meet the Feebles may not be director Peter Jackson (yes, Peter Jackson of Lord of the Rings and King Kong) at his finest hour of directorial standing, but as a fan of a certain kind of really deranged and off-kilter cult movie, a lot of this made my night.
I just had a look on my face like 'what am I watching?' And, 'how can something like this actually exist?' It's not even so much a question of how well or how not well Jackson and his low-budget team pull it off, but how someone can take the time and energy to think this all up and put it all on paper.Let me try to sort through some of the varied story lines- there is Robert, a newcomer to the Feebles gang (and gang I mean in literal and figurative terms), who wants to impress a certain poodle-dog type of girl who really has him going to lengths to impress her.
With the exception of the naive, method-trained Robert, and maybe his love interest, every character in the picture is severely flawed in one way or another, or just really put to abstract lengths so mind-boggling they work only in conjunction with Jackson's unnerving, low-budget style.
It has the same jarring, diabolically juvenile and in-your-face comedy of some of the South Park guys stuff (Team America and Cannibal sort of come to mind), but without necessarily the sharp edge of satire.And at the end of it all, with all the laughs I had and shocked 'huh' moments at what Jackson had done with all these weird characters (some of which are outright perverts, drug addicts, criminals, egoists, adulterers, and even father half elephant-half chicken offspring), I wasn't sure totally what the point of it all was.
It's not great art by any means, and doesn't pretend to be, which is part of the dark fun of it all: Meet the Feebles, with its singing and dancing miscreants (quite a catchy theme song by the way), and numerous scenes of more-than-suggestive sexual moments and gory bouts of extreme violence, is a case of kamikaze independent film-making, where homage spreads out into the concept and becomes something very strange but, in its own world, sort of wonderful too.
Back then, this was the most cruel, disgusting thing I had ever seen and it sent me into shock.Now, at the ripe old age of eighteen, I can proudly say, this is the movie that made me the twisted monkey I am today.The film itself was done by the same guy who directed the infamously long "Lord of the Rings" trilogy, Peter Jackson.
The film reeks of genius, taking something very fun and family friendly (The Muppets, and any other puppet-based kids show) and adding some not-so-family-safe elements (drugs, sex, killing, STDs, blackmail, date-rape, porn, swearing, toilet humour, homosexuality, eating disorders, emotional instability, smoking, suicide and excessive amounts of blood).But how does it add up?
Having seen a fair few puppet shows, it never crossed my mind about what Kermit would be like as a drug addicted ex-Vietnam veteran, or if the rest of the crew went bad.
And Peter Jackson brings out the depravity greatly, with most of the movie being filmed in a cramped back-stage area that is covered in filth.I would recommend this to anybody who has a very wicked sense of humour, since this has quite possibly destroyed more than a few childhoods.
Hollywood executives must have lobotomized Peter Jackson when he started the "Lord of the Rings" franchise, because his earlier New Zealand productions were so much better.Just look at this sickly cracking showbiz satire, complete with an array of mostly disgusting Muppets from hell, acting as a walking compendium of the seven deadly sins (and some more).
Nevertheless "Meet the Feebles" is a real cult movie because of its unique character and his inimitable sense for dark humor.
Maybe it is best described as "Bad Taste with puppets" or "The Muppet Movie in bad taste" but it is certainly a movie I would recomend to anyone of sufficient maturity (no children should EVER see this film).Like Bad Taste before it this movie features disgusting humour, lots of blood, and impressive low budget special effects, and the puppets in it have to be seen to be believed.
One of the best things about The Fellowship of the Ring (and I Love that movie as well) is that in the hype following it more people may see Meet The Feebles.
Maybe Meet The Feebles and Bad Taste will be released on DVD in Australia now (I have them both on VHS).I will say one thing tho, it is certainly a strange feeling to have been a Peter Jackson fan for 10 years before Lord Of The Rings was released and the whole world finally discovered him..
This difficult-at-times to watch movie will make the sick ones laugh, and I found myself laughing alot.It takes place in this weird freaking world where everyone is a puppet, and the feebles run this muppet-type show.
Right off the bat, I'd like to point out that I HATED the Lord of the Rings movies.Having said that, let's talk about "Meet The Feebles".
The scenes hold absolutely nothing back as you're bombarded with obscene images of funny-looking animals doing things they should not be.I think the overall feel of this film is great.
"Meet the Feebles" goes just about as far as any film can possibly go with it's gross-out humor and effects but the fun thing about this movie is that it is all done with live-action Muppet like characters.
This movie looks at such topics as homosexual puppets, drug deals gone bad, the tabloid press(the way most celebrities see it, I'm pretty sure, is just how he captures it) a sleazy producer who literally chews up some of his performers and spits them out.
Once he or his wife gets to know a person fairly well, the two of them invite that person over to their house for a viewing of "Shakes the Clown." If their guest is repulsed or just pleasantly amused, they don't hold out much hope for a long friendship, but if their guest thinks it's hilarious, they know they've got a keeper.I feel the same way about "Meet the Feebles." It's a little film that relatively few people have seen, and it can send people out of a room with disgust at what they're watching, but I think it's one of the funniest things I've ever seen.
First of all, if you have never seen a Peter Jackson movie before, do NOT start with this one."Meet The Feebles" is a movie that, whether you like or hate it, you won't forget it.
Though "Meet The Feebles" in now way compares to "Dead-Alive", it's still worth checking out for any Jackson fans.Still, I had some complaints about the movie:(1) The movie didn't have a high enough budget, making some sequences look TOO cheesy(2) An obnoxious music score(3) A musical score that doesn't know when to shut up(4) Too many characters(5) No characters get enough time to actually make them "main" charactersIt's possible that even if you are a Jackson fan, you might be disappointed with the movie.
If you prepare yourself for this movie having some major problems, and you are not expecting a masterpiece like Jackson's "Dead-Alive", then by all means see "Meet The Feebles".
As is usually the case with Peter Jackson's films, "Meet the Feebles" is over-ambitious and excessive (the running time should have been trimmed down), but also highly entertaining.
"Meet the Feebles" is better than "Bad Taste", but lacks the fluid balance of "Dead Alive"; still, it's one of the most ferociously tasteless (and hilarious) movies around, and makes "South Park" look tame by comparison.6.5/10.
Peter Jackson injects the child-like world of puppets with every vice and debauchery that can be thought of, ranging from SM sex to drugs to shooting sprees.The basic concept of the film revolves around a new television show "The Feebles Variety Hour" and the struggle to mount a successful production.
Out of all of Peter Jackson's pre-Lord of the Rings films,(This, BAD TASTE, BRAINDEAD, HEAVENLY CREATURES, FORGOTTEN SILVER, and THE FRIGHTENERS) This would have to be my favorite of his.
although I like LOTR, King Kong, FS and Bad Taste as well)Meet The Feebles is basically a screwed-up version of Muppets...
Ten years later it is still the sickest movie I have enjoyed - I love the review provided by "the listener" magazine - whenever the reviewer is having a really bad day he imagines that somebody somewhere has rented this film by mistake to amuse a group of children thinking it is a Muppet's movie - only to walk in during the final sodomy sequence at the end, facing a room full of stony faced shocked children with more questions then he has answers.The film shocked and excited, leaving me in stitches whilst opening my eyes to a world of humor far sicker then I would ever find with Monty python Et Al. We (my friends and I) might have spent 4hrs watching this film -rewinding the best bits again and again.
How PJ became a Hollywood bigwig is as mysterious to me as how 2 brothers from Te Awamutu became the cutting edge of pop - seeing is believing (and watching this film is far cheaper then traveling to Waikato NZ, and less likely to involve GBH) Revealing the funniest (and best) parts of the plot would destroy the viewing experience, I can think of no equivalent to compare this film to - which is perhaps the the best review I can give it.If you need some big names to associate this with I can only give you references to 'Brain dead' and the organizer of the Toronto film festival, Noah Cowen "I think at that screening there was Quentin, bringing Harvey Keitel or Steve Buscemi, and they're going, 'Quentin, this is really sick sh*t!' He's saying, 'Look at that!
Sure, I love LOTR, and those films are certainly much better from a general cinematic perspective than something like 'Meet the Feebles' or 'Bad Taste', but these early films are just flat out incredible and hilarious.
While a good chunk of this film had me feeling, while not underwhelmed, compelled to say that Jackson didn't go "far enough" w/his perverted twisting of a Muppets-like family program (which comes to work as a general satire of the entertainment industry, particularly the delusions of grandeur brought upon by fame and the over-the-top gossipy media), but, in the final half hour or so, he makes up for all of that.
'Meet the Feebles' remains rather entertaining throughout, largely b/c of its odd, uncomfortable atmosphere and black sense of humour, but once it gets to the grand finale it really starts to shine and becomes a mind blowing extravaganza of gore and drugs and sex and ridiculous, heavy violence.
After his bad taste début, er, Bad Taste (1987), the young Peter Jackson made the decision to take his filth-laden sense of humour to a new level and direct Meet the Feebles, the kind of film you would expect Jim Henson to make if his life had gone in an entirely different direction and had formed a psychedelic drug habit.
The show comes under threat when sex-addicted Harry the Rabbit contracts an STD and is given a few hours to live, but is busted by the Fly, a pesky journalist.What Meet the Feebles lacks in taste and any sense of actual purpose, it makes up for in sheer invention and entertainment.
But here's a trick to watching the film, as most people will see the first 20 minutes and think: "Okay I've seen enough, another hour of just insanity and introductions to disgusting characters?
This movie was a brilliant idea to take adult humor, gore, sex, and muppets and put it all in one film, especially during that time period.
Before his seminal splatter picture DEAD ALIVE (and way before the brilliant LORD OF THE RINGS), director Peter Jackson crafted one of the most dead-on accurate parody of The Muppets with MEET THE FEEBLES.
She's depressed and stressed out on the eve of a major show the Feebles are performing, as is the director, Sebastion the Fox. And with good reason, just look at the rest of the cast: The rabbit MC has a venereal disease, the rat who's making porno films in the basement between a cow and a cockroach is also in charge of Bletch's shady drug deals, the knife-throwing frog is addicted to heroin and suffers from Nam flashbacks, the animal-trainer elephant is trapped in a paternity suit with a chicken, and to top it all off, Heidi's mental condition is rapidly deteriorating.
Meet The Feebles was no mere puppet movie, the artistic and comedy stylings of director Peter Jackson coupled with fantastic dialogue and story-lines made for a nonstop ride of laughter, bewilderment and humorous shock; especially at the amount of profanity and puppet sex.With an overweight psychopathic hippo, a bumbling shy hedgehog, a porn directing Rat, a crack addict frog and a devious drug baron producer - how could this not be funny?
It has no need for expensive SFX as it uses whit and style to portray a message that "puppet movies don't have to be the bane of a movie-lover, just a part of a person which never grew up".To think Peter Jackson went on to direct the Lord of The Rings films is a testament to his abilities to sling together a slapstick comedy like this which keeps you laughing and giggling throughout to a sensible and downright amazing film such as LOTR.
There is something about Peter Jackson's movie "Meet The Feebles" that disturbs me...maybe it was because it was the first time I ever saw a movie that was originally classified as X in this country (what would be an NC-17 rating today) when it was released, now on video with no rating attached whatsoever.
I had mixed reactions to watching it, and I like Peter Jackson movies.
(It makes fun of people with AIDS, just for example.) It's also really gory and disgusting (cute little fuzzy things are tossed out of someone's dressing room into a hallway, flattened by a runaway barrel, and the remaining roadkill is eaten by a rat.) But like I said, there are elements of "Meet the Feebles" which are more intelligent than you might expect.
In Peter Jackson's second film, Meet The Feebles, he takes us into the gritty underworld of a muppet like variety show.
If one has yet to see Meet the Feebles, then one has no idea how a film should be made, a real movie that has no concept of culture, or has a good concept but is bored with it.
But even then, you'll be laughing, even if it's just in disbelief.This continues the Peter Jackson tradition that not only will none of his films be quite like anything you've seen, they won't even resemble one another very much.
I think Peter Jackson is at his best when making films with a small budget, that go further than you'd expect.
For those not in the know, it's a movie telling of the backstage antics of the performers in the "Meet The Feebles" variety show For 92 minutes, you watch these characters bed, spit on and in general abuse each other for their own selfish means.
This is one of the most disgusting, repulsive and revolting movies I've ever seen - so much so that I had to watch it three times because I'd laughed so hard that I didn't see all of it the first two times around.This is the muppets with sex, drugs and rock'n'roll.
I have been a fan of Peter Jackson's work for a long time but when I saw Meet The Feebles i lost all my fate in him.First of all the movie feature no humans,just puppets.
There is very little gore in this movie at it features a lot of animal puppets which I think not is funny at all.I guess Peter Jackson's Splatter period is over because now he has started to make the Lord of the Rings trilogy.And that is a big budget adventure movie.So I advice everyone to see Braindead and Bad Taste instead of this awful attempt at a shocking puppet comedy.Stay away from 'Meet The Feebles'.
"Meet The Feebles" is the very sick and twisted take on the Muppets by (now Oscar-winning) writer and director Peter Jackson.
It's not perfect, but what it lacks in budget it makes up for in ambition and having a sense of humor about itself."Meet The Feebles" is a movie about puppets (both hand puppets and people in suits) who, like the Muppets, are not assumed to be puppets in their universe.
Now that it's 20 years since the movie has been made, it's high time they release a 20th Anniversary DVD of the film.Although "Meet The Feebles" is far from perfect, it's a great parody of not only the Muppets, but other puppet productions that contain wall-to-wall cuteness. |
tt0217505 | Gangs of New York | The film opens with Priest Vallon (Liam Neeson) shaving dry with an old, rusted straight razor. He deliberately cuts his cheek and then hands the blade to his son Amsterdam, who is about to wipe off the blood. Vallon tells him to leave it there, and his son puts away the blade in a black pouch with a sliver cross clasp. Vallon then says a prayer to St. Michael, puts a medallion over Amsterdam's head, grabs a steel cross, and marches out of his cave with Amsterdam. They walk past people making and finishing weapons, including a woman with clawed gloves named Hellcat Maggie. Vallon, his son, and the rest take communion as they continue exiting the caves. They finally reach the top level of an old brewery. They stop and Vallon asks a man named Monk if he will join them. Monk says he'll fight for pay. Vallon promises him ten dollars for every "new notch" on his club, so Monk agrees, picks up his wooden club, and kicks open the door, revealing a snow-covered intersection known as Paradise Square, the Five Points of Lower Manhattan.Vallon and his crew, the Dead Rabbits, leave the brewery and make their way onto the street. Amsterdam runs to join children on the steps of a nearby building, while the Dead Rabbits await the arrival of the Natives. A few moments later, men dressed in blue, The Natives, led by Bill the Butcher (Daniel Day-Lewis), a ruthless New Yorker with a glass eye, walk onto the street, clearly outnumbering the Rabbits. Bill says that the ensuing fight will decide who holds the rule of the Five Points; Bill's mob who are Protestant or Vallon's Catholics. Vallon recants that it's a free country, that he and his immigrant crowd have been harassed incessantly by Bill and his men. The Rabbits are then joined by several other gangs that have allied themselves with Vallon, greatly increasing their numbers.Moments later, they begin fighting. Monk is mashing people in the head, Maggie is biting a man's ear off, and people's legs are getting broken while others are being stabbed, slashed and bludgeoned. Bill and Vallon slowly make their way toward each other, but as Vallon draws near Bill directs one of his men to attack Vallon. Vallon kills the man, but is stabbed by Bill in the process. Vallon tries to fight back, but is stabbed in the side. Vallon falls to the ground, and a horn is blown. All of the men stop fighting and stand around the dying Vallon. Amsterdam pushes his way to his father's side.Bill makes a speech about how all the fighting is done and how he has slain Vallon. Vallon looks at his son, tells him to always stay focused and then asks Bill to finish him, which Bill obliges, leaving the knife on Vallon's chest. Bill says that Vallon may not be touched so that he may reach Heaven with honor. Monk tells him to wait, goes over to Vallon's body and presumably takes the money he's owed from his pocket, and then offers Amsterdam his condolences. As they haul Vallon away, Bill's men ask what they should do with the boy. He tells them to put him in a school so he can get a proper education. Amsterdam quickly grabs the knife from his father's chest, threatens Bill's men, and runs inside the brewery. As the men chase him, a boy, Amsterdam's friend Jimmy, hits one of them in the shin, causing him to fall. Amsterdam runs down to his cave, opens a secret compartment in the ground, and places the medallion and dagger inside. Bill's men grab him. Outside, Priest's body is placed on a cart and wheeled reverently out of the square. As we zoom out of the area, we see that the battle took place in Lower Manhattan and the year is 1846.Sixteen years later, Amsterdam (Leonardo DiCaprio) is being given a blessing and a Bible by a priest. He is still in New York but in an orphanage, Hellgate, on a nearby island. As he leaves, he looks at an Asian man, walks over a bridge, and tosses the Bible in the river.Amsterdam narrates that during the Civil War, New York was a "city full of tribes", rival gangs competing for control of the Five Points and beyond. Bill the Butcher is walking through a hallway of Tammany Hall to the office of Boss Tweed (Jim Broadbent), who is running for some sort of political office. Tweed is discussing how they can get more voters and social and municipal services for the poor in the city. Then it cuts to Amsterdam walking on the docks as more Irish are disembarking a ship. The immigrants are harassed openly by Bill's men, particularly an old woman who is hit in the face by something one of Bill's men throws and is yelling for her to get back on the boat.Amsterdam passes them by and is greeted by a man who welcomes him (mistaking him for an immigrant), offers him bread, and reminds him to vote for Tweed and Tammany. Amsterdam is also asked to draft in the army, but refuses. Other Irish are offered money, three meals a day, and luxuries for their families if they join right away and ship out immediately. They agree, register, change, and board a boat.Amsterdam makes his way to his cave and opens the compartment. He takes out the dagger and the medallion. He is interrupted by Johnny Sirocco (Henry Thomas) and Jimmy Spoils (Larry Gilliard Jr.) as he says a prayer. They tell him to give them his possessions, and when he refuses, Jimmy tries to attack him, but Amsterdam knocks him over and almost breaks his nose. Johnny pulls out a knife, which Amsterdam turns against him. Johnny notices the medallion. Amsterdam leaves the cave and goes out to the street. Johnny follows him and asks if he's the priest's son. Amsterdam answers yes, and Johnny begins to update him on the Five Points. He tells him how Maggie tried to open a pub, but drank herself out of business; how Monk owns a barber shop; and how Bill celebrates Priest Vallon's death every year by drinking a glass of alcohol he's set fire to.Johnny is then bumped into by Jenny Everdeane (Cameron Diaz). He introduces her to Amsterdam. When she comments to them that they are terrible at conversation, Amsterdam recants that they are deep thinkers. She wishes them a good day and hopes the God shines on them and joins her friends. Johnny swears that Jenny likes him, but Amsterdam informs him that she stole his watch. Johnny searches his pockets, looks up, and tries to make it seem like it happens often.Later that night, a house is on fire. The sirens of Tweed's firemen can be heard closing in. A man covers a fire hydrant with a barrel and sits on it. Tweeds men come and he uses the incident to campaign on the street. Another group of firemen arrive, led by the Butcher, and the two groups start to fight. Johnny takes advantage, grabs Amsterdam, and enters the burning building in search of valuables. Amsterdam finds watches, while Johnny becomes mesmerized by a music box. A beam falls and traps him in. He calls for Amsterdam, who grabs more jewelry and heads out. He returns, jumps over the beam with a blanket, grabs Johnny, and helps him out of the house. Just as they are leaving, Bill's men come, the barrel is removed from the hydrant, and they begin to put out the fire.Johnny then takes Amsterdam to meet his friends Fuzzy, Jimmy, and some others. There they show everything they stole from the burning building until Happy Jack (John C. Reilly) arrives. He was one of the Dead Rabbits who's now a crooked police officer. He takes a few pieces in tribute to himself and leaves.The next day, Amsterdam and Johnny take the rest to a pub/brothel, where Bill plays cards. Johnny walks up to Bill to give him the money, but Amsterdam stays further back. He notices a drawing of his father on the wall. Bill asks Amsterdam what his name is. "Amsterdam", he replies. Bill then calls himself "New York", and tells Johnny how they can make more money.Later that night, Fuzzy, Jimmy, Amsterdam, and Johnny are rowing through the harbor until they reach a ship. When they board it, they find that it has already been robbed and the crew likely murdered. They continue to search for anything that might have been left until Amsterdam notices a man dressed in a Union uniform coming out with a rifle. He warns Jimmy and everyone else to hit the deck. A shot is fired, but only into the air because the man was dying. The man falls forward to reveal a knife in his back. Everyone is in the rowboat waiting when a body falls in it: it's the Union soldier, which Amsterdam had recovered. He trades the body for money. The headline in the newspaper reads something about a gang who sells bodies to science, calling them "ghouls". Bill applauds Amsterdam's quick thinking, but his right hand man, Mr. McGloin doesn't agree. They begin calling each other names and eventually begin fighting. Amsterdam is clearly winning when the fight is broken up. During the scuffle, the drawing of Priest Vallon falls to the ground. Bill picks it up, looks at it, and puts it back on the wall. He then takes Amsterdam and Johnny on a tour of the Five Points as Happy Jack is giving a rich family, the Schermerhorns, a tour. Monk also walks by greets Bill, and pushes up Amsterdam's hat to get a look at Amsterdam's face.Amsterdam comes across Jenny again and she bumps into him. He immediately begins checking his pockets, and realizes too late that she took his medallion. He follows her onto a street car. He sees her brilliantly steal a man's pocket watch, and then follows her to the home of a wealthy family where she poses as a maid and slyly robs them as well. When she's done, he yanks her aside and demands his medallion. She threatens him with a knife and cuts him on his neck slightly before he takes it from her. She then opens her blouse and shows him all the medallions she's got. He takes his, returns her dagger, and begins walking with her.Jenny and Johnny attend a public dance. Jenny is seated with her back to the men and is holding a mirror. She passes up three men, including Johnny, before choosing Amsterdam. They begin dancing, and later go to the docks where they are about to have sex. He wonders what she gave Bill in return for a locket she says is a gift from Mr Cutting. When he realizes, he gets up and leaves.Amsterdam then begins working for Bill. He is even shown by Bill how to hurt or kill people by stabbing them at specific points on a pig's carcass. Bill also makes Amsterdam, Fuzzy, Jimmy, and Johnny boxing bet collectors. When a boxing match is broken up by the police, Amsterdam finds a place outside the City where the police cannot break it up. Bill gives him all the glory, but his joy is interrupted when he sees Jenny leave with Johnny.At a theatre showing of Uncle Tom's Cabin, the audience begins booing the performance and throwing vegetables at the stage. An assassin uses the chaos to try to kill Bill. Amsterdam notices, warns Bill, and tackles the guy to the ground, but not before he gets a shot off that hits Bill in the shoulder. Amsterdam seizes the man's pistol and shoots him in the side. Bill then tortures the man, demanding to know who sent him, but the man dies before he can answer. Amsterdam then runs off and begins crying. Monk finds him, and tells him that his father tried helping the Irish, not the Natives.Later that night, Bill, Amsterdam, Tweed, and others are drinking in the brothel. Jenny comes by and cleans Bill's wound then goes upstairs to her room. Amsterdam angrily follows her and grabs her. She tells him she'll bite him if he tries to kiss her. She lunges a few times, and they eventually kiss and sleep together. Johnny sees the two of them and runs off.Amsterdam awakes to find Bill watching him, sitting in a chair and draped in an tattered American flag. He asks Bill if it was okay that he slept with Jenny. Bill says he doesn't mind. Bill then begins talking about how Priest Vallon spared his life, and how Bill removed his own eye, the one that looked away in shame, and sent it to Vallon. He then describes the day he killed Vallon. Bill speaks of how he's gained his power in the Five Points through "the spectacle of fearsome acts" and how "civilization is crumbling." Bill then leaves.Amsterdam tells Jenny if she wants to know anything about him, she should ask. She explains how she was dejected as a prostitute, had an abortion and Bill took her in. She insists Bill never put his hands on her until she told him to. Later that night, Monk sees Amsterdam throwing a dagger into a wooden post behind Bill's hideout. It's as if Amsterdam were practicing for something.Johnny is then seen talking to Bill before a public performance. He tells Bill about Amsterdam being Vallon's son. Bill reacts violently, nearly killing Johnny, but he listens. Meanwhile, Amsterdam is seen walking into an Asian-themed restaurant. He tries to call Johnny as he walks to his table, but Johnny pays no mind. He sits, and Jenny comes to him. An announcer then comes and begs Bill to perform with his daggers in a piece called "The Butcher's Apprentice". He asks for Jenny to participate. She steps onto the stage and Bill begins throwing knives, his throws become increasingly dangerous until he is seriously scaring her -- one shot even cuts her neck. He then walks to his table, says some words about Vallon, and lifts up his drink of fire. Amsterdam then throws a dagger at Bill, who blocks the blow with a cleaver and counters with his own throw; his knife embeds itself in Amsterdam's midsection. Amsterdam is held down on a table as Bill announces that Amsterdam is the son of Priest Vallon and a coward for trying to kill him. Bill headbutts him several times. Bill then declares that Amsterdam will be branded and thrown into the street for everyone to gawk at. He uses a hot knife to burn Amsterdam's cheek while Jenny screams.Jenny then takes Amsterdam away to a cave where she nurses him back to health. She talks of them leaving and going to San Francisco. Monk visits them and gives Amsterdam Priest's straight razor. About three months later, after he's recovered, he hangs a dead rabbit in Paradise Square. The rabbit finds its way to Bill, who sends Happy Jack to kill Amsterdam, but Amsterdam kills Jack instead and finds sanctuary in the church. Amsterdam hangs Jack's body in Paradise Square where Bill laments the the loss of an easily corruptible cop. Jimmy tells Bill where to find Amsterdam, however, since Amsterdam is hiding in the church, Bill is reluctant to go there and confront him. However, Bill, sensing that Jimmy might betray anyone as easily as he betrayed Amsterdam, has Jimmy impaled on the spiked fence in Paradise Square and left for Amsterdam to find him. When Jenny and Amsterdam find Jimmy, Jenny gives Amsterdam her pistol to mercifully kill his friend.Amsterdam and his men, now dressed in the red of the Dead Rabbits, are gathering strength, even to the point where Tweed asks for their help in getting votes. He makes a deal with them to allow them to have an Irish sheriff and he will get all Irish votes. They choose Monk, who wins a rigged and crooked election. Bill challenges Monk outside his barber shop. When Monk suggests they go inside and talk like men, Bill throws a cleaver into Monk's back. He then takes Monk's club (which has 44 carvings on it to mark how many people Monk has killed), carves a new notch into it, and clubs Monk with it, finishing him off. At Monk's funeral, Amsterdam quietly challenges Bill to a gang brawl. They later meet and discuss the terms: primitive weapons are permitted, but guns will not be.The day arrives and Amsterdam cuts himself on the cheek as his father had done with the rusted razor. He looks at Jenny, who tells him that she's leaving for San Francisco today with or without him. He tells her it will be over tomorrow, but she leaves.A conscription act for the Union Army is enforced; anyone who can pay $300 will not be forced to join the army and fight the Confederacy in the Southern states. A series of riots break out, and crowds start pillaging the streets, burning homes, letting the animals at PT Barnum's House of Wonders loose and cutting the telegraph lines so the police and authorities cannot communicate to stop the rioters. Jenny and Jimmy are even attacked in the process. In Paradise Square, the Dead Rabbits and Bill's Federation of American Natives meet. They are just about to begin brawling when the Navy fires their cannons into the Square killing many members of both gangs. The Army also moves in and fires upon the survivors. In the confusion, McGloin is killed.Only Amsterdam and Bill are left to fight. Bill uses the thick smoke from the cannon shots to rush Amsterdam and slash him twice. Another cannon shot knocks Bill and Amsterdam to the ground. Bill pulls a piece of shrapnel from his midsection and says he'll die "a true American." Amsterdam takes this opportunity and stabs and kills Bill. Jenny finds him and, that night, they mourn all the friends they lost in the draft riots. Amsterdam mentions that the riots continued for another three nights. Tweed is only upset because he lost so many votes.Bill is buried next to Priest Vallon in a Brooklyn cemetery that looks out on the Manhattan skyline. Amsterdam is there with Jenny and he buries his father's straight razor on top of Priest's grave. Amsterdam remarks in voiceover that a city like New York will continue to grow and he and his friends and enemies might never be remembered. Decades begin to pass, showing the growth of the Manhattan skyline, ending on the twin towers of the World Trade Center. | boring, murder, violence, flashback, action, revenge | train | imdb | null |
tt0095497 | The Last Temptation of Christ | Jesus, a carpenter in Nazareth, Judea,during the Roman occupation, has been hearing voices and having premonitions that tell him that God has a special plan for him, in atonement for sins. He assumes it is his own sins and is confused about what to do, although he has a firm will to follow any commands from God. Because he senses that he himself will be crucified some day, he constructs crosses for Roman use in executing criminals and rebels, an act of traitorous collaboration in the eyes of others in his town, including Mary Magdalene, who spits on him. Judas, a zealot rebel, appreciates Jesus' devotion to God and attempts to recruit him to the zealot cause, but Jesus refuses.Jesus feels guilty about his inability to correspond to the adult love of his childhood friend, Mary Magdalene, who in her dejection has become a prostitute. He asks Mary to forgive him. Mary asks Jesus to stay with her, which Jesus is tempted to do, but he rejects the temptation and heads for a monastic community. At that community, he experiences his own unusual powers as two deadly cobras obey his command, and he learns that the community leader who welcomed him the night before was already dead. One of the monks in the community convinces Jesus that the fact that God communicates with him is extraordinary.Judas is sent with orders to kill Jesus for being a collaborator. Judas senses Jesus is specially favored by God, and asks Jesus to lead the rebellion against the Romans. Jesus tries to tell Judas that his message is love, that love of one's fellow humans is the key to God's will. Judas promises to join Jesus in his ministry, but with the threat that he will kill him if he strays from his ministry. Thus influenced by Judas, Jesus agrees to abandon his will to that of God, become a teacher, and let God speak through him.As he walks to begin his new life, Jesus comes across an angry mob which is dragging Mary Magdalene to be stoned for her prostitution and working for Romans on the sabbath. Jesus interrupts the stoning, challenging the crowd to admit they have all sinned, asking whoever has not sinned to take a bigger stone from his hand. Half the crowd sneaks away, the other half stays to hear what he has to say. He opens his mouth and begins his teaching in parables, awkwardly at first, but growing in confidence and preaching with the phrases recorded as the Sermon on the Mount.Jesus develops a following of disciples, but he is still uncertain of his role. He experiences his own unusual power as, while eating an apple, he throws out the apple seeds, and one of them becomes a full grown tree with fruit. Judas convinces him to travel to see John the Baptist, who has publicly claimed that he is preparing the way for the Messiah, telling him that John surely will know what Jesus' mission really is. John baptizes Jesus, and that night the two discuss their differing views. John believes that Jews must first gain freedom from the Romans before the kingdom of God is declared, while Jesus believes that love is more important.John tells him that God speaks most clearly in the desert, so Jesus then goes into the desert to see if God's will mayb be clearly revealed to him. Choosing a spot in the desert, Jesus draws a circle on the ground and vows he will not leave the circle until God has made his will known. While in the circle, Satan appears to him, first as a snake, then as a lion, finally as a pillar of fire, to tempt him. Jesus resists these temptations. An apple tree bearing luscious fruit appears to him, but he conquers his hunger and instead of eating he chops down the tree. At this point he realizes that the message from God is that he is strong enough to rebuff Satan. He walks out of the desert. He comes across the home of Martha and Mary, who take him in and help him recover from his long fast. He rejoins his disciples after his recovery. In front of them he takes out his heart in his hand to prove his authority and tells them to follow him. He proceeds to perform many signs and wonders and each increases his confidence that he is in fact God's son and the Messiah. He turns water into wine, he restores the vision of a blind man, heals cripples so they walk, he raises Lazarus from the dead, and casts out many demons. His ministry finds rejection and enmity in many quarters. In his own town of Nazareth none come to join him, and Saul, a Roman agent, eventually murders the resurrected Lazarus to destroy the greatest evidence of his divine power.Eventually Jesus and his followers enter Jerusalem, where he is received with joy by many. Jesus goes to the temple, where he is enraged by the money changers and throws them out. The angry Jesus even leads his followers to try to take the temple by force, but as he reaches the steps he begins bleeding from his hands. He stops, realizes he is doing the will of men and not of God, and that he must die in order to bring salvation to all, Jews and all others. He asks Judas, his strongest apostle and the one who best understands him, to betray him to the Romans, something that Judas does not want to do. Nevertheless, Jesus insists that this is the only way and Judas acquiesces, weeping.Jesus joins his disciples, Martha, Mary, Mary Magdalene and his mother for the Passover seder, where he breaks bread telling them all to eat of it, for it is his body, and to drink from his wine cup, for it is his blood, commanding them to do this again to remember him.. After the meal, while in the garden of Gethsemane, Judas leads the Roman soldiers to Jesus and identifies him. Peter cuts off the ear of Malchus and Jesus performs the miracle of reattaching it. Pontius Pilate tells Jesus that he must be put to death because he represents a threat against the status quo, the Roman Empire. Jesus is flogged and a crown of thorns is placed on his head. He is led to Golgotha, where he is crucified.From the cross Jesus sees a young girl who tells him she is his guardian angel who has been sent to rescue him. She tells him that it is not necessary for him to die on the cross, because God loves him, is pleased with him, and wants his happiness. She brings him down from the cross and leads him away.She takes him to be with Mary Magdalene, who cleans his wounds, and the couple make love. The couple has a child and lives a tranquil life in a forest cabin. Mary dies during a pregnancy, and the sobbing Jesus is told by the angel that there is only one woman, all women are "Mary", and takes him to be comforted by Martha and Mary, the sisters of Lazarus. He has a family with them and lives a peaceful life as a carpenter. Some years later he encounters the apostle Paul describing his own conversion and preaching about the Messiah. Jesus tries to tell Paul that he is the man that Paul has been preaching about but Paul rejects him, saying that he needs the Jesus who died and resurrected to bring salvation to all.In old life and near death, Jesus' former disciples visit him. Judas arrives last, tells Jesus he has been a traitor. The angel who stopped his crucifixion is recognized as Satan in disguise, who tempted him into a life of comfort as an ordinary man. Jesus realizes that he should have died to bring salvation to all. Although aged and weak, Jesus crawls back to the edge of a burning Jerusalem at the time of the Jewish Rebellion, he reaches the site of his crucifixion and begs God to let him fulfill his mission, crying out "Let me be Your Son!".We see Jesus back on the cross. The whole episode with the fake angel must have been a dreamy hallucination. He smiles in recognition of his destiny and cries out "It is accomplished! It is accomplished!", as he dies. Then a blinding white light envelops everything. | avant garde, murder, violence, psychedelic, romantic, alternate history, storytelling | train | imdb | null |
tt0472219 | The Batman vs. Dracula | Joker and Penguin have escaped from Arkham Asylum, and Batman is summoned to round them up. Unfortunately for the Joker, he appears to have been electrocuted when, in order to escape Batman, he jumps into a river with his palm shocker still activated. Penguin, however, makes it to the Gotham City Cemetery where an inmate has told him some loot is buried in a certain tomb. In searching for the tomb, Penguin inadvertently awakens Dracula when he spills blood on Drac's corpse. After feeding on the cemetery guard, Dracula turns Penguin into his renfield. A cloud of fear descends over Gotham City as people begin to go missing.At the same time that Dracula is planning to turn Gotham City into the City of the Undead, Bruce Wayne is planning the Wayne Industries Energy Expo to be held tomorrow evening at Wayne Manor. During an interview with Gotham City News reporter Vicky Vale, he invites Vicky (who appears to be developing a thing for Bruce) to be his date. That night on his watch over the city, Batman sees the cemetery guard attack a woman after knocking out a hoodlum who was trying to steal her purse. When Batman jumps in to help the woman, all three of them -- the guard, the hoodlum, and the woman -- turn on Batman, all of them now vampires. Batman escapes by jumping on the top of a passing El train.It is now the evening of the Expo. Guests are beginning to arrive, including Dracula. He takes a fancy to Vicky and introduces himself to Bruce as Dr Alucard, newly arrived in Gotham to study the Batman, whom he sees as a fearful individual who assumes the guise of a bat. In return, Bruce introduces Alucard to the SL-5, one of Wayne Industries' latest technological advances. It collects and stores solar energy as true sunlight. Alucard is impressed that science has finally done something "positive" with the sun. When the food servers circulate with trays of hors d'oeuvres, Alucard grimaces at the garlic shrimp but wolfs down the steak tartare, then excuses himself in order to find something to wash it down with. That something is Bruce Wayne's blood. Alucard mesmerizes Bruce into going out on the terrace. Just as Alucard is about to pounce on Bruce, however, Alfred comes out looking for him, dashing Alucard's plan. Instead, Alucard feasts on the serving captain, Stipes.Bruce isn't sure how he got out on the terrace, but he suspects it was Alucard's doing. He follows Alucard as Alucard prepares to leave and sees him turn into a bat and fly away. Alfred notices that Alucard casts no reflection in a mirror, and Bruce writes Alucard's name on a silver platter then holds it in front of the mirror to notice that "Alucard" is "Dracula" backwards. Now that he knows what he's up against, Bruce figures that his first course of action should be to find a cure for vampirism so that he can rescue Dracula's victims, so it's off to the Thomas Wayne Old School Medical Library to do some extensive research.Vicky Vale has been sent out to interview a man who claims to have seen a large bat attacking a Gotham City resident. Vicky and the authorities conclude that the attacker and the individual behind all the missing persons must be none other than the Batman. All of Gotham is now looking for Batman, who now finds himself being hunted, shot at, and feared by the city he tries to protect. Dracula, too, has decided that there is room in Gotham City for only one bat and vows to destroy Batman after Batman refuses to ally himself with Dracula. Fortunately for Batman, the sun starts to rise before Dracula is able to make good on his threat.That evening, as Penguin goes down into the catacombs to awaken Dracula, he is confronted by his old friend, the Joker. Joker explains that he was saved when he was caught in the net of a fisherman who retrieved him from the water. Penguin attempts to elude the Joker by running through the catacombs, but the Joker follows. When he sees Dracula's coffin and bends over to peek into it, Dracula grabs him by the throat and pulls him inside. "Breakfast in bed...fresh squeezed," Penguin comments. Now turned into a vampire, the Joker raids a blood bank, which sets off an alarm, seending Batman over to investigate. Enhanced by his new vampire powers, Joker leaps at Batman, but Batman sets off a series of garlic bombs. The Joker is subdued, and Batman takes him to the Batcave in order to test some of his antivampire medications.Bruce and Alfred work through the night and all the next day looking unsuccessfully for a cure. So busy are they that they are both surprised when the doorbell rings. They had both forgotten that Vicky was dropping by for dinner. Alfred attempts to stall Vicky while Bruce continues to work. When Joker's thirst becomes too painful to bear, Bruce withdraws some of his own blood and, donning his bat costume, feeds his own blood to the Joker. As the time closes in on 9 PM, Vicky sadly gives up waiting for Bruce to join her for dinner, much to Alfred's chagrin (Alfred is hoping that Bruce and Vicky will get it on together). Meanwhile, Bruce thinks that he may have found the cure. When it comes time to feed Joker again, Bruce slips some of the serum into the bloodbag. Joker drinks it and POOF, no longer is he a vampire. There is one side effect, however. Joker cannot remember anything about being a vampire. He only remembers being in the Gotham Cemetery with Penguin, so Batman sends him back to Arkham Asylum.Now on her way home after having been stood up, Vicky misses her train. Fortunately, Dracula shows up and offers to share drinks with her while she waits for the next one. Vicky tells him that she's running late and will catch a cab instead. Then she tries to contact Bruce, but Bruce is loading up his serum into syringes and doesn't answer. When Bruce gears up to go hunting for Dracula, Alfred convinces him to wait until morning when the advantage will be his but suggests that he return Vicky's phone call. Bruce does just that, but Vicky doesn't answer. Suddenly, he gets another call from Vicky, telling him that she met up with Dracula and needs rescuing.Dracula has taken Vicki into the catacombs where he, Penguin, and all of the "children of the night" are gathered to witness the "blood wedding." But it isn't Vicky Vale that Dracula intends to wed. He simply needs her life essence in order to awaken his true bride, Carmilla Karnstein, who was reduced to ashes when she was struck in the sunlight. As Vicky's essence begins to rise from her body and flow into the pile of Carmilla ash that Dracula has suspended on a platform over her, Batman makes his way into the catacombs. Too busy rehydrating his bride, Dracula sends his minions to stop Batman, but Batman is able to knock them out one by one and inject him with the antivampire serum. Soon, all the lost ones have rehumanized, so they exit from the catacombs. Batman goes looking for Dracula and Vicky.Vicky's essence is quickly draining, so Batman first ropes Penguin and puts him out of commission. Then he aims a triggerized syringe at Dracula, but Dracula mesmerizes him so that Batman cannot pull the trigger. Instead, he drops it on the ground. Then he remembers himself as a young boy and how he became the Batman. This seems to make him grow stronger until he is able to throw a garlic bomb at Carmilla. This interrupts the flow of essence from Vicky, sending it all back into her. Batman helps Vicky out of her coffin and tells her to run. Then he and Dracula go at it, fighting hand to hand until a big cloud of dust fills up the chamber. Hiding in the dust, Bruce sends a message to Alfred, triangulating his location.As Alfred watches on the computer screen, he sees Batman winding his way through the catacombs under Gotham City and realizes that Batman is leading Dracula into the Batcave. When the two of them break through the walls and are inside the cave itself, the fighting resumes. "I will drain you dry and use your cape as a dinner napkin," Dracula threatens. Alfred manages to shoot a syringeful of serum into Dracula, but it has no effect, as "no earthly medicine can cure a supernatural affliction." Dracula goes after Alfred, which gives Batman time to turn on the SL-5. As the harnessed sunlight begins to fill the Batcave, Dracula realizes that Batman is really Bruce Wayne. "And you are dust," Batman replies, as Dracula begins to disintegrate. As an added measure, Batman scatters Dracula's bones all over the Batcave, leaving Alfred to sweep into the dustbin straightaway.Meanwhile, back at the cemetery, Penguin has been sent out to recapture Vicky and return her to Dracula. She manages to elude him for a while, even knocking over the buried loot that Penguin came to find in the first place, but he eventually corners her just as Dracula is turned to dust. Having lost all memory of what he's supposed to be doing, Penguin turns to the pile of gold that has been uncovered, just as the police arrive and arrest him.It's all over the news that the missing ones have been found and that it was all a plot by Penguin to use them as hostages to uncover mob treasure. Batman has been exonerated, and Penguin's insistence that it was due to vampires is dismissed as insanity as he is escorted back to Arkham Asylum. [Original synopsis by BJ Kuehl] | violence, psychedelic, horror, comedy, suspenseful | train | imdb | null |
tt0405325 | Sky High | The movie begins with a voiceover by Will Stronghold (Michael Angarano) explaining that in his world, there are a large number of superheroes. And the greatest heroes of all are the super-strong Commander (Kurt Russell) and the high-flying Jetstream (Kelly Preston). While the rest of the world only knows these two as heroes, Will explains that they are his parents, Steve & Josie Stronghold, who also operate one of the most successful real-estate chains in the country. Will is about to begin high school and will be attending his parents' alma mater-a school just for super-powered individuals. There is just one problem, Will explains... He has no powers.Steve & Josie are planning their schedule when Will's friend Layla stops by to go to the bus with Will. Josie offers Layla some breakfast (bacon & eggs) but Layla turns it down since she is a vegan (her mother can speak with animals, and "they don't like being eaten.")Steve goes up and finds Will in front of a weight bench (Will is faking having super-strength to not disappoint his father). Steve gives Will a pep talk about entering high school and expresses his hope that one day Will can be around to save the world.Suddenly, Steve & Josie receive a call on their special red cell phones. The Commander and Jetstream are needed! The parents say goodbye to Will and go down to the Secret Sactum, their base of operations to suit up for action. They travel downtown where a giant Robot is attacking the city. Jetstream drops Commander onto the Robot, smashing it. The crowd cheers as Commander rips out the Robot's eye for a trophy.Will & Layla arrive at the bus stop. When the bus arrives, Ron Wilson (Kevin Heffernan) the driver mocks Will for being a freshman until he learns that Will is the son of Commander & Jetstream. Will meets up with his friend Zach (Nicholas Braun) who is bragging about having finally gained his powers. Layla meets two other students- Ethan (Dee Jay Daniels) and Magenta (Kelly Vitz)Ron Wilson takes the bus through a construction zone and ends up driving it right off a bridge! He calmly flips some switches as wings & rocket engines are engaged as the bus flies up to their new school- SKY HIGH. Ron explains that the school is kept up by anti-gravity propulsion and remains in constant motion to avoid detection.The freshman get off the bus and are immediately confronted by two bullies- Lash (Jake Sandvig) who has stretching abilities and Speed (Will Harris) who has supersonic movement. The bullies' attempt to con money out of the freshman is stopped by Gwen Grayson (Mary Elizabeth Winstead) the student body president. She gives the freshman a lecture about Sky High, but Will is completely captivated by her and does not hear a word.As the freshman enter the gym, a sparkling silver comet shoots past them. It lands at the podium and spins around to reveal Principal Powers (Lynda Carter). She wishes the students good luck at Sky High.Next, Coach Boomer (Bruce Campbell) arrives in the gym to begin Power Placement. The class members are asked to step up and demonstrate their powers, and Boom will assign them to a class- Hero or Sidekick (also called "Hero Support," which Magenta refers to as "Loser-Class.") Zach eagerly steps up and shows off his power- he can glow in the dark. Boomer is not impressed and knocks Zach off the stand with a supersonic boom, classifying Zach as a sidekick.The remaining freshman go through placement at a steady pace. Along the way, Ethan (whose power lets him melt into a puddle) and Magenta (who can turn into a guinea pig) are both assigned to Sidekick class. Layla, who does not approve of this system, refuses to participate- and is thus made Sidekick by default. The bell rings and Coach Boomer orders a break for lunch, deciding that he will start things off with Will when they get back.At lunch, Will notices a strange boy in leather who appears to be staring at them. Magenta recognizes him as Warren Peace, (Steven Strait), child of a superhero mother and a supervillian father. Apparently, Will's father captured Warren's father and sent him to jail on "quadruple life sentences." Will is miserable- it's his first day and he already has an archenemy!Back in the gym, Coach Boomer attempts to test Will's powers by dropping a car on him and throwing him across the room. Will finally confesses that he has no powers. Boomer pronounces Will "Sidekick" with such firmness that it shatters a dozen windows."Will gets examined by the school nurse (Cloris Leachman), who cannot explain why he is powerless. She says that he might eventually get one or both of his parents powers, but there are rare cases where children of superheroes never develop powers. Apparently the last known case of a powerless child is none other than Ron Wilson, the bus driver.Will comes home and his father wants to have a talk with him. Steve brings Will into the Secret Sactum, swearing Will to secrecy and making Will promise not to bring anyone else in. The Sanctum is loaded with trophies from The Commander's battle (He places the Robot Eye from that morning on a pedestal), including a weapon called the Pacifier from a villian called Royal Pain-the first enemy that Commander and Jetstream defeated together. Steve then reveals that he has placed Will's name on an empty pedestal in the hope that Will can someday be a great hero. Will chickens out and cannot tell his father about being a Sidekick.Meanwhile, the Robot Eye glows (unnoticed by Steve & Will). The Sanctum is being watched by two mysterious entities.Layla stops by to talk to Will using her powers (she can control plant growth). Layla encourages Will to tell his father the truth, but he still refuses.The next day, Hero Support class begins as Will & his friends meet their teacher, All-American Boy (Dave Foley). "Mr. Boy" reveals that he once worked with the Commander, and seems hurt when Will does not know about him.The power goes out in the building, and Zach immediately takes the opportunity to show off his glowing powers. Mr. Medula (Kevin McDonald), the science professor with an oversized cranium arrives and explains that there was a minor "misfire" in the Mad Science Lab.The week goes on with Will & his friends receiving instructions from Mr. Boy and Mr. Medula. Ethan becomes a favorite target of bullies Speed & Lash, frequently becoming on the receiving end of "swirlies." One night, Will & the other sidekicks are at Will's house studying when The Commander returns home. Will cannot hide the truth anymore and confesses the truth: he is a Sidekick, and he is powerless. The Commander is at a loss for words.Steve and Josie speak later. Josie is disappointed too, but there is nothing they can do "short of dropping [Will] in a vat of toxic waste." Steve resolves that Will can always make a legitimate career out of real estate rather than being a hero, and his disappointment does not defer his love for his son.Next day at lunch in Sky High cafeteria, Lash uses his stretch powers to trip Will. Will's lunch tray accidentally lands on Warren Peace, who is furious. Warren reveals his power (to project fire from his arms) and attacks Will. Will cowers under the lunch table, unable to fight back. When Warren threatens the other Sidekicks, Will reaches up and lifts the entire table that Warren is standing on! Will (and everyone else) suddenly realize that he has gained super-strength. Warren, angry about being knocked down, attacks again. Will punches him with such force that Warren crashes into the teacher's lounge. Undaunted, Warren gets back up and attacks again. Layla tosses Will a fire extinguisher, and Will rips the top off and extinguishes Warren's fire.Principal Powers throws Will and Warren in a detention room. Warren is eager to keep fighting, but cannot ignite his flames. Principal Powers explains that the detention rooms neutralize super-abilities. Will attempts to resolve the matter peacefully, but Warren wants nothing of the sort.That night, Will returns home thrilled about his good fortune. Josie is not amused, since her son destroyed a good portion of the cafeteria. Steve takes Will to the Sactum for a discussion, but upon arrival he firmly embraces Will, delighted that his son has super-strength. Will hugs back to demonstrate just how strong he is. Steve gives Will an X-Box as a reward for developing superpowers.The mysterious figures continue to watch from the Robot Eye.Back in class, Will's friends are happy about the way he stood up for them. Mr. Boy comes in and explains that Will has now been upgraded to the Hero class. Will arrives at Mr. Medula's science class and is partnered with Gwen Grayson and instructed to build a Freeze Ray. Will is completely lost in his new class, so Gwen uses her powers (she is a technopath; with the ability to control various forms of technology) to help him.At lunch, Will meets with Gwen to catch up on his new Hero-Class requirements. He also meets her friend Penny (Malika Khadijah) a girl with the ability to duplicate herself. Penny and some of the other Heroes dismiss the sidekicks as losers. Will, feeling bad, offers to take Layla to the Paper Lantern (her favorite Chinese restaurant) later that night. She happily accepts.Will sees Speed & Lash shoving Ethan and Zach into lockers. Ethan and Zach think Will can stop them for good, and makes a bet: If Will can out-perform Speed & Lash in Gym Class, they will not harm the sidekicks for the rest of the year. If Will fails, they will stick Ethan's head in a toilet every day.In Gym Class, Coach Boomer explains the exercise "Save the Citizen." A team of 2 students must overpower 2 "Villains" and reclaim an endangered "person" (actually just a dummy) before it falls into a spiked pit. Speed & Lash are the undefeated champions. They will act as the Villains and choose Stronghold & Peace for the Heroes. At first, Will & Warren are losing badly because they cannot work together. Will manages to tie up Lash (literally) but Warren is trapped by Speed's circular dash. Warren collapses under the strain, since Speed's vortex is sucking away the oxygen needed for his fire-powers. Warren encourages Will to forget him and rescue the citizen, but Will ignores the citizen and takes out Speed. With only seconds left, Will uses a "fastball special" to throw Warren over the spike pit, rescuing the citizen!The Commander is thrilled to hear about his son's accomplishment, since no freshman has ever won "Save the Citizen" before. Gwen shows up at Will's house to help him with his science homework. She gets along fabulously with Will's parents. They look over Steve & Josie's old yearbook from Sky High, and spot a photo of a girl named Sue Tenny who looks suspiciously like Gwen. Gwen asks The Commander and Jetstream to come to Homecoming as guests of honor to receive the award for "Heroes of the Year."Layla is at the Paper Lantern, waiting for Will. She meets Warren, who has a job at the restaurant. Warren theorizes that Layla is secretly in love with Will. Layla confirms this, but is afraid that Will is in love with Gwen. At the same time, Will walks Gwen home, and she invites him to the Homecoming dance as her date. Will is so happy that he ends up knocking over a lamppost.Next morning, Will apologizes to Layla for missing the dinner at Paper Lantern. Layla is happy until Will explains that he is going to homecoming with Gwen. Layla, devastated, asks Warren to take her to homecoming. Warren does not like the prospect of it, but when he decides that taking Layla will spite Will, he happily agrees.Later that week, Will & Gwen decide to meet up with Homecoming committee to discuss the dance. The entire Hero class ends up at Will's house to throw a party. Gwen asks Will if there is a quiet place where they can talk in private. Will takes her to the one place in the house that is quiet- the Sanctum. Gwen kisses Will while an unseen figure comes in and swipes the Pacifier weapon.Layla shows up at the party, and Gwen lies to her by saying that Will is sickened by her feelings for him. Layla, heartbroken, walks out. Will, seeing his friend cry, angrily breaks up with Gwen and tells everyone to leave. They ignore him, but at that moment the Commander and Jetstream return home. Everyone immediately rushes out.Will explains that he didn't actually plan the party, and will not be going with his parents to Homecoming. Steve encourages Will to come to the dance, because he wants to introduce "The Stronghold Three," the greatest superhero family in the world.Will goes to the Paper Lantern in an attempt to talk things over with Layla. Warren meets him and explains that he is only going with Layla to make Will jealous. Will doubts that Layla or any of the other Sidekicks will speak to him again.That night, Commander & Jetstream leave for homecoming while Will stays in the Sactum. Will looks through his father's old yearbook and sees the girl who looks suspiciouly like Gwen holding a device that looks like the Pacifier! Upon seeing that the real Pacifier is gone, he contacts Ron Wilson for an emergency transport to Sky High.At the Homecoming dance, Gwen meets Commander & Jetstream once again and reveals her true self- Gwen is the supervillain Royal Pain! Royal Pain uses the Pacifier on Commander, and it turns him into an infant. Several other members are hit by the Pacifier ray while Speed, Lash and Penny seal all the exits. Warren, Layla and the Sidekicks manage to escape in an air vent. Zach uses his powers to show them the right way out, when they suddenly meet up with Will.Will confirms that Gwen is apparently the daughter of Royal Pain, and apologizes to his friends for being such a jerk since his promotion to Hero-class. Layla kisses Will as a means of forgiveness. Warren tells Will to go after Gwen while they take care of the henchmen.Ethan runs away, managing to trap Lash's head in a toilet in the process. Warren fights with Speed but cannot hit the dashing bully. Speed runs right in front of Ethan, who promptly melts. Speed slips up on the puddle and Warren blasts Speed into a wall.Will confronts Gwen, who is taking the infant heroes away to start her own academy of super-villains by re-raising the heroes from scratch. Gwen also confirmes that in truth, she IS Sue Tenny. The original Pacifier weapon backfired on her, so she waited to grow up again and exact revenge. Will is disgusted- he's been in love with "an old lady!"Royal Pain smashes Will through the wall of the gym. Meanwhile, Penny is still fighting Layla. Layla is finally fed up with the battle and uses her powers to summon a massive growth of vines and ensnare Penny and all her duplicates. Penny reveals that Royal Pain is tampering with the schools' anti-gravity device and that in 10 minutes, Sky High will fall.Zach, Ethan, Layla and Magenta look at the blueprints for Sky High. They see a small opening to the anti-gravity room that none of them can fit through- except Magenta in her guinea-pig form.Will & Royal Pain are still fighting when she lands a devastating punch, sending Will flying out of a window and off Sky High. Seconds later, Will returns to the same spot- revealing his SECOND power!!!Royal Pain is loading a bus with the infant heroes when Ron Wilson notices and shuts down the bus, preventing their escape.Magenta reaches the anti-gravity device just as it shuts down, and she begins to chew through a wire. Will flies out and attempts to stop the school from falling. Magenta chomps through the wire seconds before Sky High slams into a residential neighborhood.With the school re-stabilized, Will & his friends wonder how to proceed. Mr. Medula (still possessing his fabulous intelligence despite being an infant) decides to re-program the Pacifier.As the heroes are gradually restored to normal, Will apologizes for letting Gwen into the Sanctum. The Commander and Jetstream decide that the "Hero of the Year" award should rightfully go to Will & his friends (including Ron Wilson) for stopping Royal Pain. With everyone returned to normal, they resume the Homecoming dance.Will gives a voiceover during the end credits, explaining "my girlfriend became my archenemy, my archenemy became my best friend, and my best friend became my girlfriend. But hey- that's high school!" | comedy, cute, good versus evil, action, revenge, entertaining | train | imdb | A great group of kids play the Sky High students, with cool effects to help them into their roles...
Okay, there are a lot of crazy special effects in this movie, but the story is actually driven by the nice performances by almost all the actors instead of lots of SFX.The film is about young Will Stronghold (charming performance by Michael Angarano), son of the two most popular and successful superheroes in the world, The Commander (Kurt Russell) and Jetstream (Kelly Preston).
And how will his parents react when they hear the bad news?Sky High is a very entertaining family movie with lots of good hearted humor.
The original little ideas dry out after the first half of the movie, but who said that all family movies should have Oscar power?Sky High is a movie about friendship, falling in love with the wrong girl, falling in love with the right girl and trying to succeed in your parents footsteps.
The story revolves around Will Stronghold( Michael Angarano) who is the kid of two superhero parents, The Commander( Kurt Russell) and Jetstream( Kelly Preston).
High school angst is then thrown into the mix as Will and his new group of friends, headed up by the typical girl best friend Layla( Danielle Panabaker), are told they don't fit the superhero mold and become sidekicks, otherwise known as the losers of the school.
Action for the boys, cute boys and drama for the girls and Kurt Russell for the moms- great family movie.
The plot and theme borrow a lot from the Incredibles (which is a good thing because I liked it the best of Pixar's flicks) Also you might think Hogwarts when you see the classes except the high school floats in the sky and rather than potions and avoiding the dark forces the student learn how to be superhero sidekicks and how to build ray guns in science class.
I'm truly happy when actors like Kurt Russell and Kelly Preston put their heart into a kids movie.
It makes you appreciate them all the more and at the same time gives you great acting and a fun movie.As much as I liked the Incredibles and love Pixar, I have to give a big hand to Disney for bringing equal enjoyment to live action.
The previews I thought looked cheesy and kind of dumb but I was really happy with what I saw.Kurt Russell has always been a good actor I think and he did do a good job in this film along with Kelly Preston.
We could all relate to the main character, who had to struggle with finding out what he had and deciding what he would do with it, who his friends were, where his loyalties lie, and how much integrity to demonstrate.The violent scenes were mostly slapstick or cartoonish enough so as not to distress small children (I say mostly because there is some violence, but no blood or gore; just people smashing into or through things, etc.).I especially liked that Lynda Carter gave a nod to her Wonder Woman character, and that Clois Leachman - one of my favorite actresses - was involved, once again, with superheroes - and with Lynda Carter, too (Clois was Lynda's mother in the original Wonder Woman movie).Also, although only caricatures, the script-writers and kid actors were true to the typicalities of high school.
(The movie also has series cast member Patrick "Puddy" Warburton as the voice of one major villain.) In this case our hero (Michael Angarano) has two of the world's most beloved superheroes, Steve and Josie Stronghold (Kelly Preston and Kurt Russell, back in the Disney fold) as parents, a high school where everyone but him seems to have superpowers, and the curse of being relegated to Sidekick ("Hero Support!") status.Like "The Tick" and "The Incredibles," the movie's view of a world where superheroes are a given allows for some amusing observations and fun at the expense of the regular rules of superheroics, and it also deserves credit for not making Gwen (Mary Elizabeth Winstead) automatically more of a bitch than the Lisa Simpson-esquire Layla (Danielle Panabaker).
True, there are some slight story flaws (and the tendency to slip in Wonder Woman references into Lynda Carter's screen time is distracting), but "Sky High" has such a strong cast (and frankly, anything that has Bruce Campbell - "SIDEKICK!!!!" - has at least one thing going for it) and is so consistently funny without encouraging us to not take the story seriously (though somewhat retro, not least in its song choices - every time young Stronghold sees Gwen a cover of Spandau Ballet's "True" starts up - this movie wouldn't have worked if it had gone for the 1960s "Batman" approach and camped everything up) that you just don't care.Throw in a rousing score by Michael Giacchino, the "Save The Citizen" game, an exciting finale at the Homecoming dance, and a realisation that the movie's standard "Be Yourself" message has been delivered with considerably more subtlety and less condescension than, say, Filmation ever would, and the result is a movie that really deserves to do better than it's doing now at the box office.
In movies like that, you know right away that he should discover some of those eventually, but usually one should expect some sort of struggle, some twist, or other surprise that would give him those powers.
I usually enjoy going to the girly Disney movies (Princess Diaries, etc.) but I walked into this film with a bit of a bad attitude, convinced the superhero plot wouldn't cut it.
Shy High might have been purposed for little kids, but like most good Disney movies(and only the really good ones)there are different levels of comedy.
All in all in was an extremely entertaining movie and the moment it was over my sister turned to me (she is in college) and said, "As soon as this comes out on DVD I am buying it!" It was hilariously fun, full of laughs and it actually had a good moral lesson.
Your basic high school movie with freshmen and seniors, popular and unpopular kids, but with them all having special powers!
The movie begins with the two greatest superheros on the planet known has The Commander(Kurt Russell) who has the strength of a thousand men, and Jetstream(Kelly Preston) who has the power of flight, and has amazing fighting skills, they are also married, and have a son named Will(Michael Angarano).
So again I had to decide what I should watch and this time I decided on "Sky High" only because Dave Foley and Kevin MacDonald from the "Kids in the Hall" are in the film but honestly what I got was a big surprise."Sky High" is about a kid named Will (Michael Angarano) who's mom (Kelly Preston) and dad (Kurt Russell) are the worlds biggest superheroes.
As the film continues on we follow Will on his journey as he discovers his powers, fights evil, and gets through his first year at Sky High.To be up front and honest about it, I never really had any interest in seeing this movie but now I am very glad I did.
And to top it off, "Sky High" is also a great movie for both kids and adults alike.The story in itself is interesting because it's something new for the genre which Hollywood has been milking dry for years now.
Also the script contained some cleaver jokes poking fun of other movies in the same genre, for example when Will couldn't figure out what his powers were and Steve (Kurt Russell's character) was upset by it and he said "maybe we can dip him in some nuclear waste because that's how some people who don't have super powers get them." It's pretty witty because having watched almost every movie based on a comic book; most characters do get their powers based on this.
Personally my favorite characters were the cameo appearances by Dave Foley and Kevin MacDonald who both played teachers at Sky High; both of them were very humorous.Director Mike Mitchell did a great job on this film and this is probably his best film to date.
I think Mr. Mitchell also did a great job capturing the characters feelings and emotions as well as a great job filming the shots of the high school antics.In Conclusion this movie could quite possibility be the best superhero movie ever made outside "Batman" and "Batman Begins".
I highly recommend it to all especially those who enjoy comic book or superhero movies.MovieManMenzel's final rating for "Sky High" is an 8/10..
There was plenty of action, cool special effects, some humor (clean) for both the kids and adults, plus some nice family values.The gist of it is that Will Stronghold, son of superheros The Commander and Jetstream is starting high school at Sky High.
If you want a good family movie that will have your kids talking about it for a week, go see Sky High..
The soundtrack contained covers of favorite hits from the 80's, so I think that is a very apt characterization.I take my kids to lots of movies that they enjoy much more than I do, but with "Sky High" I walked out of the theater grinning..
Sky High is a pulp comic, heightened from reality and bent to that extreme rather than trying to ground itself into the "real world." High school has never been cattier or more cliquish as the heroes beat up on the hero support.While the kids are the focal point of the film, it's the adults that really shine.
This movie is good!Going into this I was afraid it would be terrible,but I was wrong.This is by no means the best movie,but it is great entertainment.The premise is unique and original,basically the children of the greatest superheroes in the world all go to this school Sky High to become the worlds next great superheroes.Our protagonist Will Stronghold has no powers,but later we learn he has super strength.The premise is simple yet unique.The special effects are great,and the acting is perfect for this type of movie.Everything about this movie is really good.I especially loved the way it kind of combined comedy with action and teen movies.There are many moments where it is very noticeable that it is a Disney movie,but they are easily overlooked by the better ones.There are some really funny moments in this movie and it is bright and happy and just makes you feel good.This movie is great for the whole family,it is perfect for everyone it has:tons of action,romance,adventure,comedy,no profanity,and it is a Disney movie.I liked this movie and I think many others will too.A very entertaining: 8/10!!!.
There's Bruce Campbell as the school coach, Kevin Heffernan as the bus driver, Ron Wilson, and best of all, a scene stealing Kurt Russell as The Commander, the greatest superhero and Wills' father.If the story is run-of-the-mill, the effects are surprisingly accomplished, given a slightly cartoon-ish look that fits the film perfectly.
A few of the characters seem to just be fluff and I would have like to see them do more, but hey, overall again it was a good movie and your kids will enjoy it.
My favorite part was the scene where, after the boy finally gets his powers and misuses them, Russell takes him to the Secret Sanctum for what we assume to be a well-deserved verbal tongue-lashing.This is proof you can make an entertaining family movie that kids will enjoy, that will hold the attention of parents, and that you don't have to use a single curse word or show any breasts..
Even my wife, who seldom likes the same movies I do, enjoyed it, and my usually hyper 4-year old daughter was perfectly quiet (though she did freak at the rock kid when he first changed).Among my favorite characters were Coach Boomer (I'm a long time Bruce Campbell fan, but it took me two days before I wondered if the "boom" was a way of referring to his other movies (boomstick)), Ron Jenkins-Bus Driver (hysterical!), Zak (one has to wonder if he's actually mildly radioactive) and (duh) Warren Peace (he was the spitting image of one my best friends in college, both in the way he looked and acted, though my friend didn't hurl fireballs).I do hope there's a sequel, as I'd love to see where the villains' kids go to school (Royal Pain made it sound like there wasn't one, but I highly doubt that).
There are of course only four films I have ever watched in there - Titanic (it was doing so well in the box office, my parents couldn't say no), Mulan (some people said it was good, so my mother said we should go), Flightplan (to celebrate the end of the PMR exams) and Sky High (just for fun, now that my mum has her own car).
Stereotypical teenage kid starting school, parents are these great people with high expectations of him, kid can't live up to them and makes friends with the under-class of his school, including *gasp* a pretty girl obviously madly in love with him.
Small mom-and-pop stores, K-Mart, Home Depot, and assorted supermarkets came up with brilliant ideas on their own, but it was Wal-Mart who stole all of them to make a successful multinational business.Sky High also contains lots of interesting references to traditional superheroes and their stereotypes, making fun of things like sidekicks (and how fast they can change into costume), radioactivity and its effects on superheroes, etc.
The concept of this movie high school kids going into puberty and finding out about their super powers was just hilarious.This movie has all of the things you expect from Disney Movie.
Will, who doesn't know his power, attends Sky High(a school for superheros) as a freshman, and ends up becoming a sidekick, which socially makes him a "loser".
It's not amazing, but if you're in the market for a good kid movie, this is one.The movie has action, fire, superhero references this way and that, true love and plot twists that you may or may not spot a mile away and even if you do, it won't diminish your enjoying it..
Sky high is a good excuse for the whole family to hang out and have fun in the cinema.The film starts off slow then when it reaches its destination it starts picking up and delivers the goods.The concept has nothing new to offer but the script somehow manages to be a little different.I was amused by most of the characters and their interaction with their powers.
The whole cast deserves an applause for turning this film into even better entertainment.Mike Newell this time doesn't disappoint,and does a fine job.And most will forget his last two features,(I think you must remember SURVIVING Christmas)Overall,not a terrific superhero satire it could have been but it definitely is a good time for the family in the cinema.ENJOY..
If I was in middle school, this would be my favorite movie in the world and I would have the hugest crush on Sky High's geek-turned-hero Will Stronghold (played by an adorable Michael Angarano).
Sorry to say that the battle between which girl will get Will's affection is the only slow part- but its minor, before long there's some super battles taking place and all is right with the world.And if you have any doubts about the quality of the film consider we have BOTH Bruce Campbell, as Coach Boomer, the man who chooses whether you're a hero or side kick; and Dave Foley as Mr Boy, one time side kick to Kurt Russell's Commander Stronghold and now teacher for the sidekicks.This is a tough movie to rate.
Darn tangents, OK back to Sky High...Here's why this movie works so well...it spoofs the powers of many comic book superheroes perfectly!
Despite being a kid's film, "Sky High" proved to be quite good.
Everybody loved it and the cast have made a pretty good job in producing this movie!!!Kurt Russell and Kelly Preston are the best!!
So if you want to watch a movie thats great for all ages then I recommend that you give Sky High a try..
A movie about children of superheroes going to a special high school?
Two special treats are Lynda Carter as Principal Powers and Bruce Campbell as Coach Boomer.All in all, "Sky High" is pretty much all you can hope for from a very good superhero movie.
Yes, it's somewhat derivative and not as charming as The Incredibles (or as exciting as Spy Kids), but it's fun, and my 11 year old son thought it was terrific.I liked how they transformed high school experiences into something a bit exotic (and yet recognizable).
if you're a parent who wants to show your kids a good time and have one yourself, if your a teenager who wants to laugh and see a little bit of romance, or even if the movie you wanted to see is sold out, Sky High is a great movie for all of us.
Super fun mix of high school teen drama and comic book superheroes.
I also loved the conceit of casting Kurt Russell in a Disney film, which is where he got his start in films like "Follow Me, Boys" and "The Computer Wore Tennis Shoes." That aside, it's a fun story about a young teen, a likable Michael Angarano, who's parents are the most powerful superheroes in the world, Russell and Kelly Preston, and he is to start his freshman year at the secret superhero high school (which floats on a giant platform in the sky and to which you get to by a flying bus).
In a world of superheroes, Will, the son of Commander Stronghold (Kurt Russell) and Jetstream (Kelly Preston), feels like an outcast in high school, because he doesn't have any special powers.
All these kids with super powers go to a high school in the sky. |
tt1499658 | Horrible Bosses | Nick Hendricks (Jason Bateman) narrates about how he has been tied down to his job for months working from 6:00 a.m. to around 10:00 p.m. every day and has had no life, in an effort to receive a promotion. He hurries to his job one morning at a wealthy financial firm in order to make it in time at 6:00 am. He hurries into the building, briefly trades "Good Morning's" with the security guard at the front desk and waits at the elevator. Above the elevator door is a large electronic clock which reads 6:02 am. Nick makes it to his floor, runs to his cubicle and immediately gets to work. Two hours later his phone rings; his boss, Dave Harken (Kevin Spacey) wants to talk with him. Harken has been dangling a promotion over Nick's head for the past eight years, and Nick has been working 16 hour days to get it. Harken is a power-tripping sociopath that is too intelligent to ever be one-upped and reprimands Nick for being two minutes late that morning and tells Nick that tardiness doesn't lead to promotions. Nick apologizes and he is soon offered to share a drink with Harken. Nick reluctantly accepts (due to the hour) and is shocked to see Harken fill only one glass with scotch, almost to the brim. He forces Nick to drink it all by himself. Nick coughs and sputters as he downs the drink, but does it anyway for the promotion.Meanwhile, Dale Arbus (Charlie Day) is dropped off at work by his fiance Stacie (Lindsay Sloane). At work Dale repels constant sexual harassment by his man-eating dentist boss Dr. Julia Harris (Jennifer Aniston). She toys with Dale; tells him to have sex with her at all times of the day, and fondles her unconscious male dental patients. Dale refuses her advances, citing that he is engaged and he wouldn't want to betray his fiance.Elsewhere, Kurt Buckman (Jason Sudeikis) loves his job. He is the acting second-in-command at Pellitt Chemicals, owned by the warm and generous Jack Pellitt (Donald Sutherland). Kurt is well-liked by all of Jack's employees, except for Jack's rude, spoiled and rotten son Bobby Pellitt (Colin Farrell). Bobby frequents the company bathroom, where he snorts cocaine, and shows genuine disgust for his co-workers, especially Kurt. Jack and Kurt walk out to the parking lot, where Jack says that he hopes for Kurt to manage the company once he retires. Jack jumps into his car and suffers an immediate heart attack, killing him.That evening all three friends meet at a local bar where they trade horror stories about their bosses. Nick says he would quit, but his promotion is in the bag. Kurt loves his job, and he's just afraid of what Bobby will do to the company now that he's in charge. Dale wishes he could find a new dentist to work for but explains that finding a job is difficult because he is a wrongfully labelled sex offender (after taking a drunken leak on a vacant playground next to a bar one night, and getting busted by the cops for indecent exposure). Nick suggests that they all look for new jobs when their childhood, and most likely to succeed, classmate Kenny Sommerfeld (PJ Byrne) wanders into the bar and explains how tough life was after losing millions while working for Lehman Brothers. Now he can't even get hired as a waiter, and the only way he earns money is performing sexual favors in the bar bathroom. The three realize that the possibility of finding new work is slim and commit to keeping their jobs.The next morning Nick heads into work and is caught off guard by an emergency staff meeting. Nick has a feeling that the purpose of the meeting is to announce his promotion to company Vice President. It would mean more money, better hours, and more respect from Harken. Harken arrives, 15 minutes late, complains that his wife is cheating on him with every man in the neighborhood, and openly berates Nick for being a drunk before promoting himself to Nick's coveted job. Nick daydreams of throwing Harken out a window, but only ends up begging Harken for an explanation as to why he led Nick along for so many years. Harken rudely tells Nick that he likes him as his bitch and that he'll never be promoted. Nick angrily tells Harken that he will quit and get a better job elsewhere to which Harken retorts that he'll send out a fabricated letter of discouragement to every other financial firm in the country, saying that Nick is insubordinate, tardy, an alcoholic and very bad at his job. In short, Harken would blackball Nick from the industry if he decided to quit.Kurt heads into work three hours late, after spending the morning at Jack Pellitt's funeral. Bobby teases Kurt and reveals his intentions for the company: he intends to sell it, collect the profits and retire on a tropical beach filled with hookers and cocaine. He tells Kurt to fire all the fat and disabled people starting with the obviously pregnant "Large Marge".Dale heads into work and is called into Julia's office. She locks the door behind him and Dale is surprised to find that she is practically naked, save for a pair of panties and a lab-coat. She implores that Dale have sex with her and berates him with offensive names. Dale ignores her come-ons and explains that he has a fiance and that he would never betray her trust. Dale threatens to quit, until Julia brings up that he is a sex offender and nobody else would ever hire him. Dale storms out of the room, to Julia's delight.That evening the three meet again. Kurt and Nick joke about their desire to kill their bosses while Dale, who is disgusted with Julia, would never consider murdering her. Dale storms out, while the other two re-enforce that the thought was simply a joke.Dale returns to work the next morning and is surprised to see his fiance, Stacie, in Julia's office. Stacie explains that Julia called her up and offered some free dental work as a wedding gift. Dale attempts to turn down the offer, but is unable to do so without letting on to his and Julia's relationship. With Stacie passed out in the dentist's chair, Julie goads Dale into having sex with her ON TOP of Stacie. Dale refuses again, which prompts Julia to pull out an iPad filled with risque photos of Dale and Julia taken by Julia while Dale was unconscious. She threatens to show the images to Stacie unless Dale has sex with her. Dale escapes her office yet again.That evening the three meet at Kurt's house. Dale arrives and shouts "I'm in! Let's kill this bitch!" The other two, who were both under the impression that their conversation of murder was only a joke, try to calm Dale down, but Dale is still infuriated by Julia's actions and explains that he already has a plan.The following evening, the three meet at a run-down motel room. Dale has gone on Craigslist and hired a "Wet Work" specialist on the men-seeking-men section. Nick and Kurt are surprised that Dale not only found an assassin on Craigslist, but managed to secure his services for only $200. The Wetwork Man (Ioan Gruffudd) pulls his car into the parking lot. He is well dressed, drives an expensive European sports car, and speaks in an English accent. The Wetwork Man enters the motel room and after a moment of confusion, explains that he is no assassin, but rather a gigolo for fetishists and that "Wetwork" is a code-name for a man who urinates on other men for arousal. The three pay the man for his time, but not his services, and flee the motel.In Kurt's car the three accuse one another of being amateurs and decide that the next course of action is to find a killer-for-hire in person. Kurt turns on his OnStar-like GPS service and is answered by an Indian phone-operator named "Gregory". Kurt asks for directions to the most dangerous part of town. Gregory leads them to a dangerous neighborhood, where they find a bar full of thugs and gang-members. Kurt asks the bartender if he knows any killers-for-hire. The three are run out of the bar by the patrons, and just before leaving they're confronted by Dean "Motherfucker" Jones (Jamie Foxx). Jones explains that he just finished a ten year stint in prison and can help take care of their problem for $30,000. The three reject his offer as too expensive, and are about to drive away when Jones lowers his asking price to $5,000. The three withdraw all of their collective savings and meet Jones the next night, and are ready to give him the addresses of their bosses. Jones changes the details of the plan, saying that instead of having him kill their bosses, the three should kill each other's bosses, and that for the low $5K fee, he will act as their murder consultant. The three are clearly upset and want their money back, but they feel threatened by Jones, and accept the arrangement. Jones gives them a few tips on killing their bosses: make their deaths look like an accident, stake out their homes, learn their daily routines, don't leave DNA evidence, etc.The following day Nick feigns illness by throwing up in a trash can in the middle of the office. Harken, disgusted by Nick, tells him to finish his work at home and to have it ready for Monday morning. Nick then meets with Dale and Kurt and the three of them head to Bobby's house first. As Bobby leaves, the three sneak in. Despite telling one another to leave zero impact in the house, the three make a mess. Dale and Nick accidentally knock over a shoe-box full of cocaine onto the floor while Kurt rubs all of Bobby's toothbrushes, razors and floss on his butt-crack. Dale and Nick manage to vacuum up the spilt cocaine and Kurt steals Bobby's cell phone with all his schedules, addresses, etc.The three jump into Kurt's car and head over to Harken's mansion to look for more dirt on him and to learn his routine. Dale, who is still reeling from the cocaine he inhaled is told to sit in Kurt's car and act as a lookout. Inside, Nick and Kurt look for anything they can use to kill Harken but only find that he has a thing for cats and that his wife (Julie Bowen) is much younger and more attractive than Harken, which excites the always-horny Kurt.In Kurt's car, Dale inhales a peanut butter and jelly sandwich while he plays video games on his cell phone. Unbeknownst to him, Harken is taking his nightly jog around the neighborhood. Dale tosses his peanut butter and jelly wrapper out the window. Harken lifts it up and shouts obscenities at Dale, but soon inhales a few peanut particles and goes into anaphylactic shock. Upstairs, in Harken's bedroom Nick and Kurt watch as Harken keels over in the street. Dale exits the car and not knowing that Harken is Harken, he takes Harken's epipen and repeatedly stabs him in the chest and neck. From upstairs Nick and Kurt watch in horror as Dale apparently stabs Harken to death; they both escape, but not before accidentally dropping Bobby's cell phone in the master bedroom. Eventually the shock wears off, just as Harken's wife arrives. She thanks Dale for saving Harken's life while Harken accuses Dale of being there to sleep with his wife, and threatens to kill him. Dale drives off, tracks down Nick and Kurt and the three escape, now knowing that Harken has a severe peanut allergy: something they can use to their advantage.The following day, the three head to the supermarket. Dale loads up on peanuts and Nick buys rat poison, which he intends to mix into Bobby's cocaine. Afterward the three head in three separate directions. Dale will kill Harken, Kurt will kill Julia, and Nick will kill Bobby.Kurt watches as Julia drives home and seductively undresses in her front window. She eats various sexually suggestive foods before inviting the woman-crazy Kurt into her home where the two have sex.Nick watches as Bobby exits his home with a couple of hookers. He waits for the most opportune moment to sneak in and tamper with Bobby's cocaine.Outside the Harken residence, Dale watches "The Notebook" on his DVD player and waits for Harken to emerge. Inside his mansion Harken searches for residue of any man that might have been in his room with his wife. He hears Bobby's phone ring; he picks it up, checks Bobby's address on the phone, and heads out. With Harken gone, Dale sneaks into Harken's house, up to his shower and intends to put peanuts in all of his shampoos and soap. He calls Nick, saying that he can't go through with it. Just then Harken arrives at Bobby's house; he doesn't notice Nick's car as he walks to Bobby's front door, rings the doorbell and shoots Bobby twice, killing him. Nick and Dale witness the killing and are freaking out. Shortly after Harken leaves, Nick peels out in his Prius and blows through a couple red traffic lights and is photographed by traffic light cameras.The three head back to their hangout. Nick and Dale are freaking out while Kurt is happy and content. Nick explains that Harken killed Bobby for them, while Kurt explains that he slept with Julia. The three fear that their DNA is all over Bobby's apartment and agree that their only course of action is fleeing the country. As they head out to Kurt's car, the three are quickly arrested by the police. At the police station, the interviewing officers ask why Nick was photographed fleeing a crime scene at such a high rate of speed. Nick fibs, saying that he was drag-racing. The two officers have a hunch that the three are connected to Bobby's slaying, but don't have enough evidence to keep them at the station. As they leave, the arresting officer tells them that they're going to send crime scene examiners to Bobby's apartment. This freaks out Kurt who had playfully rubbed all of Bobby's brushes up and down his butt.Kurt drives them back to his apartment and are shocked to see two patrol cars parked in front of it; the cops ran the DNA evidence and now there must be a warrant out for his arrest. Finding no other recourse, the three return to see "Motherfucker" Jones. They tell him about Harken murdering Bobby, and while their actions have been suspicious they haven't actually killed anybody. Jones tells them that for his advice they would need to pay him an additional $5,000. They refuse stating that the first $5K was enough. Jones breaks down, revealing that he did not go to jail for murder, but rather for video-taping "Snow Falling on Cedars" in a movie theater ten years earlier. Despite no longer having credibility, Jones tells them to get Harken to confess to the crime and to record it. The three agree that this is the best course of action.They sneak back into Harken's house, with Kurt manning a tape recorder and are surprised as a few dozen people, including Harken's wife jump out shouting "Happy Birthday!" They soon realize that the three are not Harken. Harken's wife recognizes Dale and assumes that during the prior meeting that she must have invited Dale to the party. The three make their way into the crowd and wait for Harken to arrive. Harken arrives soon thereafter and is annoyed by the surprise birthday party. He heads into his private office and is followed by Dale and Nick while the ever-horny Kurt sneaks off with Harken's wife.In his home office, Nick and Dale confront the psychopath Harken. They successfully goad him into confessing for Bobby's murder, which excites them both, until they realize that Kurt, and the tape recorder, are not in the room. Harken walks over to his safe, takes out his revolver and tells them that he will kill them next. The three regroup and head out to Kurt's car. Harken jumps into his SUV and heads after them. Harken crashes into them repeatedly, prompting Kurt's Onstar-esque service to alert him. "Gregory" asks if they need assistance, to which Kurt says 'yes'. Gregory calls the police, making the three freak-out. They tell him not to call the police because they're already wanted by the cops. Hearing this, Gregory remote-shuts off the car, explaining that he is required by law to not aid fleeing fugitives. The three are soon broad-sided by Harken's SUV. Harken steps out, with his gun drawn, and orders the three to get out of the car. He explains that he would love to kill them, like he did Bobby, but he would rather frame them for Bobby's murder. He shoots himself in the leg, wipes his prints and tosses the gun to Dale, who stupidly catches it bare-handed and waits for the police to arrive. Once they arrive Dale drops the gun and Harken tells his falsified story to the same arresting officers as before. In the midst of the stories, Kurt reveals that his tape recorder must've been recording the whole time. He pulls it out and plays it aloud for all to listen. Instead of Harken's confession he plays the mistakenly recorded sounds of him and Harken's wife having sex in Harken's bathroom, followed by the sound of the car chase, but no confession. Harken laughs it off, telling the officers to arrest them as there is no confession. "Gregory" chimes in from Kurt's car and explains that he had been monitoring and recording Kurt's call ever since the first collision of the car chase. He plays back Harken's confession. Harken is soon cuffed, along with the others, and is dragged to jail.In the epilogue, Harken has just been sentenced to 25-to-life in prison. In his absence Nick has been promoted to Harken's job as President of the company. He arrives to work at a reasonable hour and has nothing but good things to say about his new boss, Company CEO Lou Sherman (Bob Newhart) who isn't nearly as domineering or aggressive as Harken was; that is until Nick hears the pleas of Lou's assistant trapped in his trunk.Kurt returns to his regular job at the Chemical Company where "Large Marge" has taken over Bobby's position. He playfully jokes with her, asking when her due date is, causing her to ask "Due Date?" (She's fat, not pregnant)However in the final scene, Dale is back at work at the nasty Julia's office as usual and on this day he's finally agreed to fulfill her nasty fantasies. He tells her that he's sedated the patient in the dentist's chair and that he wants to watch her fondle the patient. She immediately pulls the patients pants down and is about to do more when the patient begins to giggle. The patient pulls back the oxygen mask revealing himself to be Kenny Sommerfeld, who is delighted to be making a buck in such a naughty situation. More so Dale has Julia look out the window where she sees video-pirate "Motherfucker" Jones video-taping her encounter. Dale blackmails Julia, explaining that in exchange for keeping the video secret he will require an all-expenses paid two week honeymoon vacation and no more sexual advances in the office. Overpowered, Julia agrees.During the closing credits there is a blooper reel of various scenes throughout the movie. | entertaining, revenge, comedy, murder, flashback | train | imdb | Jason Bateman again showing the world he can act and telling his critics to go swivel on his middle finger by how great he was in horrible bosses.I personally rated every single actor in this film as Grade A , the acting was just superb!
Those who think Hollywood is no longer capable of creating a funny comedy for adults need not worry, as "Horrible Bosses" is proof that that increasingly rare phenomenon can still happen."Horrible Bosses" is one of those comedies like the classic "Ruthless People," in which an outrageous and dark premise works because of good writing and an ensemble that knows exactly how to handle the material for maximum comedic value.
Jason Bateman, Jason Sudeikis and Charlie Day play the requisite straight man, alpha male and dumbass, respectively, that male buddy comedies need, while Kevin Spacey, Jennifer Aniston and Colin Farrell (sadly underused) play the titular bosses.
All of them have a field day with their roles, and Aniston especially stands out because of the film's decision to cast her against type as a slutty, foul-mouthed sex kitten; you can almost hear Aniston sighing with relief as she gets to play something other than the cute-as-a-button girl next door.As with most comedies, whether or not you think "Horrible Bosses" is funny will probably depend simply on whether or not you think the actors are funny.
Horrible Bosses is the type of movie that would make Danny DeVito proud, as it blends a fun plot full of fun twists with standout comedic performances, plenty of surprises, and the inability to ever become predictable.
Don't look now but this movie is legitimately funny, and among the better comedies released in quite some time.Horrible Bosses is about three average joes (Jason Bateman, Charlie Day, Jason Sudeikis) that are stuck on their job with awful bosses (Kevin Spacey, Jennifer Aniston, Colin Ferrell) all for different reasons.
Horrible Bosses is definitively a change from those predictable comedy movies and you will get your money's worth if you go and see it.The cast is this film is just so extraordinary it's to hard to pick one favorite.
The dirty and sexual dialog was hilarious, it was hard not to laugh and it showed they weren't afraid to hold anything back.This movie is a great summer flick and I highly recommend this comedy.
So many aspects of the film come together in just the right way, with exceptional comedic timing, that you simply can't help but to enjoy the ride.Horrible Bosses stars Jason Bateman, Charlie Day, and Jason Sudeikis as three good friends who all have the same problem: they hate their bosses.
The film gives the audience plenty of good reasons to hate these bosses, which helps to relate to the friends' idea of murdering them.What starts out as an off-joke one night between friends blossoms into something more dark and sinister than one would think, with the three friends actually going out of their way to dispose of one another's bosses.
Horrible Bosses is easily Anniston's best film to date, though that might not be saying much.If you've enjoyed movies like The Hangover or Bridesmaids, you'll love Horrible Bosses.
This is just a little comedy that you will enjoy all the time.The beginning of the film shows how horrible their bosses are.
Yes, like even murder is funny.Horrible Bosses is not the kind of film that tries to be the best.
The 3 bosses are fairly 2 dimensional villains; Kevin Spacey is very good and his character is an entertainingly horrible boss, but Jennifer Anniston's character is too exaggerated while Colin Farrell's character is both too exaggerated and wasted.
Suffering occasionally from the mean spirited, OTT jokes which often plague adult comedies, HB also occasionally takes plot turns which just don't make any sense.HB is still funny though, and with a neat running time it's a story you can get invested in without having to pay too much attention.
I went to the cinema with my wife having quite high expectations primarily a result of frequent radio advertisements and probably artificially unbiased opinions of radio show presenters that "This is a very funny movie".Unfortunately the reality was different, but fortunately not "Sucker Punch" different.The story evolves around three friends that they face three different versions of "Horrible" bosses, to the degree that justifies plotting to murder them and turn three seemingly innocent good guys to criminals.The idea surely can deliver a lot of humor, but unfortunately falls sort.The comedy is just too over the top to become hilarious.
Jennifer Anniston's persona was so unrealistic that it failed to become funny, and collin farrel was heavily under played resulting to somewhat fall on the side.There were a few laughs don mistake me but in general i laughed less than the times that i thought "Why do they have to be so crude and vulgar..is that what funny has become now days?" Cant say i hated the experience..i just got a bit disappointed due to false expectations..
It was, in a word, horrible.Then ensemble has some promising talent but when they give the majority of the lines in the movie to the guy with the MOST annoying voice I've ever heard in film, (a whiny, whimpering, screeching Charlie Day), one has to wonder how anyone could continue to sit and watch.
I was ready to laugh, ready to be entertained.I like The Hangover.I like Bridesmaids.I like Office Space.I like Superbad et alI like Jason Bateman.Kevin Spacey is God.I have nothing against any of the actors.I don't mind swearing, I don't mind so-called obscenities, I don't mind nudity or crossing lines or far-out humour.I just don't like this film.
I don't.The movie started with a song used in another film, that got a smile out of me because I happen to like that film very very much - a good comedy, opposed to this one.Kevin Spacey - MAN!
The script is nearly perfect, offering the right amount of dark and crude humor with a great amount of solid, unforgettable laughs.Outside of those two concepts, Horrible Bosses really shines in two great ways.
The script is nearly perfect, offering the right amount of dark and crude humor with a great amount of solid, unforgettable laughs.Outside of those two concepts, Horrible Bosses really shines in two great ways.
Horrible Bosses is about three average joes (Jason Bateman, Charlie Day, Jason Sudeikis) that are stuck on their job with awful bosses (Kevin Spacey, Jennifer Aniston, Colin Ferrell) all for different reasons.
What have you been watching lately to unbelievably consider this movie something watchable, entertaining or whatever?It has an interesting plot but a horrible script, actors playing annoying characters and a very, very awful development.
Kevin Spacey, Jamie Foxx, the unrecognizable Colin Farrell, Jason Bateman and Jennifer Aniston are responsible for the funniest moments of this uneven comedy.
The third horrible boss played by Colin Farrell spends so little time on the screen, we are not clear why he needs to become a target of a murder plot.
Also there were some 20 other people in the cinema and I heard maybe 3 faint laughters..Most of the time I was under the impression that I'm watching one of those 1-minute chaotic totally-improvised self-made movies on youtube, only one that is 100 times longer and thus way beyond being bearable.There were only a few genuine jokes, and Charlie Day's monologues, while probably meant to be funny, were annoying enough to me wanting to fast-forward.
With the help of proclaimed murder expert, Dean "MF" Jones (Jamie Foxx, "Due Date"), nothing could go wrong as they challenge the limits of comedy procuring a belly full of laughs.Finally a great movie idea hasn't been wasted on a slapdash script, poor directing, and unworthy actors.
Also, Jennifer Aniston's sexual performance is so over-the-top viewers will either love it or hate it."Horrible Bosses"' perfect balanced casting blends acting veterans with up-in-coming comedic stars to create a film that connects with the audience through awkward situations and laugh out loud humor.
What lacks in the preview is how each person is "trapped" in their jobs (more on that quotation later) and some background on how they got into their various situations is touch and go, but that's a good thing because this is a comedy and not a serious movie.All the actors are good in their roles, Kevin Spacey is easily the star of the show as the only seemingly serious person in the entire plot.
Charlie Day is probably going to be everyone's favorite as he essentially plays his character from Its Always Sunny In Philadelphia, except with a soul.The big issues (if your a real stickler like me) are the plot, and perhaps if I had gone to see this movie in a different mood, I wouldn't rate it so well.
Also Jason Sudeikis' character's boss is so thrown together for the sake of having another bad guy that he is literally in the movie for a total of 5 or so minutes, the movie focusing a lot more on Jennifer Anniston and (even she takes a back seat) to Kevin Spacey's character.So a better title might have been Horrible Boss (Sexual Harassment, and Thrown Together reason to get a third comedian in here), rather than Horrible Bosses...BUT This movie is funny, and not just normal trashy funny its good trashy funny.
Sex talk and murder rap and subtle looks on top of blatant wise cracks and other kinds of cracks (with toothbrush) and a mixed up crossed-purpose insane deluge of nutsy events one after another.Not to mention an all star cast, with some of the biggest stars in cameo roles (I mean, Bob Newhart and Donald Sutherland, for Pete's sake), and Jennifer Aniston and Jamie Foxx and a hilarious Colin Farrell (of course) plus the stars, like the ever evil funny Kevin Spacey.Is this a great movie?
this movie is a very amazing and comedy one I was laughing the whole time it is really AMAZINGThe sentences, dialog, actions are all hilarious the idea is new I couldn't believe that I will laugh this much when someone recommended me this movie Charlie Day was the most funny character in the film his reactions appears to be very normal and funny you will laugh from your heart Jennifer Aniston's character I think was the most attracting character of the three bosses the movie is full of comedy situations and new ideas I want to thank the writer for his genius mind I loved the movie, you will love it too I advise you to watch it you will enjoy it very much.
The characters were great as were the writing and while not completely original the film still drove the plot in a unique way.However the movie's greatest flaw is that it becomes too goofy and unbelievable.A movie about killing your bosses already requires you to suspend your disbelief, however it is much more funny when done SOMEWHAT believable and realistic.
It almost feels as if the writers got lazy as the transition occurs over the course of just one scene and the movie then takes a dive from there.One example is the character harassed by his boss, Jennifer Aniston.
The movie takes a plunge from clever and creative jokes to screaming and ridiculous scenes with more cursing showing what felt like a desperation to get a laugh.Jamie Foxx's character was uninteresting, and Jason Bateman's new boss gave a horrible bland performance as if it was his first time acting and he wasn't even trying, but those were the only bad performances in the movie.
However it was nowhere near as good as the beginning 1/3.Horrible Bosses WILL make you laugh, however the over the top writing and acting hurts it greatly and what could have been a great classic comedy is now just another average flick.First 1/3 of the movie gets a 9 out of 10.Latter 2/3 of the film gets a 5 out of 10.Overall score of 6 out of 10..
I felt compelled to write a review for this piece of garbage of a movie, I know i'm just one guy but at least my vote will count on lowering this trash 1 millimeter down from this incredible high score.Horrible bosses is a movie so disgusting in it's dialog and implications that, the only way someone will like it is if: 1- He/she has been lobotomized or so self absorbed by media that the brain stopped working correctly.2- He/she is a pervert, a social deviant or some kind of anger guy who hates everyone in his job.The jokes are so lame, so harsh, so evil in places and so plain disgusting that they really hurt my stomach watching.Of course I had to stop the movie after 30 minutes, there is no way I could tolerate anymore.If you like watching disgusting people in horrible situations thinking horrible solutions to their problems while they chat about sex like they were wiping their crap with their own hands (because that's how harsh the dialog is) then this movie is for you.If you on the contrary want to watch an actual comedy, avoid this horrible piece of trash at all costs.This is the typical movie for the brainless masses and what really disturb me the most, is the amount of good reviews it got, really?!, society must be in a very new low, someone even recommended this movie on a date !, I am sure that if I saw this movie on my first date, I will still be single, this is a horrible movie for a date!, a horrible movie for watching with friends, completely inappropriate movie to watch near any kids, I would not allow even a teenage boy to watch it, let's be honest.
Some of us have bosses we don't get on with, it goes with the territory, sometimes it's hard to like the people who tell you what to do.Nick (Jason Bateman) hates his boss Dave Harken (Spacey), who criticizes him for being two minutes late and accuses him of a drink problem, after he has plied him with Scotch at 8:00am.Newly engaged Dale (Day) hates his hot boss Dr Harris (Aniston), as her dental assistant he sits close to her all day providing Harris every opportunity for constant unwanted sexual harassment.Finally, we have Kurt (Buck) who loved his job until his benevolent employer (Sutherland) drops dead leaving his coke addled loser son in charge, an unrecognizable Colin Farrell.Instead of sucking it up, the trio decide over beers at a bar, that enough is enough, the bosses life expectancy needs to be de-emphasized.
The casting is great, everyone's character is exactly right for them, and especially when it comes to comedians and their style of acting in comedic roles.The plot is funny and it's actually so weird how thrilling this movie ended up being.
I will say though that the performances by all the bosses, including Jennifer Aniston, Kevin Spacey, and Colin Farrel were very well played.
So in short, Horrible Bosses is a lack luster comedy film with some pretty good performances by some A list actors..
Jason Bateman, Charlie Day, Jennifer Aniston, Kevin Spacey, Jason Sudeikis, and Collin Farrell all do a great job at portraying their respective characters.
The runtime is a little bit lengthy and the ending is kinda cliché.Pros: Great acting, fast pace, well timed humor, and Jennifer Aniston's hot bodyCons : Overlong runtime and a cliché endingOverall Rating: 7.3P.S. This movie left a good enough impression so I will probably watch the second one..
The cast is quite good, Kevin Spacey shines in the role of one the bosses and as does Jennifer Aniston.
Bateman has Kevin Spacey being a total jerk to him, Day is sexually assaulted by Jennifer Aniston who goes out of her comfort zone as an actress and is the only truly funny actor in the film, and Sudeikis has Colin Farrell be a jerk as well.
Aside from leads like Bateman, Day and Sudeikis doing what they do best, Spacey, Aniston and Farrell add an extra jab of humor, making this a film where everyone offers a good dose of laughter.
The movie just wasn't all that I expected it to be.The storyline is pretty good; you have three friends Nick (played by Jason Bateman), Kurt (played by Jason Sudeikis) and Dale (played by Charlie Day) who all have these mean, wicked, horrible bosses (hence the title of the movie, clever, eh?).
All three main characters were played by some really good actors; Jason Bateman, Jason Sudeikis and Charlie Day. And the people who played their tormenting bosses, well that was the most impressive.
The bosses are played by Kevin Spacey, Jennifer Aniston, and Colin Farrell who I can say all make entertaining, albeit over-the-top, villains.
Horrible Bosses is good for a few laughs, but not much else.The premise of the film is really what drew me into this film along with the cast which I am a big fan of except for Jennifer Aniston who was surprisingly one of the better characters in the film.
Kevin Spacey, Jennifer Aniston and Colin Farrell play those three evil bosses.
The movie Horrible Bosses is a hilarious comedy, which came out in 2011.
The movie is full of stars, including Jason Bateman, Kevin Spacey, Charlie Day, Jennifer Aniston, and Jason Sudeikis.
The movie starts with Nick Hendricks (Jason Bateman) getting to work a minute late, and getting called out by his boss (Kevin Spacey) for it.
There are a few laughs in 'Horrible Bosses.' Kevin Spacey, Jennifer Aniston, and Colin Farrell seem to be having fun playing the titular bosses.
But beyond that, there's not much to enjoy in this lazy, forgettable attempt at a black comedy.The movie focuses on three ordinary guys, played by Jason Bateman, Charlie Day, and Jason Sudeikis, who plot to kill their bosses for no reason other than that their bosses are jerks, and they can't simply quit because, like, it's a recession and stuff, and it's bad out there ya know? |
tt0800320 | Clash of the Titans | In ancient times, after defeating their predecessors, the Titans, the gods divided the Universe among themselves. Zeus took the skies, Poseidon took the seas, and Hades was left with the Underworld upon being tricked by Zeus. The gods created the mortals, whose faith and prayers fueled the gods' immortality. As time passed, however, mortals began to question and soon resist their creators, angering the Olympians.
A fisherman named Spyros finds a coffin adrift in the sea, discovering a baby, Perseus, and his mother, Danaë. Spyros and his wife, Marmara, raise Perseus as their own son, alongside their daughter, Tekla. One day, an adult Perseus and his family watch soldiers from the city of Argos destroying the statue of Zeus. Infuriated at this, the Gods unleash the Furies who attack the soldiers and destroy the family's fishing vessel. Only Perseus survives and is found by a group of the soldiers.
Perseus is brought before King Cepheus and Queen Cassiopeia, who are celebrating their campaign against the gods. Queen Cassiopeia compares her daughter Andromeda to the gods and boasts that she is more beautiful than Aphrodite. The revelry is cut short by the arrival of Hades, who has been given leave by Zeus to punish the mortals for their defiance. Hades threatens to unleash his monster, the Kraken, against Argos, unless Andromeda is offered as a sacrifice. Before leaving, he reveals that Perseus is a demigod and the son of Zeus. Perseus meets Io, who confirms his origin. According to Io, a king of Argos named Acrisius defied the Gods and laid siege on Olympus. Zeus wanted to teach him a lesson, but he could not kill the humans because he loved them so much. Instead, he decided to make an example out of Acrisius and disguised himself as the king, and then had sex with Queen Danae. When Acrisius realized this, he executed his wife and son, while cursing Zeus and denying him their bodies. Zeus punishes him further by changing him into the deformed creature Calibos. Though Queen Danae dies, her son, who turns out to be Perseus, survives.
Perseus leads the King's Guard to the Stygian Witches, looking for a way to kill the Kraken. After being betrayed by the power-hungry Hades, Zeus gives Perseus a sword forged on Mount Olympus and a winged horse named Pegasus. Perseus refuses both, but the captain of the King's guard, Draco, keeps the sword for when Perseus needs it. Soon after, they are attacked by Calibos. Draco severs Calibos's hand and forces him to flee. The band give chase but are attacked by giant scorpions called Scorpioxs that spring from spilled drops of Calibos's blood. They are saved by a band of Djinn, non-human desert sorcerers led by Sheik Suleiman, who tame the remaining Scorpioxs. Also wishing for the gods' defeat, the Djinn lend their aid to Perseus and his band.
The group arrives at the lair of the Stygian Witches and learn that to kill the Kraken, they must obtain and use the head of Medusa, a gorgon who resides in a temple in the Underworld. Any living creature that looks on Medusa's eyes turns into stone. Perseus, Io, Suleiman, Draco, and their remaining men cross into the Underworld. The men enter Medusa's temple lair while Io, being a woman and forbidden from entering, remains outside. Medusa kills everyone but Perseus, who manages to behead her by using his reflective shield to see her with his back turned. As he leaves the temple, Calibos appears behind Io and fatally stabs her. As Perseus and Calibos fight, Perseus accepts that he is a son of Zeus, picks up the Olympian sword, and stabs Calibos through the chest, which restores him to his human form. With his last breath, Calibos urges Perseus not to become a god. Before dying, Io urges Perseus to leave her and save Andromeda and Argos. Pegasus takes Perseus back to Argos as the Kraken is released. The people of Argos seize and bind Andromeda to offer her to the Kraken. Meanwhile, Hades reveals he does not require the faith or worship of mortals as Zeus does, as he has learned to survive on their fear. Hades then subdues the weakened Zeus.
Perseus arrives at Argos and exposes Medusa's head to the Kraken, which makes eye contact just before it is able to reach Andromeda. The Kraken, petrified, slowly turns to stone and shatters. Prokopion, the insane leader of the Cult of Hades, tries to kill Perseus, but Cepheus stops him and is stabbed, before both are killed when the Kraken's petrified hand falls on them. Hades appears, intending to kill Perseus, but Perseus, calling upon Zeus, throws his sword at Hades, forcing him back to the Underworld. Perseus rescues Andromeda, who is now crowned Queen of Argos. She asks Perseus to stay by her side as King, but he declines. Perseus also refuses another offer of godhood from Zeus, who then proclaims that if Perseus is to live as a human he should not be alone and subsequently revives Io. Thus, Perseus and Io become lovers. | fantasy, violence, flashback, good versus evil, psychedelic, action, philosophical, revenge | train | wikipedia | null |
tt0116365 | The Frighteners | Important note - There is a Theatrical version and a Director's Cut of the movie. The Director's cut runs 14 minutes longer and this synopsis caters for both versions.A thunderstorm filled, rainy night in the small town of Fairwater. A woman called Patricia Bradley (Dee Wallace) is been chased by a mysterious entity around the old-looking house in which she lives with her mother (Julianna Mcarthy). Patricia is screaming and fearing for her life. Her mother appears from her bedroom with a pump action shotgun and shoots the mysterious figure as its shape appears through the carpet at the top of the stairs.Some of the residents of Fairwater are gathering for a funeral in the community as the local newspaper editor Magda Rees Jones (Elizabeth Hawthorne) and her assistant are reporting the story of another seemingly innocent death amongst the residents. Psychic investigator Frank Bannister (Michael Andrew Fox) arrives at the funeral trying desperately to advertise his services. As he leaves in his wrecked and dirty looking Volkswagen, his reckless driving causes him to nearly hit an on-coming truck. As he swerves to miss it, he crashes straight through a garden fence. Ray Lynskey (Peter Dobson) comes out of his house infuriated and threatens to sue him for the damages. Frank gives him his business card and drives off after deliberately driving over one of Ray's garden gnomes.On the other side of town Ray's wife Doctor Lucy Lynskey (Trini Alvarado), visits the Bradley house to treat Patricia's cuts. She bandages her hand and tells her that she needs to take her to hospital but her mother (Julianna McCarthy) refuses to let her go. She tells her that she never leaves the house and to just give her some antibiotics. Lucy notices how timid and fragile Patricia is and as she gets ready to leave, she notices some bruising around her neck. Patricia's mother rushes Lucy out of the house and tells her that her daughter is not to be trusted. She was involved in cold-blooded murder.Becoming intrigued by Patricia's history, Lucy watches a documentary about the notorious serial killer Johnny Bartlett (Jake Busey)."In the space of 27 blood-soaked minutes, 12 innocent people gunned down by hospital orderly John Charles Bartlett. Patients, medical staff, visitors, no one was spared in this madman's rampage through Fairwater Sanatorium.Not even the hospital chapel provided sanctuary,as those in prayer were gunned down on their knees. A seemingly senseless crime, Bartlett's motive remains a mystery to this day. Six years earlier Charles Starkweather had murdered 11 people in a Nebraska killing spree".The black and white footage shows the horrific scenes at the hospital of the victims and the families, as well as the footage of Bartlett being escorted to court by the police boasting about his disgusting act."Fifteen year-old Patricia Ann Bradley, daughter of the hospital administrator, was also implicated in the killings. She was madly in love with the psychopath Bartlett. 2,200 volts of electricity ended the life of Johnny Bartlett, the unrepented killer. As they threw the switch he was heard to scream: I got me a score of twelve. Beat that!" In what some consider a miscarriage of justice, Patricia Ann Bradley was sentenced to life imprisonment although it was never proven that she actively participated in the killings. Five years ago, Patricia Bradley was granted a conditional release by the State Governor. Today she lives a reclusive life back in the family home"....Ray gets sick of listening to it and switches off the TV. He joins Lucy on the bed.(Director's cut) He tells her that he's booked their most favorite table at the Excalibur themed restaurant for their wedding anniversary.He starts to kiss her ,but he sees Frank's card that he's positive he tore up and the bed starts rocking and shaking with Lucy on it. It hovers up in the air as the couple panic. Objects start flying everywhere in the kitchen.Lucy calls Frank and he arrives to rid the house of the supernatural. Instead of charging the couple,he offers to do it in return for not having to pay for the damaged fence.Ray reluctantly agrees and Frank uses his "equipment" to capture the spooks and pours them down the sink. As he is packing his stuff up,he is shocked to see a glowing number 37 on Ray's forehead. Lucy cannot see this and Ray kicks Frank out of the house.Frank arrives at his home to his half-built house that he hasn't finished working on. As he gets out of is car,a spirit exits the trunk - a young, 1950's nerd called Stuart (Jim Fyfe), followed by a 1970's, afro-haired ghost called Cyrus (Chi Mcbride). The ghosts are Frank's associates who help him con the local residents by haunting their homes, so that Frank can step in and reap the rewards. While Stuart is just about to join them in the house, Frank closes the door and he gets stuck because his ectoplasm has become too stiff. Frank asks them if they had anything to do with the glowing number appearing on Ray's head but the spirits don't know what he's talking about.(Director's cut) Cyrus helps pull Stuart through the door. The pair of them moan about Frank took their helps as granted and had not giving them enough respect.The next morning,Frank is having a shower and Cyrus pops his head up through the plughole and tells him that he and Stuart want a business meeting in the kitchen.Cyrus and Stuart are talking to Frank in the kitchen about how he doesn't appreciate their loyal service. As they are talking, gunshots go off, as another spirit, a judge from the 1800's (John Astin) enters the room trying to shoot the ghost dog Rhustler as he gnaws on his jawbone. Frank gets his jaw back and tells him to put his guns away.(Director's cut) Frank cuts some wood off from the roof of his house for his fireplace.He sits looking through the newspaper, trying to find people that have recently lost family, while The Judge contemplates going off into the graveyard to rest his decrepit body. Frank tells him he needs him his help in order to finish his house but The Judge tells him to stop with his scheming ways and to stop using death to make a living.(Director's cut) Frank walks out of the living room and is horrified to see a Grim Reaper figure moving down the stairs towards him. The figure moves in close to him but it is only Cyrus and Stuart underneath a cape. They tell him they are trying to figure out different ways to scare people but Frank isn't amused and walks off angry. The next morning Frank receives a letter from his bank informing him that he owes $16,000 dollars. He needs some money fast and he calls the spirits for a meeting demanding that they up their antics to really frighten people.Cyrus and Stuart arrive at a rich woman's house and start causing fear by picking up the resident's babies and scaring the mother and her maid as they see the babies hovering through the air. Again they leave one of Frank's business cards. Frank gets the phone call and sets off.(Director's cut) Frank is trying to drive to the house as fast as he can but he keeps getting stuck in traffic because the roads are blocked with funeral cars. The Judge is sat in the passenger's seat and tells him that there is something very sinister dawning over Fairwater. But Frank isn't interested in what he's saying.He impatiently and recklessly pulls out into the line of funeral cars and dodges around the traffic. He pulls up outside the house and tells Judge to wait for him.Frank walks into the house and attempts to pull off his scheme but the woman is not interested. She has in her hand the local newspaper which shows a picture of Frank with the headline "Local conman haunts cemetery". Frank is angry. He confronts Magda Rees Jones at the local Gazette about printing the story but she tells him he is a parasite who makes money off of the bereaved and she has every right to let people know about him. He leaves and he sees that another funeral is taking place.He sees Lucy in one of the cars crying. As he walks off down the street he is shocked to see Ray running towards him. But not in human form. Ray is now dead. His spirit runs straight into him. Ray is panicking and can't understand how he's died so young and fit. He tells Frank that just before he died he felt his heart been crushed while he was working out. Frank tries to explain the rules of the afterlife to him. Ray asks Frank to give him a ride to his funeral.(Director's cut) As Frank pulls up to the graveyard in his car, Ray (not yet used to being a spirit) has trouble grabbing hold of the door handle to get out. Frank pushes him through the car door and he lands on the ground.They walk through the graveyard and Ray is petrified as he witnesses many spirits roaming the grounds. Drill Sergeant Hiles (R.Lee Ermey), the watchful spirit of the other ghosts, walks out of his tomb and orders the ghosts to get back in their graves. Frank knows there will be trouble. He tells Ray to go on ahead while he talks to the angry sergeant. The two have a fight but with Hiles's supernatural abilities, Frank has no chance.While Hiles shouts to tell the inhbitants of the graveyard who's in charge, Frank goes off to join Ray at his funeral. As Ray becomes very emotional at his tragic death, he falls into the grave as he tries to put his arms around Lucy. He is horrified as he lays on top of his own corpse. As the mourners start to leave the graveside,sheriff Walt Perry (Troy Evans) arrives to talk to Frank. Apart from Lucy, he was the last person to see Ray alive and he wants to know what condition he seemed to be in when he saw him. He says that the FBI are becoming very concerned about the amount of deaths that are happening in the town - many of the victims are healthy and have clean arteries when the autopsy has taken place but their hearts look as though they have been squeezed. Frank tries to get rid of Walt by pretending that he wants to pay his respects to Ray, in order to pull Ray's spirit out of his grave. Walt is alarmed to see Frank physically grappling with thin air and seemingly talking to nothing. As Frank and Ray get ready to leave, an emotional Lucy approaches and tells Frank that she believes in his paranormal gifts. He tells her that he has in fact communicated with Ray.Frank has dinner with Lucy and the deceased Ray at the Excalibur themed restaurant and acts as a communicator between the two of them. But Ray becomes increasingly frustrated as his wife seems to start bonding with Frank throughout the evening. She asks him why he can see spirits and Frank tells her that he was in a car accident five years earlier and sometimes a traumatic experience can alter a person's perception. Lucy opens up too. She tells Frank that her and Ray's marriage was not a happy one and just as Frank tries to console her by grabbing her hand, Ray angrily knocks over a glass of wine into Frank's lap. Thrilled that he can now use make physical contact with the real world, Ray threatens Frank and disappears. Frank goes to the bathroom to dry his trousers. A man enters and Frank is shocked to once again see a glowing number on the man's head reading 38. Frank becomes increasingly edgy as he sees The Grim Reaper figure appear and kill the man by reaching into his chest and squeezing his heart. The man's corpse drops to the floor and Frank watches as the gateway to Heaven opens up and the man's spirit goes off to the other side. Frank rushes out of the restaurant and pursues The Reaper.Lucy is escorted to the Sheriff's office by one of Sheriff Perry's deputies as a witness to the situation. Walt is told that witnesses saw Frank rushing out of the restaurant before the dead man was found. He tells his men to bring Frank in.Frank chases the Reaper in his car with Stuart, Cyrus and The Judge. He tries his best to kill it but his car just goes straight through the caped figure and it once again eludes him.FBI agent Milton Dammers (Jeffrey Combs) arrives at the Sheriff's office to meet Walt and Lucy. He believes that Frank is behind the killings. He tells them about the incident that happened five years earlier when Frank and his wife had the car crash. They discovered that Debra's dead body was found 15 yards from the car with a number 13 carved in her forehead and after the body was found, Frank was picked up wandering the forest claiming to have no recollection of the incident.Frank tracks down The Reaper at the museum where the 39th life has been taken. Frank sees on Magda Reese-Jones's forehead a number 40 glowing. She is going to be the next target. He tries to warn her but two deputy sheriffs arrive to arrest him. The Reaper appears but the officers have their guns pointed at Frank. The Judge appears and shoots The Reaper and it disappears. Cyrus and Stuart start to make people scared in the museum in order to cause a diversion for Frank to get away. In the commotion, Frank punches Magda and knocks her out, in order to carry her out to his car to safety. He drives away but The Reaper is in pursuit and forces Frank to crash his car in the vicinity where Debra died years earlier. Magda crawls from the car trying to escape from Frank who she believes to be psychotic. Frank tries to get her to listen to him but he is dazed and confused as the Reaper plunges towards her and crushes her heart. Frank jumps towards it but it disappears again and he is lying face down on her corpse. The gateway to Heaven opens and Magda's spirit jumps from her body and accuses of Frank of being a sick murderer who is responsible for her and his wife's death.Frank arrives at the sheriff's office and tells them what has happened. When Walt asks him if he had anything to do with Magda's death, he doesn't answer and he is arrested on suspicion of murder. Lucy doesn't believe it and storms out as Frank is taken through to the interrogation room followed by Dammers.(Director's cut) Lucy goes out to her car and sits inside trying to get her head around things. Ray appears on the back seat - his spirit now decaying from dripping ectoplasm.Dammers and Walt are sat in the interrogation room with Frank who looks demoralized. Dammers calls him a dangerous man but Walt refuses to believe that Frank is behind the murders. Dammers uses his power of authority to tell Walt to get out of the room while he questions Frank. Frank tells Dammers that he is not a murderer and that he can communicate with the other side. He has seen the figure of Death killing people by reaching into their chests but Dammers doesn't believe any of it and believes Frank to be responsible for the crimes.(Director's cut) Cyrus and Stuart walk into the sheriff's and start to walk through the walls of the cells to find Frank. They eventually get to his cell and try to talk to him but Frank is silent. Cyrus tells Stuart that he can't even see them anymore. He's so traumatised he's stopped believing. Dammers looks through the narrow opening of the prison door observing Frank. He tells the deputy that he doesn't even expect him to make it until the trial. He's expecting him to commit suicide.Lucy goes to Frank's house to see if she can find any evidence to clear his name. As she wanders around, Ray is looking too.(Director's cut) Ray sees on the fridge some labels describing the layout of his and Lucy's house. He realises that Frank was using his psychic abilities to con them. One of the sticky labels gets stuck to his fingers.He tries to shake it off and as he does, Lucy sees it floating towards the back garden in the wind.She walks outside and sees a nice looking garden, which Frank has made in memory of his wife in place of the basketball court. The phone rings and the answering machine picks up the message. It's Old Mrs.Bradley trying to tell Frank about her fears for her daughter Patricia. Lucy believes the mother to be dangerous and after hearing her message, heads over to their house.She hides in the bushes outside as the old lady walks out to get rid of the garbage bags. She sneaks inside, looking for Patricia. Ray walks to the house and because of his abilities the house transforms into a weird shape from his point of view. He can sense there is danger lurking inside. Patricia is at the top of the stairs and tells Lucy they need to hide. As her mother walks back in, the two of them rush into her bedroom. Lucy tells Patricia that she needs to get away and start a new life for herself. She sees an urn on the side. They are Patricia's father's ashes. He had killed himself after discovering that Patricia had been involved with a serial killer. She hears her mum coming up the stairs and tells Lucy to hide in the wardrobe. She just gets inside as her mother enters. Patricia offers to make her a cup of tea and they walk out. Lucy finds a Stanley knife in the wardrobe with the initials F.B. She realises that it's Frank's that Dammers had told her had gone missing after Debra's death. Lucy slowly walks down the stairs to sneak out. The Urn starts to glow and a figure appears in the wall behind Lucy trying to sneak up. Lucy, oblivious to the threat, rushes out of the house as Ray walks in to try and protect her. His face is sliced off by the figure's hand and as Lucy gets into her car, Ray's deformed spirit is tossed onto the hood of the car.Lucy goes to see Frank in his cell and tells him that Old Mrs. Bradley must be responsible for Debra's death. She's found his knife in her bedroom and she's crazy enough to do something like that. Frank is still in a quiet, depressed state. He hugs Lucy and he sees Cyrus and Stuart enter the room. But as he looks Lucy in the face, the number 41 glows on her forehead. He realises she is the next victim. The Reaper appears through the cell door and tries to kill her. With the help of Stuart and Cyrus, he tries to protect her in the confines of the cell. Lucy shouts for the deputy to come and unlock the door. Stuart is dissolved by the Reaper's sythe. As Frank hears the cell door unlock, he kicks the door into the deputy's head and knocks him out, so that he can escape with Lucy. Dammers walks around the corner and draws his gun. Lucy rushes up to him and tells him that Frank is crazy, as Cyrus battles the Reaper. Lucy uses a fire extinguisher to spray at Dammers to protect Frank. Cyrus's soul is taken by the Reaper and Frank takes Dammers's gun and runs out of the precinct with Lucy. He tells her that he must kill himself in order to become a spirit and protect her. He is ready to put a bullet in his head, but she tells him not to and instead helps him have a near death experience by means of hypothermia and using barbiturates to slow his heart rate.At the medical centre, Frank goes to sit in the cryogenics room and waits to slowly die as Lucy gets the equipment prepared to revive him within several minutes. But Dammers appears in the room armed with an uzi machine gun. He thinks Frank deserves to die for his supposed crimes and abducts Lucy to stop her from reviving him. Frank's spirit emerges from his dead body and the gateway to Heaven opens for him but he walks away to try and find Lucy. Dammers handcuffs Lucy in the back of one of the sheriff's cars and drives off. Frank pursues them. As he tries to get used to his abilities, he sees he Reaper rapidly jumping and flying through the town to try and approach Lucy in the car. Just as the Reaper launches onto the roof of the car, Frank flies down and knocks it onto the road. A car zooms down the road and crashes into Frank and smashes him into tiny pieces of ectoplasm. The Reaper approaches him with his scythe as Frank's spirit moulds back together. A truck approaches and rams straight into the Reaper and it is taken down the road clinging onto the front of the vehicle.Dammers takes Lucy to the graveyard and parks the car up. She desperately wants to get back to the medical centre to revive Frank's body but he tells her that he is not going to return her for several hours until there's no chance of Frank coming back. She shouts at him and he starts to freak out again.(Director's cut) As he tries to cover his ears with his hands, Lucy notices one of his wrists the swastika sign. He tells her that he was undercover with the Manson family for six months disguised as a hippy and he was used as the family's sex slave.He gets out of the car and walks several yards away and stands in front of the car breathing nervously and uncontrollably. He opens up his shirt and reveals his deeply scarred body.(Director's cut) He starts to reveal to her his experiences in the many bizarre undercover assignments over the years that he has been part of. All of the weird cults and sects he has had to be involved in, including drinking goat's blood. He says that he has suffered for his country.He says that the pain he has suffered in the different religious groups has its rewards and tries to prove that he has some psychic sensibilities. He and Lucy are both shocked as the car engine starts up. The gear stick and steering wheel move and Lucy knows that it's Frank. Frank starts to reverse the car away from Dammers as Dammers chases after it. Sergeant Hiles reaches in through the car window to grab Frank and throws him to the ground. The car crashes into a sarcophagus and coffins fall out. The Reaper approaches and slices Hiles in half with its scythe. Frank uses the sergeant's machine guns to shoot it. Lucy gets out of the car to get into the driver's seat and Dammers jumps out to grab her.She uses the skull from a skeleton to hit him and quickly gets in the car and drives off. While Dammers chases after her, Frank rips the Reaper apart with the bullets and turns it into pieces ectoplasm. He grabs the face of the Reaper and as he slams it down onto a grave a few times, the face gradually morphs into a human face and reveals itself to be Johnny Bartlett. He has returned from beyond the grave to continue his killing spree. Spirits start wandering around in the vicinity, all of who appear to be Johnny's victims satisfied that their deaths have been avenged. A spirit with the number 1 carved in his head approaches Frank and tells him he was a doctor and the first of the victims. He thanks Frank for what he's done. But while Frank is distracted, the pieces of Johnny's ectoplasm start to drip down into a tomb and gradually morph back together. Frank dives down into the ground and wrestles with him. He picks up the scythe and as he brings down the handle onto the ectoplasmic figure, Johnny's full human formed spirit is revealed. Frank is just about to destroy him with the scythe but Lucy revives his body with chest plates. He wakes up panting for breath. He tells her that Johnny's back and that she needs to go and get Patricia out of the house and save her from him.Lucy arrives at the house but her mother tells her that there's no way her daughter is going anywhere. Lucy confronts her about Frank's knife in her closet and the old lady angrily storms off upstairs. Patricia runs up after her. Lucy waits in the living room and moments later, Patricia comes back down and says that her mother is going with them. Lucy tells Patricia that Johnny's ghost has returned and is on the loose. She tells Lucy she knows and that his spirit often visits her. As Lucy stands in the doorway of the living room, Johnny appears behind her threatening to kill her. He says that she and Frank have been causing a lot of problems. Patricia goes to the kitchen and Johnny points to the knives on the wall. He wants to watch her kill Lucy.(Director's cut) Patricia repeatedly stabs the knife through Johnny's torso as they both laugh and become increasingly excited by it, almost in an arousing way.Lucy goes upstairs to see if Mrs Bradley is going with them. She sees her bedroom door open a jar and when she opens it she is horrified to see the old lady's dead body spread out on the bed covered in blood. Patricia pops up behind her and tries to stab her. Lucy tries to shut the door and the blade of the knife goes into it. Lucy punches her and they both grapple to the floor. Lucy gets up and runs out of the door, after she gets the key out of the lock and locks it from the outside. She sits on the landing stairs trying to get over the shock but bullets start exploding through the door. Patricia has got hold of her mother's pump action shotgun. Lucy tries to run down the stairs but Johnny's figure appears from under he rug and tries to strangle her. Frank arrives in time to save Lucy. He grabs hold of the rug and throws Johnny off of the landing. Patricia gets out of the bedroom firing at them maniacally. Frank and Lucy get into Patricia's bedroom and Johnny appears in the room through the portrait of her father. He tries to kill Lucy once again but Frank smashes the portrait onto the bed post and Johnny's spirit cries out as he is sucked into the urn on the bedside table. Frank puts the lid on and sees Johnny's name on the urn. He tells Lucy that they need to get to a chapel and get the ashes to the "other side". Realising that there's a chapel in the old psychiatric (now derelict) hospital, which is located just behind the Bradley house, the pair head off there on foot.They make their way into the murky looking building and walk through the hallways looking for the chapel. Patricia follows them armed. As Frank looks around, he starts to have psychic episodes where he is able to see the events that transpired on the fateful day when Johnny and Patricia went on their killing spree. He sees Johnny pushing a trolley around and he uncovers a gun and blows away the doctor who thanked Frank in the graveyard. He sees the teenage Patricia walking around with a knife ready to carve into the victims' foreheads. Through his flashbacks, Frank hears one of the doctors say that the chapel is on the fourth floor.Still believing Frank to be the murderer, Dammers enters the hospital. Frank and Lucy are forced to split up when Patricia appears in the hallways and starts shooting at them both again. Lucy has the urn but Dammers gets hold of her and throws her head into the wall. Lucy punches him and gets away from him and manages to get into the elevator before he can reach her. She starts going up to the fourth floor but it breaks down. Frank is still running upstairs and comes across the chapel. He hears Lucy cry. He tries to pry the elevator door open to no avail but she manages to pass him the urn through the door to take to the chapel.Frank puts the urn down to smash the door in but as he turns around he bumps into a statue of the Virgin Mary and it falls onto the table and sends the urn flying to the other side of the hall. Dammers catches it. Frank angrily and desperately asks for it back but Dammers opens it and releases Johnny's ashes. His spirit laughs as the dust breezes away. Frank picks up a metal bar ready to give Dammers a beating but Dammers pulls out a machine gun and shoots him in the arm. Facing away from him and holding his bloody arm, Frank sees Patricia walk around the corner in the distance ready to shoot him with the shotgun. Dammers orders him to turn around. Frank does and falls backwards as Patricia fires and the bullet blows Dammers's head off. Frank crashes through four wooden floors down onto the ground floor. Patricia starts to shoot at Lucy in the elevator. She avoids the bullets,and the elevator starts automatically going again. Bloodied, bruised and half unconscious, Frank starts to crawl along the floor of the vivisection room.(Director's cut) In his psychic flashbacks, Frank sees Johnny chasing the teenage Patricia around dead bodies as she screams "please don't hurt me". As they have a playful game of chase, covered in blood. He grabs her and they start making out on the coroner's trolley.Lucy makes it to the ground floor and rushes to Frank. But Frank is nearly unconscious. Patricia appears behind her and hits her over the head with the butt of the gun. Frank flashes back to the moment when his wife Debra died and he finally remembers exactly what happened in that moment. He sees The Reaper transform into Johnny as he's stood over his wife's body and Patricia is holding his Stanley knife.Patricia points the shotgun at Frank, ready to kill him but she is out of bullets. She kicks him and lifts him up off of the floor with the gun around his neck. Lucy tries to help but Johnny is pinning her down. Frank struggles with Patricia but Patricia has the advantage and she strangles him to death. Frank's dead body drops to the floor, as Lucy cries out. Johnny excitedly waits for Patricia to take Lucy's life as well. She picks up an axe from the vivisection area ready but Frank's spirit jumps out at her and rips Patricia's spirit from her body and takes her through the tunnel to the "other side". Johnny chases him up through the tunnel of light, and as they get half way through, he manages to pull her away from Frank's grasp. Frank carries on floating towards Heaven, as Johnny and Patricia stay hovering in the middle of the tunnel. He shouts to Frank that they're returning to Earth to get some more victims. Frank is just about to leap down after them but a voice stops him. It's Cyrus with Stuart. Frank looks down at Johnny and Patricia as their laughing turns to fear and panic. The spiritual looking, electric like portal gradually turns into the inside of a huge worm, with dozens and dozens of smaller worms wrapping themselves around them,strangling them and gouging out their eyes. The huge worm swallows them up and takes them down into the burning flames of Hell. Frank watches in disbelief and turns around to have a look around Heaven. Cyrus and Stuart tell him that it's really something. Frank sees his wife Debra approach him smiling. She tells him it's time to go home. The higher powers have said that it's not his time to die yet. Cyrus pushes him and he starts to float along the clouds. He wakes up in the derelict hospital in Lucy's arms.He demolishes his old house in order to start a new life with Lucy. Walt pulls up and tells Frank that the investigation is over. They found a stash of Ouija boards at the house and Patricia was using them to bring Johnny back from the dead. Her mother was trying to do her best to keep her sedated but there was no chance of her stopping Johnny. As Walt gets into his car and drives off, Frank sees the ghost of Dammers in the back seat. To his surprise Lucy can see him as well. She says to Frank "sometimes when you've had a traumatic experience it can alter your perception". Then Lucy uses a blanket to imitate the Reaper and laughingly chases Frank as the movie ends. | paranormal, cult, comedy | train | imdb | null |
tt0065481 | Bloody Mama | Young Kate Barker (Lisa Jill) is brutalized by her father and older brothers, who rape her. Thirty-five years later, the middle-aged Kate 'Ma' Barker (Shelley Winters) now brutalizes innocent people herself, while indulging her monstrous sexual appetites. She lives by robbing banks with her four sons; the pragmatic Arthur (Clint Kimbrough), the sadistic Herman (Don Stroud), the bisexual Fred (Robert Walden), and the loyal, drug-addicted Lloyd (Robert De Niro). It all begins in the late 1920s when Ma leaves her husband, George, and her Arkansas home and embarks on her own with her four sons on a robbery-murder spree to make her own fortune, while keeping them under a tight leash.
When Herman and Fred are arrested and imprisoned for petty theft charges, Ma takes over the group and leads Arthur and Lloyd on a bank robbery spree to gain enough money to get her sons out of jail. The gang is joined by a gunman named Kevin (Bruce Dern) who was Fred's cellmate during his incarceration (and his strongly implied lover). The group is also joined by a local prostitute named Mona Gibson, whom Herman frequented before his imprisonment. The gang resorts to more violent action and robberies.
While hiding out at a cabin in Kentucky, Lloyd comes across a young woman swimming at a nearby lake whom he sexually assaults. Not wanting the woman to report them to the police, the Barkers hold her captive and Ma eventually kills her by drowning her, despite the protests of her sons.
Some time later, the gang arrives in Tennessee where they abduct a wealthy businessman named Sam Pendlebury (Pat Hingle). Holding him for a $300,000 ransom, the sons, particularly Herman, bond with their captive whom they see as the sympathetic father figure they never had. When Herman and Mona go to collect the ransom, they are chased by a pair of FBI agents and barely escape. When they find that the ransom is only half of what they originally demanded, Ma orders her sons to kill Sam rather than let him go. But none of them can bring themselves to do it and they set him free, lying to Ma about killing him.
Next, the gang hides out in Florida Everglades where Lloyd soon dies from a heroin overdose and Mona leaves Herman and the gang after she reveals that she's pregnant and does not want to be around them anymore out of fear for the safety of her unborn child. which Herman fathered. Her fears are justified when Herman and Kevin give away their hiding place a little later: a local handyman and caretaker named Moses (Scatman Crothers) witnesses them shooting an alligator out on a lake with a Tommy gun. Moses then calls the police and reports his suspicions.
At the climax, several FBI agents and local police arrive at the Barkers' farmhouse hideout and a huge shootout ensues between the authorities and the surviving members of the gang. Kevin, Fred, and Arthur are all killed. Herman commits suicide to prevent himself from being sent to prison again. Ma is the last one to fall. | comedy, depressing, murder, cult, violence, satire, sadist | train | wikipedia | Some movies romanticize the life of crime, or make the criminals into sympathetic characters, but Roger Corman's "Bloody Mama" goes in the opposite direction with its depiction of the Barker crime family of the 30's and their ruthless murders, sadism, incest, drug addiction, and insanity.
It's a morbidly colorful mixture of negative southern poor white trash stereotypes, encapsulated in a family of sociopaths, with a vintage Shelly Winters bringing her trademark intensity to the role of Ma Barker and a great cast as her sons and their associates, including Don Stroud, Robert Walden, Bruce Dern, Diane Varsi, and Robert DeNiro.
Corman is known as the King of the Quickies, which gives many people who aren't all that familiar with his work the impression is that all he made was "bad" movies that can only be enjoyed on a camp level.
'Bloody Mama' tells the story of Ma Barker and her sons, infamous criminals during the Depression.
- cult favourites Don Stroud and Bruce Dern AND a scene stealing performance from a young Robert De Niro.
Add to that the familiar character actors Pat Hingle, Scatman Crothers and the appearance of Diane Varsi from the legendary 'Wild In The Streets', and b-grade film buffs will be ecstatic.
Unpleasant and violent movie with a deranged Shelley Winters reenacting murderous Ma Barker.
The most colorful epoch of criminality in America during the Depression era is brought to life in this story of a bank-robber family , in a period when any employment, even illegal, was cherished, ambition, money and power originated an interminable cycle of fury and violence.
The infamous Ma Barker ( Shelley Winters)'s blood-thirsty gang of the 30s backed by his four rare sons ( Robert De Niro, Robert Walden, Clint, Don Stroud) carry out heists to banks and a crime spree that gets even bigger when she dreams up an abducting plot , its a fast road to ruin.
They're joined by nefarious criminal Alvin Karpis who doesn't appear at the movie.This is a perverse stew of murders, pronounced bloodshed, sentimental blood bonding, action , lots of violence and with a bullet-ridden ending .
This film is Roger Corman and Sam Arkoff's answer to "Bonnie and Clyde".
Shelley Winters gives a good performance, and has said she was proud of the film (which she oddly enough promoted as a film denouncing violence, despite its clearly violent nature).
Shelly Winters plays a wild Ma Barker in this decent Roger Corman directed flick about the Barker gang of the great depression era.
Everyone playing Ma Barkers sons, who include Robert Deniro, gives a good performance.
Trashy gangster picture from Roger Corman about Ma Barker and her criminal sons.
Violent Fun. A gleefully trashy Corman cheapie, with Shelley Winters as the sex-crazed head of a family of criminals.
Very bloody and perverse, yet strangely campy, and with good support from Bruce Dern, Robert DeNiro and Don Stroud, in a brilliantly sadistic role.
Fun movie about a gun toting Ozark clan that rebels against their Depression-era poverty by stealing, threatening, robbing banks, kidnapping, and killing their way into infamy.
The clan's leader is colorful Ma (Kate) Barker (Shelley Winters), self-confident, forceful, and determined to get some high-style living for her and her four boys, whatever is required.Interspersed through the plot are real-life B&W flashbacks to the 1920s and 30s, which enhance a sense of realism, as does the casting of non-actors in minor roles in some scenes.
The rich men was jumpin' out of the windows and, as usual, they fell on the poor".In addition to clever dialogue, Shelley Winters makes the film fun, mostly as a result of her over-the-top Southern accent.
But it's a fun movie and worth watching, mostly for the entertaining performance of Shelley Winters..
I watched BLOODY MAMA because I love Shelley Winters and wanted to see where Robert De Niro started as an actor.
Aside from the scene when Shelley robs a bank and forces old ladies to hang on to their car and the subsequent car chase, seeing the old ladies hang for dear life, which I admit was really fun, this film is totally forgettable..
Though Bloody Mama has very little to do with Ma Barker and the four fine strapping sons she raised, the film provides Shelley Winters with a role she can overact to her heart's content and no one would notice this side of a slasher flick.
It's part that I wish Shelley had done in a more factual retelling of the Barker saga.She gave her four sons played by Don Stroud, Clint Kimbrough, Robert Walden, and Robert DeNiro the lack of character and amoral view of life that led them to become criminals, she herself simply went along for the ride on their criminal enterprises.
Another is Pat Hingle playing a kidnap victim of the gang's and a third is Diane Varsi who marries one of the Barker sons.Roger Corman who produced and directed Bloody Mama gave Shelley Winters a great part and she ran with it.
I find that classics like Bloody Mama are so fun because the director and actors are aware that the film is not Oscar-caliber but still have fun with it.
I would also like to point out that the always great Don Stroud has said in interviews that he had an intense affair with Shelley Winters during the filming of Bloody Mama.
Roger Corman directed this...it seems like he was actually trying to do a serious movie...sadly, it doesn't work at all.
For instance, the opening scene has a young girl (about 13) being held down by her brothers while her father rapes her!This is ALMOST worth seeing to see Shelley Winters chewing the scenery as Ma and Robert DeNiro before he hit it big.All in all, a must miss..
It also has some good acting from the likes of Shelley Winters,Robert DeNiro,Don Stroud and Bruce Dern.This Roger Corman directed crime film tells the story of real-life Ma Barker and her boys who ran a crime spree in the 1930's.
Though Corman's film obviously does not have the wit or the style of Arthur Penn's "Bonnie and Clyde" it holds one's interest with bloody sensationalism.
As for "Bloody Mama," well, I have a word for movies like this: CRAP!It is supposedly based on a true story, but I doubt that more than half of it actually happened.
I think Corman wanted this scene to be sad, but I just laughed.But really, there is no reason to watch "Bloody Mama".
No doubt inspired by the huge success of the big budget major Hollywood studio movie "Bonnie & Clyde", American-International Pictures teamed up with producer/director Roger Corman to make this story of Ma Barker and her sons.
I feel I should point out that I didn't find the movie to be awful - the movie is never boring, the production values are okay, the cast (not just Winters but also the future stars) give good performances, and there are some trashy touches that are fun.
Bloody Mama is directed by Roger Corman and written by Don Peters and Robert Thom.
It stars Shelley Winters, Bruce Dern, Don Stroud, Robert De Niro, Diane Varsi, Robert Walden and Pat Hingle.
Alonzo.Story is loosely based on the infamous Kate "Ma" Barker, who along with her sons would cause criminal carnage wherever they went."I told my boys to just rob banks and stay out of trouble" Very much coming off like the bastard son of Bonnie and Clyde, Bloody Mama finds Roger Corman on devilish form.
It's often thrilling and unnerving, and with Corman blending newsreel footage of the era with the fact the pic is filmed on location in Arkansas, there's an earthy docu style feel to the tale - even if as a history lesson it's hokey at best.Not everybody's idea of enjoyment but from that chilling opening to the blood and thunder of the finale, Bloody Mama holds court with shifty glee.
Edgar Hoover's newly formed F.B.I., director Roger Corman reverses the familiar pre-credits text by stating 'any similarity to Kate Barker and her sons is intentional." The truth is that the real Ma Barker had very little to do with the organisation of her family's criminal activities, but Corman gives her to Shelley Winters who grabs the role and runs away with it.
But Corman does something that is rarely done and delves into the psychology of these gangsters, and, although it's hardly Freud, comes up with some interesting and uncomfortable answers.Leaving her home and husband in Arkansas, Ma Barker and her four sons - the towering brute Herman (Don Stroud), the practical Arthur (Clint Kimbrough), the submissive, bisexual Fred (Robert Walden), and the quiet, drug-addled Lloyd (Robert De Niro) - embark on a petty crime spree on the command of Ma. Herman and Fred find themselves locked away for petty theft, and inside, Fred is dominated by the violent Kevin (Bruce Dern), who joins Ma and her boys when they are released from prison.
Bonnie and Clyde was a big hit in 1967, and I don't doubt that Hollywood's great money-spinner, Roger Corman, had that on his mind when he decided to direct a film based on another of America's great crime legends.
Corman's directing style is very cold and despite excellent performances from the cast - the film fails to be involving and nobody really steps up to take the 'antihero' role effectively.
Corman has got himself together a good cast of actors; chief among them obviously being Shelly Winters.
The rest of the cast is fine too, featuring good performances from the likes of Don Stroud and Bruce Dern, as well an early performance from the great Robert DeNiro.
"Bloody Mama" is an early '70s exploitation shocker with a crazy Shelley Winters as the unattractive lead and a young Robert de Niro and younger Bruce Dern as members of her criminal brood.The movie really just feels like an assortment of shocking moments, which are, after all, not shocking enough to recommend to hardcore exploitation fans.
It's more about intimations of disturbing material, like the movie's opening scene featuring a flashback to Ma Barker's childhood, showing her pursued and held down by her brothers in the woods, presumably to rape her.Later, with the killing and crime spree properly underway, it is implied that Ma has sexual relationships with all of her sons.Actually relatively little time is spent showing the robberies the Barker brood committed.
More time is spent with her repulsive sons as they use drugs, rape girls, and feed a piglet to an alligator - though none of this is depicted as much as distressingly implied.What we're left with, then, is a movie that isn't extreme enough to satisfy exploitation fans, and doesn't give de Niro or Dern enough to do to be interesting to fans of either..
'Bloody Mama' is low budgeted gangster film directed by Roger Corman.
And one can't go without mentioning the immensely talented supporting cast with strong acting works - Bruce Dern, Pat Hingle, Diane Varsi, Scatman Crothers and Robert DeNiro in one his earliest roles as junky Lloyd Barker.Fast paced, energetic action ride about machine-gun toting mom who robs banks with her sons and speeding past depression era's '70s style supermarkets.
It was, and it makes it a Stand-Out Cult Movie because of it.Shelley Winters is Perfectly Cast and Lights Up the Screen with Her Demented Character alongside an Early Robert DeNiro as a Drug Addled Glue Sniffer and Heroin Injector.
Pat Hingle, as a Depression Era Millionaire, also does Good Work as Corman's Answer to the Decades Hypocrisy.The Violence of the Title, is Slowly Paced, Culminating in a Guns Blazing Shootout Ending.
Senseless and Sadistic Murders combined with two Early Rape Scenes sets the Stage for Incest, and other Abnormalities.Probably Corman's most Offensive Films, it is Considered one of His Best in some circles.
Bloody Mama (1970) ** 1/2 (out of 4) Roger Corman directed this Depression era film about Ma Barker (Shelley Winters) and her four sons who go on a crime spree.
I've been wanting to see this film for quite some time since it features a young Robert DeNiro playing one of the sons.
The best part of the film is Winters who really sinks her teeth into the role and perfectly captures Barker's craziness as well as her tenderness with her sons.
The supporting cast is very good with DeNiro, Bruce Dern, Don Stroud, Clint Kimbrough, Robert Walden, Alex Nicol and Scatman Crothers.
Stroud gives a very intense and thoughtful performance.Winters is way, way over the top (and her hair color varies wildly throughout the film at inappropriate times.) She indulges herself in some extreme Method acting which isn't always pretty to watch, though she does catch one's attention.
Bloody Mama was in the theaters back when I was too young to get into R rated movies by myself, only recently did I get a chance to finally view this film.
The producers take full advantage of the changes in censorship ushered in by that previous film and here give us a screenplay filled with incest, homosexuality, nudity, drug addiction, and sadism, all portrayed by a cast of characters without a single redeeming moral value except for the fact that Ma Barker really did love her sons.
A lot.Corman was obviously pandering to early 70's audiences (especially the youth like myself) who simply could not get enough good old sex and violence in their entertainment.
Sadly, Bloody Mama isn't very good when compared with Bonnie and Clyde or The Wild Bunch; the screenplay just trudges along with scenes built to showcase each character's particular depraved personality.
Still any movie with this cast is worth seeing at least once if you're a film buff.
The main reason to see Bloody Mama of course is Shelley Winters as Ma Barker.
I cannot recommend it, unless you're a die-hard fan of Roger Corman or Shelley Winters.
This Roger Corman "exploitation" flick was great drive-in material, basically inaccurate much of the time, but a wonderful cast and plenty of 30's violence.
Shelley Winters was born to play Ma Barker and other sons, especially Don Stroud (fine actor) were on the money.A 5 out of 10.
Films like this were made tongue-in-cheek so don't expect BONNIE & CLYDE or an accurate portrayal of the Barker gang.
Having praised Corman as a brilliant director (and equally great producer), I must say that I consider "Bloody Mama" of 1970 to be an entertaining film, but definitely not one of Roger's best.
The film is a True-Crime Drama set in the 1930s when the Barker brothers and their bloody Mama were on a crime spree throughout various southern States.
Even though gangsters are the central characters in "Bloody Mama", the film makes no attempt to romanticize a life of crime or to make the viewer sympathize with the criminals.
Not that the performances are bad, but with a cast like the one in "Bloody Mama" I would have expected more.
Young Robert De Niro, who plays one of the Barker brothers, delivers a great performance as always, and Pat Hingle is also very good in a smaller role.
Don Stroud did not impress me as the eldest son, and neither did Bruce Dern, who is usually a very good actor.
The real Ma Barker was (with the utmost probability) not the criminal mastermind she is depicted as in the film, but just an elderly woman who tried to protect her criminal sons.Even though "Bloody Mama" has its faults, however, it is highly recommendable to lovers of crime flicks, and interesting enough for any cineaste to enjoy.
Which would be, of course, none.This movie takes a lot of liberties with the Barker Gang story, as one might expect.
Shelly Winters looks like a confused old woman in the film (made when she was only 50) and her acting is just dreadful.the historical Ma Barker, by the way, was probably not even a criminal, her reputation was enhanced to allow the FBI to deflect from the fact they shot a 62 year old woman.Again, it's Roger Corman.
The late, great, sorely missed Shelley Winters really lets it all hang out with her savage, forceful and brave portrayal of notorious Depression-era crime matron Kate "Ma" Barker, who along with her twisted sons embarks on a wild anything-goes crime spree in the Deep South.
Bloody Mama is a dramatic feature that is loosely based on the real story of Ma Barker,a corrupt mother who encourages and organizes her children's criminal activities.It stars Shelley Winters in the title role together with Bruce Dern,Don Stroud,Diane Varsi,Robert De Niro, Robert Walden and Pat Hingle.The film was directed by Roger Corman.The movie starts as young Kate Barker is brutalized by her father and older brothers, who rape her.
They did it to build a fortune during the late 1920's when the United States was suffering from The Great Depression.This is obviously a gangster film.By today's standards,it is dated but nevertheless,it still manages to be fun and entertaining especially when we see good performances from the cast like Shelley Winters and the young Robert De Niro.It could have been a great classic gangster film probably similar to Bonnie And Clyde if only it had a better script instead of an underdeveloped screenplay.
Roger Corman, who specialized in low budget films show an ambitious side in directing "Bloody Mama" a sort of loosely based biographic picture about the criminal family that terrorized rural America during the Great Depression.
Shelley Winters, who played Ma Barker, made a terrific contribution to our enjoyment.
Don Stroud, Clint Kimbrough, Robert Walden and a young Robert Deniro are seen as the four sons.
Shelley Winters is scary, creepy and actually a little touching as "the greatest mother of them all." Her kinky brood is played by up'n'comers Robert Walden, Robert De Niro and Don Stroud.
Shelley Winters stars as Ma Barker who, with her perverted, animalistic and sadistic sons, goes around the country robbing, raping and killing. |
tt0047966 | Cult of the Cobra | The movie opens with title and credits over an Indian shrine to the cobra with flanking burning lamps. We are told the time is 1945 and the place is Asia. A group of G.I.s are wandering around an Indian bazaar. Paul Able (Richard Long) and Pete Norton (William Reynolds) are at a table selling cloth. Pete asks Tom Markel (Marshall Thompson) what he thinks of the cloth. Rico Nardi (David Janssen) directs the men's attention to a snake charmer. Nick Hommel (James Dobson) and Carl Turner (Jack Kelly) join the others around a basket. They take a few pictures then talk to the snake charmer, Daru (Leonard Strong). For $2 he agrees to hold the snake. Paul asks about a cult that believes snakes can be transformed into humans. Daru is visibly surprised. One man says he'd give anything to see it. This piques Daru's interest. He tells the men that he is a Lamian and for $100 he will show them, "she who is a snake, and yet a woman." They make arrangements to see the ceremony that evening, but Daru warns them that pictures are forbidden.The men meet and get reasonably drunk. Daru shows up as promised. He gets them past the guards. They are dressed like locals. He warns them that if they are discovered they will be killed. They enter a large curtain lined room. On a raised platform there is a stone shrine and a large basket. They discover Nick is missing from the group. A dancer performs a ritual and out of the basket a woman emerges and dances. The ritual includes the snake woman biting and killing a man. Against orders, Nick takes a picture; his flash angers the assembled men. Nick is attacked. The other five men start a fight as Nick grabs the basket and makes his way to the exit. One of the Lamians (Edward Platt) tells them, "The Cobra Goddess will avenge herself. One by one you will die!" Just prior to exiting, Tom sets the curtains on fire to create a diversion. Daru is killed by the mob. The five men escape in the jeep, but Nick is still missing. They spot a woman walking away from the basket and discover Nick on the ground. Tom chases the woman but she escapes. Nick is still alive, but they discover a snake bite on his neck. Tom performs a hasty snake bite remedy to remove most of the venom. Carl, Rico and Pete carry Nick to the jeep. Tom tells Paul, "Lets get out of here." They return to the base. They are supposed to ship out the next morning.Nick Hommel is in a hospital bed surrounded by his buddies. He tells the men he wanted the basket as a souvenir. The nurse (Mary Alan Hokanson) arrives to take Nick's temperature and asks the men to leave. She adjusts the window down a bit to keep out the rain. Outside a cobra works its way towards the building. It enters Nicks room. He sees it and screams, but a clap of thunder muffles his cry. The next morning Major Martin Fielding (Olan Soule) tells Paul Able that Nick died early in the morning. He succumbed to neurotoxic venom that paralyzed his heart. After Paul leaves to catch his transport home, Fielding explains to Capt. Steve Williams (Alan Reynolds) that he is puzzled also. Most of the venom was removed from Nick before he was admitted to the hospital, but by morning he had been re-infected. The body was loaded with cobra venom.The men fly home on a DC-3. They discuss their post-military lives. Rico will be running his Dad's bowling alley. All the men are discharged from the military and begin their civilian lives.On the streets of New York City, Paul Able and his fiancé, Julia Thompson (Kathleen Hughes) have come to see Rico Nardi at the bowling alley. She tells Tom she is going to marry Paul. She still needs to tell Rico. Tom is initially angry and disappointed and tells Rico the good news before Julia has the chance. She had been dating Tom and Rico before she got serious with Paul. Tom and Paul are roommates. In his apartment, Tom's dog is restless and wakes him in the middle of the night. He goes to the kitchen and hears a woman scream. He exits his apartment and forces the door to the apartment across from his. He finds Lisa Moya (Faith Domergue) against the wall sobbing. She tells Tom there was a man in her apartment. Tom checks the apartment, finds no one, then picks up the phone to call the police. Lisa tells him no, no police. She tells him to stay a while. She explains that she just moved into the apartment today and has only been in the city a week. He tells her he is a commercial artist--advertising. They agree to a date the next day to see the city.They meet the next day and visit some of the sights in the city: Staten Island Ferry, the Statue of Liberty, Wall Street and the Fulton Fish Market. They stop at a hot dog stand for lunch. That evening they return home, but she rebuffs his advance to kiss her. Tom introduces Lisa to his roommate, Paul and the dog freaks out. She sees a picture and picks it up. It is a picture of the six men taken when they were deployed in Asia. Tom explains who and where everyone is now. They agree to meet on Sunday at Carl's apartment; he is having a party. No sooner is she back in her apartment, but she gets her coat and leaves. She walks along the street and encounters a cat that screeches at her and runs away. It is apparent she just doesn't have a way with animals, any animals. At Rico's bowling alley, Carl and Pete, who are also roommates, pay their tab and leave. Rico is closing up the place when Lisa arrives outside. A bowling pin falls over and Rico investigates. He carries a case of beer out to his car for Carl's party. Mrs. Webber (Helen Wallace) asks for a donation for a charitable organization. Rico heads back inside to close up. He grabs his coat, locks the door and gets in his car. He drives off, whistling, sees the cobra in the rear view mirror, panics and runs his car off the street. He rolls the car and is killed instantly. Lisa walks back to her apartment.The remaining four men and Lisa attend Rico's funeral. Carl decides to have the party on Sunday. As Tom and Paul walk with Lisa back home a horse freaks out at her presence. She tells Paul she's always been afraid of horses. Paul is beginning to believe Lisa is not who she claims to be and is increasingly worried about her influence over Tom. He is starting to believe the curse is real and they are all destined to be killed.At Carl's party, Lisa is dancing with the host. Tom is jealous. At one point he slugs Carl and tells Lisa to get her coat, they're leaving. Paul tells Carl, "I'm sure she's no good for him." Paul meets Julia after she returns from her show out of town. She is back in New York rehearsing--she is an actress. Paul asks her to talk to Tom. He admits he's afraid of Lisa. It has to do with Rico's death. He doesn't think it was an accident. He tells her about the cult story. He thinks Lisa is involved.Tom returns from his date with Lisa at Carl's party. They talk and he tells her he loves her. She leaves and returns to her own apartment. He checks on the dog. Tom notices that Lisa forgot her gloves. He tries to return them. He knocks on her door, but she doesn't answer. He uses the key he borrowed earlier to get some ice and lets himself in. He discovers she isn't there. He sits and has a smoke and waits for her. The party is over at Carl's and everyone is leaving. Pete leaves with Marian Sheehan (Myrna Hansen) his date for the evening. Carl set them up. He is going to take her home, then return. They leave the building. Lisa sees them and hides, and then enters the building. She knocks on Carl's door; he invites her in. She tells him she wanted to apologize for spoiling the party. She tells him she really came back to see him. Carl goes into the kitchen to mix some drinks, but when he returns to the living room Lisa is gone. He goes over to a chair and sees the cobra. He strikes it with a plaster vase, but it bites him and he falls over a railing and down to his death on the sidewalk. Pete returns and finds a crowd gathered around Carl's body. Lisa joins the crowd and Pete warns her not to look. The police arrive and ask if anyone knows the deceased. Pete volunteers that he and Carl were roommates. The police ask Pete to come with them. Lisa returns home to find Tom sleeping on her couch. They talk about their relationship. She voices her concern about hurting him.The next morning Paul makes breakfast for him and Tom. They talk. He tells Tom he and Julia are going down for their marriage license. The telephone rings; its the police asking about Carl. They want to see both Paul and Tom immediately. Paul tells them they will be right down.Pete Norton's blood is checked for type. The Police Inspector (Walter Coy) tells the lab tech when Paul and Tom arrive he wants their blood typed as well. The Inspector interrogates Pete then releases him. Julia is at Tom and Paul's apartment reading up on cults. Lisa stops by for her usual breakfast coffee and inquires about Tom and Paul. Julia tells her they are at the police station. Julia tells Lisa about Paul's recent fascination with cults and cobras. She tells Lisa that there are people that believe they can turn into snakes. Lisa responds strangely. Julia adds that Paul fells that is why Rico, Carl and Nick are dead. Julia hastily departs after paying the dry cleaner for some shirts delivered.The Police Inspector interrogates Tom and Paul. They are released to go when the blood tests reveal they were not involved directly in Carl's death. Before he leaves, Paul volunteers the cult story. Paul accuses Lisa of being an agent for the curse. Tom storms off. Back at Lisa's apartment, Pete Norton confronts Lisa over a scratch on her arm. He believes it came from the vase Carl threw at the cobra. He accuses her of being a Lamian. She goes to her bedroom under the pretense of getting her passport to prove she was elsewhere when Nick was killed in India. There we see her, in shadow, transform into a cobra. She leaves her apartment and collects Tom at his. They sit and have coffee. They are formally dressed for Julia's Broadway show that evening.The Police Inspector tells Paul that, working on his story, they checked the autopsy reports on Carl Turner and Rico Nardi. It was death by snake venom, a large one. He agrees to pick up Lisa for questioning. The police force the door on Lisa's apartment and find Pete's body. He has two puncture wounds on his neck. Paul calls the Theatre to talk to Tom. Lisa goes up to Julia's dressing room looking for Paul. Paul tells Tom they found Pete dead in Lisa's apartment. The police leave Lisa's apartment and drive over to the Theatre. Julia returns to her dressing room while Tom notices Lisa is missing from her box seat. A door slowly opens and Julia notices the cobra on the floor. She screams. Tom enters her dressing room and is confronted by the snake. He throws a costume over it. He breaks a window with a chair and using a coat rack pushes the cobra out the window. When the police arrive we see the cobra transform back into Lisa, dead on the street below the window. A crowd gathers. We close with an anguished Tom walking away down the street. Cast credits roll. | cult | train | imdb | American G.I.'s who trespass in on a forbidden Hindu ceremony are relentlessly hunted down by a beautiful woman who has the power to metamorphose into a snake.While the film gets a bit slow in the middle, the end is exciting and so is the beginning.
What made this film great, for me, was the talented snake dancer from the cult.
In Asia, six airmen from the American Air Forces break in a secret cult of Lamians that worship a cobra goddess.
Back in New York, Sergeant Paul Able (Richard Long), who will marry the actress Julia Thompson (Kathleen Hughes), and G.I. Tom Markel (Marshall Thompson), who also loves Julia, are best friends and roommates.
When Tom stumbles upon the mysterious Lisa Moya (Faith Domergue), they immediately fall in love with each other.
"Cult of the Cobra" is an entertaining horror film with the storyline of a group of arrogant American G.I.s that breaks in a cult without any respect and are cursed by the priest to die.
The gorgeous and exotic Faith Domergue is a goddess with the ability of turning into a cobra that travels to New York to revenge the worshippers.
Set in 1945, six American GIs crash a cult that worships snakes, and are threatened to be killed, one by one, for their misdeeds.
Faith Domergue is amazingly beautiful, and most alluring, as an Asian "Cobra Woman", an instrument of death.
Despite his third billing in the film, Marshall Thompson is her co-star, giving a strong performance as the GI who falls for her, and proves her ruin.
He and the rest of the cast, Richard Long, William Reynolds, Jack Kelly and David Janssen, became more successful as television stars.
They are Faith Domergue, Richard Long, David Janssen, Jack Kelly and Marshall Thompson.
Here is a quick synopsis of the movie:Stationed in Asia, six American G.I.'s witness the secret ritual of Lamians (worshipers of women who change into serpents).
An effective performance by Faith Domergue as a cult leader who has the instincts to be more humanistic (but doesn't quite know how) cannot overcome the blandly directed, badly lit, overly padded middle hour-plus of this movie.
Unfortunately the producers are too cheap to show any cult activity or morphing scenes during the long middle, instead all is only shadow or off screen except at the beginning and the very end.The five future TV stars who portray potential cult victims are all capable and watchable but their efforts are mostly swallowed up in the long dreary middle of the movie.
In fact, the plot is quite derivative of the Jacques Tourneur/Val Lewton classic "Cat People" (undeniably one of the greatest horror milestones ever made), since both stories revolve gorgeous women living with the ability or is it curse?
Six American members of the same Air Force unit spend a few touristy days in an Asian country (my best guess would be either India or Malaysia) and bluntly pay a snake charmer big money to secretly attend a gathering of the infamous Lamian cult, of which the members supposedly change themselves in snakes and back.
"Cult of the Cobra" benefits the most from Faith Domergue's performance as the oddly seductive Lisa (she's a lot better here than she was in "This Island Earth" or "It Came from beneath the Sea") and a couple of imaginative camera gimmicks, like for example snake POV shots and nice use of shadow effects.
On paper, this was arguably the least promising entry among Universal's second exclusive "Sci-Fi Collection" – but it turned out to be quite enjoyable in its unassumingly campy way, lying somewhere between the exotic fancy of Universal's earlier COBRA WOMAN (1944) and the cautionary Gothic of Hammer's THE REPTILE (1966).
Director Lyon generally cut his teeth on a variety of Western oaters and, while not exactly inspired by the material at hand, elicits a very good performance from his leading lady Faith Domergue – a former protégée' of the legendary Howard Hughes.
The story starts at the tail-end of WWII where six G.I. buddies, looking for some kicks before leaving Asia for home, attend a clandestine ceremony held by the titular sect where no reptiles are actually worshipped – instead we have a woman painted like one who comes out of a large vase and crawls around on the floor!
Suspicious Richard Long, embittered (and incredulous) Marshall Thompson and a carefree David Janssen comprise half of the band of infidels who incite the wrath of the cultists by their irreverent presence (foolishly, one of them photo-graphs the ceremony, even if he had been repeatedly warned beforehand not to); needless to say, the proverbial curse is invoked on them by the High Priest which is subsequently enforced when they return to the United States.
In quick succession, four of them get offed (including bowling alley owner Janssen who expires in a fairly spectacular car crash) after having a close encounter with a cobra; their demise coincides with Thompson's meeting with his sensuous but enigmatic neighbor Domergue.
There are virtually no transformation scenes (or, rather, only in silhouette and via a quick dissolve to boot!) and we only get a good look at the large cobra during its last attack backstage in a theater, where it eventually receives its come-uppance by being pushed out a high window by Thompson (for whom the conflicted Domergue actually almost jeopardized her mission!)...and which is just as well, since there is no creature on earth that I loathe or fear more!
Six army buddies decide to do some sight-seeing among a cult of shape-shifters when they should have stayed in the bar and had a few more beers.The movie's not as bad as the title suggests, thanks mainly to enthusiastic performances from Thompson, Kelly, and Long.
Now, if Domergue could just suggest some menace in an otherwise deadpan performance as the snake lady, we might get a hint of a coming shape-shift.
We find it fascinating, because - like many "cheap" productions - it has unconscious psychological/cultural elements that make it timelessly significant and - frankly - as entertaining as hell.One of the large themes coursing through the film is American imperialism, as it manifests itself in the GIs' callous disregard of local religious customs, and the subsequent defilement of a temple by theft.
And the very ending is a psycho-sexual gem, which prompts one to rename the film "Omigod, I Screwed A Snake." The man who skulks away will not be showing his face in any society for a long, long time..
Lyon directed this horror tale that begins after WWII ends, where six American G.I.s,(among them Richard Long, Marshall Thompson, and David Janssen) stationed in Asia sneak into the secret ceremonies of a cult of snake worshipers, where they see a snake turn into a woman(or so it seems) they are discovered but escape, though the cult leader curses them with their avenging snake goddess.
Faith Domergue (better known as "Dr. Ruth" in THIS ISLAND EARTH) is the only reason to watch this film.
The story is very thin, and once the Air Force buddies return to the States with a Cobra Curse upon them the action is just a waiting game.
See Faith the Snake Woman and try to pretend the rest isn't happening..
This film essentially begins with 6 friends from New York City serving in the Army and stationed in an unidentified country in Asia.
Not long after they return a young woman named "Lisa Moya" (Faith Domergue) shows up and it's then that the killing starts.
It is true that Lisa Moya —the cobra woman played by Faith Domergue— is not as a developed character as Simone Simon's Irena Dubrovna in Tourneur's classic, and the erotic elements are not as strong, but Lisa shows anguish and pain as she seems to be in love with one of the American soldiers she has to kill for desecrating the cult of the cobra.
Besides, the film has other resonances today: maybe in the pre-Vietnam time it was made (1955) it was taken for granted that all American soldiers in service abroad were very cute guys who meant no harm as they fought for "democracy", but today we know how things have always been with troops from any nation in invaded countries, and how often they have victimized their people.
And last but not least it is interesting to watch all these future TV male stars together: Marshall Thompson, Richard Long, William Reynolds, Jack Kelly and David Janssen..
For $100.00 given to a snake charmer played by Leonard Strong they get invited to the ceremony of a cobra worshiping cult.
And it all starts about the time that the mysterious and slinky Faith Domergue enters the life of another of the thrill seekers, Marshall Thompson.For a cobra woman that Faith Domergue is sure a fox.
But whatever he did see, he was over and done with her because she was doing films like Cult Of The Cobra.As for the film it's an OK horror film with a few camp laughs in it for those who think they're above this sort of thing..
After unintentionally insulting a sacred ceremony while overseas in the war, a group of soldiers return back to America and find themselves stalked and killed by a strange creature with the powers of the cult inflicted upon them.An overall enjoyable 50s Horror effort that's better than expected but still mildly flawed, the best part here is the film's rather entertaining attack scenes.
Using the camera to showcase the snake's approach is quite nice by getting around the troublesome topic of how to show that in the time-period while not really doing anything graphic or such, and several of them get pretty creepy especially the apartment attack.
It's also a lot more modern-feeling than expected, which is due to utilizing the modern theme in this of the revenge-rampage of the cult to set-up the later actions, which is still being done nowadays and gives it a nice touch, as do the scenes inside the meeting which give it a creepy middle-eastern vibe that works well in making it seem foreign and exotic.
There's some flaws here, including the conflicted agent of the cult storyline that's a cliché by the time it was featured here, and comes across moreso even now and seems shoehorned into the film for no reason, as well as the cheap special effects that really denote the low-budget nature of this one quite clearly.
WARNING: Spoiler ahead.In the scene where David Janssen is killed at the bowling alley, he walks by a wall calendar several times.
Cult of the Cobra is now available on DVD in a pristine print that does full justice to whatever merits it has as a movie.
Tom immediately falls in love with Lisa and she never has any reason to be jealous of Julia (nor is she).Julia's 'feminine intuition' is introduced as if it is going to lead to an important plot development, but it doesn't.
Similarly, Pete's investigation into cobra cults and the suspicion that briefly falls on Tom serve no purpose other than to fill up screen time.These are just symptoms of the underlying problem.
Lisa has no reason to want to kill her - she just happens to be in the wrong place at the wrong time.
Someone said: "Those Val Lewton movies were very successful over at RKO, so why don't we make one like that?"Cult of the Cobra is clearly modelled on Cat People: mysterious, troubled, shape-shifting woman falls in love with the hero, is apparently frigid, kills people, arouses the suspicions of the hero's woman friend and dies at the end.
Neither come off, because the director doesn't understand what makes a 'bus' work and, in any case, they happen to the stalker, not the person being stalked.These faint echoes of Cat People give Cult of the Cobra whatever small distinction it might have, but they only draw attention to the yawning gulf between the original and the imitation.Plagiarism may be the sincerest form of flattery, but I doubt if Lewton or Tourneur were particularly flattered when this tepid little time-passer came out..
(This is definitely a female imitation snake.) The cult member who has sneaked them into the secret meeting has warned the six men repeatedly that the ceremonies must not be interrupted and, most definitely, no photos must be taken or else they will be hunted down and killed.
Naturally, the GIs take a flash photo, send the cult members into an angry hysteria, steal the basket containing the "snake" and run off with it into the Asian night.One of the guys, the most offensive and snarky, dies from a cobra bite on the neck, though no one can explain how the snake got into his hospital room.Back in New York, it all seems rather old news as the discharged men settle down into their civilian lives, still maintaining their bond with one another.
But they all get along well enough and all of them seem happy.Then a dark, shifty-looking, mysterious woman (Faith Domergue) shows up and Marshall Thompson takes a liking to her and insinuates her into the group.Guess what happens.
Long and Dobson begin to suspect what the viewer already knows -- that Domergue has had something to do with the deaths.
Dobson confronts her with his suspicions and she proves his point.By this time Long and Thompson are thoroughly frazzled, particularly Thompson, who is in love with Domergue and has discovered that she is attracted to him, too, although he must explain to her what "love" is.
A final reckless attack by the cobra woman against Long's girl friend -- not one of the six original offenders -- and Thompson must throw the snake out the window.
In Lewton's "The Cat People", for instance, the woman is transformed into a black leopard but, with one tiny exception, the threat is always kept in the shadows and is all the more spooky for it.
Six American GI's stationed in Asia find themselves in considerable jeopardy after they witness a secret ceremony by a Hindu cult who worship snakes.
Lovely and charming snake goddess Lisa Moya (well played and perfectly embodied by the beautiful and beguiling Faith Domergue), who has the ability to transform into a lethal serpent, goes to America and starts picking the guys off one by one.
The solid acting from a capable cast helps a lot: Richard Long as the affable Paul Able, Marshall Thompson as the decent and likable Tom Markel, Kathleen Hughes as the sweet Julia Thompson, William Reynolds as nice guy Pete Norton, Jack Kelly as smooth womanizer Carl Turner, and David Janssen as the happy-go-lucky Rico Nardi.
GIs in 1945 Asia are introduced to the actual ceremony of a "female human cobra"(essentially a woman in costume who is slithery like a snake)by a native snake charmer who warns them to keep quiet inside their hooded robes, but Nick of the group stupidly attempts to take a snapshot resulting in the American soldiers being cursed.
This curse entails that all the GIs will be hunted down one at a time by the cobra woman, to be victims of her poisonous bite.
Returning home absent Nick(who is "reinfected" when a snake enters his room in a hospital, the bite killing him)to New York, the GIs, now civilians, aren't out of harm's way.
TERROR FROM BEYOND SPACE/ FIEND WITHOUT A FACE)and Paul(Richard Long; THE HOUSE ON HAUNTED HILL/THE TWILIGHT ZONE) are both in love with a girl(Paul is chosen over Tom, though)which doesn't end their friendship(the guys are roommates).
A new tenant moves in across from Tom and Paul, an exotic foreigner named Lisa(Faith Domergue).
The filmmakers decide to avoid showing an actual human cobra, opting instead to show Faith Domergue's silhouette on the wall metamorphose into a cobra(there's an ending where we see the actual cobra turn back into a human through dissolve which is flawed because it's highly doubtful that a naked snake would transform into a woman with all of her jewelry and wardrobe on).
This movie does resemble CAT PEOPLE in that Tom falls in love with a beautiful woman he can not attain due to her terrible predicament.
When stage actress Julia(the lovely Kathleen Hughes)begins reading on snake cults and customary practices, like in CAT PEOPLE when Simone Simon's Irena becomes a deadly threat to her husband's best friend(and future lover), Alice(Jane Randolph), Domergue's Lisa follows a similar mold, taking cobra form at the end, awaiting her in the dressing room.
For some reason, CULT OF THE COBRA never quite takes off but it might appeal to fans of Val Lewton and the "less is more" approach, focused more on the soap opera dramatics of Tom and Lisa's relationship and what they are up against..I imagine that had it been made 10 years previous, CULT OF THE COBRA might've been more of a creature feature with Domergue an actual cobra woman..
CULT OF THE COBRA is pretty much a remake of CAT PEOPLE without the Guiding Light of a Val Lewton.
Faith Domergue is at her loveliest here and the Sanke, when used, is handled well, but the movie takes its time shifting into gear (we know damned well where everything is leading; why waste Time- and considerable Footage- getting there?).
As Domergue ends up romantically involved with one of the men, one of the last surviving men, Richard Long, seeks to prove that somehow a curse is involved.
While stationed in Asia,six Air Force buddies sneak into a secret ceremony where cobras are worshiped.
Things get suspicious after the arrival of a vengeful priestess, Lisa Moya(Faith Domerue), who moves into an apartment right across the hall from one of the Air Force buddies Tom Markel(Marshall Thompson).
Shadows of a cobra and snake venom are involved with each death.
Cast includes: Kathleen Hughes, Richard Long, William Reynolds, Jack Kelly, Myrna Hansen and David Janssen. |
tt0090756 | Blue Velvet | In the small logging town of Lumberton, Jeffrey Beaumont (Kyle MacLachlan) returns home from college after his father (Jack Harvey) suffers a near fatal stroke. He stays with his mother (Priscilla Pointer) and Aunt Barbara (Frances Bay) while he takes over working at the local hardware store that his father owns. While walking home from the hospital one day after visiting his father, he cuts through a vacant lot where he discovers a severed ear buried under overgrown grass and puts it in a paper bag. Jeffrey takes the ear to the police station and speaks to Detective John Williams (George Dickerson) whom he knows as a neighbor.Later that evening, Jeffrey goes to Williams' house to glean further details. He finds the detective evasive about the case and receives a stern warning from Williams not to talk about what he found to anyone because it might jeopardize an ongoing police investigation. Outside the house, Jeffrey meets the detective's daughter, Sandy Williams (Laura Dern). She tells him a name she overheard from her father of a woman being investigated, Dorothy Vallens (Isabella Rossellini), a singer who also lives in the neighborhood. Increasingly curious, Jeffrey devises a plan to sneak into Dorothy's apartment that involves posing as an exterminator.The next day, Jeffrey picks up Sandy from her high school and they drive over to the apartment building where Dorothy lives. Dorothy believes Jeffrey's ruse and lets him into her apartment to spray for bugs. Unexpectedly, a man dressed in a yellow jacket (Fred Pickler) knocks on Dorothy's door while Jeffrey's in the kitchen, and Jeffrey takes advantage of the distraction to steal Dorothy's spare keys.That evening, Jeffrey and Sandy attend Dorothy's performance at the Slow Club. While Dorothy sings onstage, Jeffrey sneaks into her apartment to snoop. Sandy's parked outside of the building as a look-out in case Dorothy returns, but when she honks the car horn to warn Jeffrey, he doesn't hear it. He only has a few seconds to hide in a closet off the living room when he hears Dorothy approaching and unlocking the door. However, Dorothy, wielding a knife, finds him hiding and threatens to hurt him. When she realizes he is merely a curious boy, she assumes his intentions are sexual in nature, and is excited by his voyeurism. She makes him undress at knife point, then performs an act of fellatio on him.Frank Booth (Dennis Hopper) interrupts their encounter with a knock on the door. Dorothy urges Jeffrey to return to the closet and he witnesses Frank's bizarre sexual engagement with Dorothy in her living room, which includes gas inhalation/asphyxia with a mask, dry humping, and sado-masochistic acts. One of Frank's fetish objects is a blue velvet robe that he makes Dorothy wear during the ordeal. Frank is a foul-mouthed, violent sociopath whose orgasmic climax is a fit of both pleasure and rage. When Frank leaves, a saddened and desperate Dorothy tries to seduce Jeffrey again. She demands that he also hit her but when he refuses she tells him to leave.The next day, Jeffrey tells Sandy a censored version of what he saw and concludes that Frank might have kidnapped Dorothy's husband Don (Dick Green) and young son Little Donny (Jon Jon Snipes), holding them hostage to extort sexual favors from Dorothy.The following evening, Jeffrey again observes Dorothy's show at the Slow Club, where she performs "Blue Velvet" by Bobby Vinton. Frank is also present at the nightclub. Later, in the car park, Jeffrey watches Frank and his three cohorts, Raymond (Brad Dourif), Paul (Jack Nance), and Hunter (J. Michael Hunter) drive away and follows them to Frank's apartment building in a desolate industrial area. Jeffrey returns and spends all night and day staking out the building and secretly photographing Frank and his visitors, which include the man in the yellow jacket (aka the Yellow Man) and a well-dressed man with a briefcase. He also follows Frank to a location where he is seen pointing in the distance to a gruesome drug-murder crime-scene investigation by the police.After reporting to Sandy on the bizarre and dangerous nature of Dorothy's situation, Jeffrey goes to Dorothy's apartment again and makes love to her, this time indulging her demands that he hit her. As he strikes her he notices she smiles. Just as he is leaving, Frank and his thugs arrive at the building and Frank forces them both to accompany him on a "joyride," which ends up at the house of Ben (Dean Stockwell), a suave, effeminate partner in crime. Jeffrey overhears Frank talking to Ben about their accomplice, named Gordon, who murdered a drug courier in order to steal the drugs. Frank allows Dorothy to see her captive son in a back room -- Jeffrey overhears her pleading with her son to remember she's his mother. At Frank's request, Ben lip-synchs Roy Orbison's "In Dreams," sending Frank into maudlin sadness, then rage. He shouts to his crew that they're going for another high-speed joyride.Back on the road, Frank becomes more brutish and confrontational, taunting Dorothy as well as Jeffrey. When Frank pulls over at a sawmill yard and begins to abuse Dorothy, Jeffrey hits Frank, enraging him further. Frank and his thugs yank Jeffrey from the car and savagely beat him as "In Dreams" plays on the car stereo. Jeffrey wakes up on the ground the next morning and goes home, where he is overcome with guilt and despair. Jeffrey finally realizes that things have gone too far and decides to go to the police. At the police station, Jeffrey sees that Detective Williams' partner, Detective Gordon (the same "Gordon" that Frank mentioned earlier to Ben), is the "Yellow Man" and hurriedly leaves. Later, at Sandy's home, Jeffrey briefs Detective Williams on his findings. Williams reminds Jeffrey of the need to keep quiet. Jeffrey does not reveal Sandy's involvement.A few days later, Jeffrey and Sandy go to a dance party together, profess their newfound love and embrace. As he drives Sandy home, they're followed and rear-ended several times by another driver. Jeffrey is relieved to discover that it's only Sandy's jealous ex-boyfriend Mike (Ken Stovitz). A confrontation is avoided when they see a naked and distressed Dorothy waiting on Jeffrey's front lawn -- she has been severely beaten and is covered in bruises. They drive Dorothy to Sandy's house where Dorothy reveals her clandestine sexual relationship with Jeffrey in front of Sandy and her mother.From the hospital, Jeffrey tells Sandy (who has already forgiven him for starting a romantic relationship with her while sexually involved with a vulnerable and mentally unstable woman) that he must return to Dorothy's apartment and asks Sandy to send her father there immediately. When he arrives at Dorothy's apartment, he finds the dead body of Dorothy's husband, who is missing an ear and has a swatch of blue velvet cloth stuck in his mouth. Detective Gordon is also there, standing in a daze with a severe head injury. When Jeffrey tries to leave, he sees the Well Dressed Man coming up the steps and recognizes him as Frank in disguise. Jeffrey talks to Det. Williams over Gordon's police radio, but then remembers having seen Frank with a police radio as well. Jeffrey lies about his location inside the apartment, hoping Frank will assume he does not know about Frank's radio. Across town, Detective Williams and his men are engaged in a gunfight with Frank's thugs at his apartment building, and Jeffrey is on his own. Frank enters Dorothy's apartment and taunts Jeffrey about having heard Jeffrey's location over his own police radio. When Frank fails to find Jeffrey in the bedroom where Jeffrey announced over the radio that he'd hide, he returns to the living room. Upon Frank's opening the closet door, Jeffrey shoots him point-blank in the forehead with Det. Gordon's gun, killing him instantly. Det. Williams arrives with Sandy in tow. He points his pistol at Jeffrey and lowers it just after telling him "it's all over."Some time later, the Beaumont and Williams families enjoy an afternoon together. Jeffrey's father has recovered from his stroke and he and Det. Williams are talking in the back yard. Jeffrey points out a robin in a tree that's caught a bug. Sandy, who had earlier told Jeffrey about a dream she had involving robins and how they symbolized love, smiles with Jeffrey as they share this moment of contentment and hope.In another afternoon scene, Dorothy and her son play happily in the park together. She embraces the boy and a bittersweet expression comes across her face as Dorothy's voice sings the lyrics ". . . and I still can see blue velvet through my tears." A pair of blue velvet curtains draw to a close, ending the story. | dark, avant garde, neo noir, murder, mystery, cult, violence, atmospheric, good versus evil, psychedelic, satire | train | imdb | null |
tt1091191 | Lone Survivor | In Afghanistan, Taliban leader Ahmad Shah is responsible for killing over twenty United States Marines, as well as villagers and refugees who were aiding American forces. In response to these killings, a United States Navy SEALs unit is ordered to execute a counter-insurgent mission to capture Shah. As part of the mission, a four-man SEAL reconnaissance and surveillance team is tasked with locating Shah. These four SEALs include team leader Michael P. "Murph" Murphy; snipers Marcus Luttrell and Matthew "Axe" Axelson; and communications specialist Danny Dietz.
The team is inserted into the Hindu Kush region of Afghanistan, where they make a trek through the mountains. Here, they begin to encounter communications problems, which would play a critical role in the following events. Upon arriving at their designated location, the SEALs are accidentally discovered by an elderly shepherd and two teenage goat herders. Knowing that if they release them, the herders will likely alert Taliban to their presence, the team is split about whether to execute the herders or not. After a brief debate, Luttrell convinces the others that they will incite backlash if they kill the three herders. The team decides to release the herders and abort the mission, but before they can escape, they are discovered by Taliban forces. Although they manage to kill several Taliban soldiers, they find themselves heavily outnumbered and at a significant tactical disadvantage. Each of the men suffers serious injuries during the firefight, and in an attempt to flee from the insurgents, they jump off the edge of a precipitous ridge and into a large ravine.
Despite their injuries, the SEALs continue a defensive retreat through the steep woods. Dietz begins to lose consciousness and shouts questions to Luttrell, unwittingly revealing the team's position to the Taliban. Murphy and Axelson jump off another ridge to flee from the Taliban fighters. Luttrell tries to carry Dietz down the mountain, but Dietz is shot in the shoulder; the impact forces Luttrell to lose his grip and fall forward off the cliff. A dying Dietz remains at the top of the cliff and is killed by the Taliban insurgents. Murphy decides to try climbing back up the cliff to get a phone signal in order to call in support forces via satellite phone. Axelson and Luttrell shoot at the Taliban fighters to provide Murphy with cover. When he finally reaches higher ground, Murphy is able to alert the SEAL base of his team's location and request emergency assistance right before he is shot dead by Taliban fighters.
In response to Murphy's distress call, a quick reaction force team assembles, boards two CH-47 Chinook helicopters, and heads toward the location without fighter escort seeking to extract the remaining members of the reconnaissance and surveillance team. During an attempt to insert the arriving forces, the Taliban insurgents shoot down one of the helicopters, killing eight Navy SEALs and eight Special Operations aviators who were on board. The second helicopter is forced to turn back. After witnessing the attack, Luttrell and a badly injured Axelson are left behind. Axelson attempts to find cover, but is killed when he leaves his hiding spot to attack several approaching insurgents. When Luttrell is discovered by the Taliban, one of the insurgents fires a rocket-propelled grenade, and its impact causes him to land at the bottom of a rock crevice where he is able to hide from the Taliban fighters.
Luttrell stumbles upon a small body of water and submerges himself, only to find upon surfacing that a local Pashtun villager, Mohammad Gulab, has discovered his location. Gulab takes Luttrell into his care, returning to his village, where he attempts to hide Luttrell in his home. Gulab then sends a mountain man to the nearest American air base to alert military forces of Luttrell's location. The Taliban fighters arrive at the village to capture and kill Luttrell, but Gulab and the villagers intervene, threatening to kill the fighters if they harm Luttrell. The fighters leave, but later return to punish the villagers for protecting Luttrell. Gulab and his fellow militia are able to fend off several fighters during the ensuing attack. American forces, arriving via helicopters, shatter the advancing Taliban and, in the process, kill the bulk of the insurgents with concentrated weaponry fire. The American forces evacuate Luttrell back to base.
Photos of the real-life Marcus Luttrell, Mohammad Gulab and the fallen service members who died during the mission are shown during a four-minute montage, and an epilogue reveals that the Pashtun villagers agreed to help Luttrell as part of a traditional code of honor known as the Pashtunwali. | revenge, murder, violence, flashback | train | wikipedia | It forces everything on the action, and the realistic portrayal of the unbelievable hardship and pain, and death, that comes along the way.Check out the overly-long Wikipedia page on this movie for lots of facts about production, and about the liberties they took with the facts.
If you read the book and heard the interviews with the actual "lone survivor" you know that this movie got as close to the real events as possible.
Holy sh*t......You get so many action movies nowadays following familiar formulas that when you watch one of them you know that just when the good guy is about to get overcome by the enemy, the backup arrives and helps him.
Things do not go as planned.However, the quality of the cinematography, solid acting and good action is what makes this such a great film.Out of all the actors getting to play a part not one is bad.
"Lone Survivor" is good action movie, with some heroic stuff (they definitely couldn't avoid that...), and i know that it's based on real events, thats why i'm giving it 8, because many of things displayed in picture were sadly true, many, but definitely not all.
When someone is being killed in this movie (exept for bad guys from Taliban), it's shown in a similar way as Jim Caviezel aka.Jesus was suffering in "The Passion of the Christ" - only true American heroes die like that, not afghans who are more or less just a meat between bullets and Americans in this movie.Overall, i liked this action picture, the sound design and sound editing were really top notch (no wonder it got 2 Oscar nominations) - you can hear every detail in the forest, every breaking bone (ye, the fall from cliffs scene was gripping).
Raytheon should be annoyed that a movie about a mission failed primarily because of communication issues showed their red flashy brand on the comms equipment.I wanted the characters to succeed, to survive, but I could not ignore the fact that they were soldiers being there only to kill an enemy commander.
The actors also play well, although I like Mark Wahlberg in almost everything he does.The story, while showing the preparation, courage and resilience of four soldiers in enemy territory, also showed other things, like the logistical blunders that lead to stupid deaths, over-reliance on technology that doesn't really work as you expect and how choices have consequences on the ground that are beyond the ability of normal courts to understand, whether looking from the legal or moral angle.I liked a lot about the movie how it made you think long after it was over.
Lone Survivor- A Brutally Authentic and Nonpartisan Portrayal of the War Time Experience Told Through Peter Berg's Respectful Direction and Honest Screenplay.
Returning to his attention to detail roots showcased in The Kingdom and leaving behind an unfortunate deviation into the ridiculous with Battleship, Berg has concocted a relatively solid film in Lone Survivor that follows the real life events that happened in 2005 to Navy SEAL Mark Luttrell and his team in the Afghanistan Mountains when a secret operation is compromised.
First things first, all those other commercial movies have some learning to do , Although this might make some business, at least Peter Berg , justifies the characters with utmost respect .This movie makes you live the atrocious week in the life of Chosen SEAL members , You think along with them , when they have to make the toughest decision which will eventually decide whether they live / die.As Marcus mentioned in one of the interviews , Sitting in front of a screen , enjoying the pleasures of life, its easier to comment on what had to be done, But what these guys did, is just IMPOSSIBLE, F*** everything else, these guys are Real Heroes, I wish I could shake hands with Marcus just once in my lifetime, ( I am from India BTW ) , Do not miss this one , this movie moved me ..
Based on the nonfiction book of the same name & set during the War in Afghanistan, Lone Survivor tries to recreate the US Navy SEALs' Operation Red Wings, a failed mission in which a survey team of 4 soldiers were tasked to locate the Taliban leader, Ahmad Shah.
And even though it impresses in parts & has a lot in it to evoke the patriotic response from its target audience (which is American viewers obviously), Lone Survivor ends up going completely overboard in dramatizing the true events & suffers from the very clichés that most films of its genre find themselves trapped in.What's right with this film is Peter Berg's dynamic direction, tense atmosphere, superb pacing, intense battle sequences, precision use of sound, music & relatively fine performances from its star cast who were actually capable of delivering more than what ended up being in the final print.
What's wrong with it, however, is its lack of emotional depth or character development, sometimes going overly dramatic than required and too much reliance on action to push its story forward which ultimately crosses the fine line between exploration & exploitation to revel in the latter.On an overall scale, Lone Survivor has nothing new to offer compared to what other films of this genre have already given us so far.
The previous evening I had sat down and watching an intensely exciting movie - one actor, two bits of dialogue, but a thoroughly gripping hour and forty minutes - 'All is Lost' - but that's another (far better) story..
This film should be avoided until it's available on DVD for a fraction of the cost.Eight reasons why "Lone Survivor" should not have been made into a movie, based on violence dot com:Reason 1: Luttrell got his facts wrong.Marcus Luttrell exaggerated the importance of his target Ahmad Shah, totally misunderstood why the US went to Iraq & Afghanistan, and even over-estimated the number of fighters in the ambush.
How can you take seriously a movie based on a fictionalized war memoir after reading mistakes like these?Reason 2: The backlash could be gigantic.Remember the backlash from Soldiers against the Hurt Locker?
Lone Survivor doesn't come close to this level of honesty, and unfortunately this movie mirrors the SAME DISHONESTY that characterized Luttrell's horrible book.Reason 4: There were better stories.The battle of VPB Wanat.
Only lust for money could lead a director or a studio to validate and promote Luttrell's hate- filled propaganda.Reason 7: "Lone Survivor" the Movie corrupts and impedes political discourse - you won't "learn" anything from it (Except how to die)You can't call liberals evil, hold them responsible for the death of your friends, like Luttrell terrible book, and then have a courteous political discourse.
Letting partisan politics get in the way of serious security issues is disgusting (but apparently the American way).Reason 8: It will ruin the history of Afghanistan for years.Many Vietnam veterans don't like Vietnam war movies because the twisted reality they promote is often how most Americans who see them remember Vietnam.
But, as a film, Lone Survivor fails because: the plot heavily showcases the action scene, rather than focusing on 2 main things, characterization & the dot to dot fact file as to what went wrong.
Here, Wahlberg plays real life, lone survivor, Marcus somebody, part of anti terrorist squad, on a failed mission, due to bad radio connections, but more so a fatal one out of three decision, that soon sees the squad, outnumbered by the Taliban.
They do not defend their own country,they went to play GI Joe to another culture's homeland - and it has consequences.Although there are evil people in every country, this movie shows it like all the Americans are just friggin' awesome dancing around, training like hell, having fun team events, and generally being "cool", while all those bad-bad-stupid Arabic fighters should just die - as they hinder the Big Mission.
Afterwards, the American army sent hundreds of soldiers, right in the middle of a firefight amongst hundreds of Taliban fighters and the few villagers who are trying to protect him.The truth however is very different.The true depiction of events is that a US Chinook helicopter was shot down in Eastern Afghanistan while it was transporting a number of Navy Seals to the area.
It is similar to the film 'The Hurt Locker,' which was based on an overly exaggerated account of those soldiers who were part of failed missions, including missions such as Blackhawk Down, where hundreds of American soldiers were killed in Mogadishu and in addition to two of their helicopters shot down and tens of their armored vehicles were destroyed.While this movie and more of its types will sell well in the US and the Western world, in order to justify its inhumane war, it will not change the reality of the war in which the US is bleeding to death and the anger and outrage it continues to evoke in the Muslim world..
This film needed pretty boy Hollywood in it...no it did not.Real navy seals aren't pretty boys with stupid beards but trained professionals who do a dangerous role.It took me three attempts to watch this drivel and each time I tried not to think "cheap skate location budget " but it never worked...ever.I can't find any redeeming qualities on this film apart from the end which made me laugh..it wasn't supposed too I was just relived that I didn't,the have to watch it ever again..
all i can say is ts a pity IMDb doesn't have a 0/10 rating or i would have gave it that.the film really does make Rambo look realistic.i watched the film with 3 mates pretty much baked and even in that inebriated state did it make the film either believable or enjoyable.if war porn is your thing and your from the USA and suffer from a deluded form of patriotism then u might like it but for normal people its just too hard to swallow.As stated in other reviews how many falls off cliff faces and bullets can a person survive.if you want to watch a descent film about the US military watch "the boys in company C".This is one film to definitely avoid!!.
The movie will bring you up close and personal on the mountain with four Navy Seals and their ordeal with a Taliban ambush.This story could easily have been made into a PG-13 feel-good Hollywood blockbuster, but it would have been a disservice to the soldiers that died.
Peter Berg has to be praised for making the viewer feel for the character(s) during the action sequences.All actors have given great performances but eventually, it's Mark Wahlberg whose performance impressed me big time.
I will throw a bit out there, though; Totally lame hero dialog that never once strayed from the "Chuck Norris" formula, characters I never cared about for a moment (we're supposed to care that one of the guy's fiancé wants an expensive horse as a present??), enemy soldiers who just run up one and after another like complete dopes and get shot, US soldiers who somehow fall off cliffs at least three times and land on back- breaking rocks and get up and still run around, the sappy doe-eyed little boy and the "hero" local who saved him, and the list goes on and on.
This film LONE SURVIVOR based upon the true life account of a firefight in Afghanistan written by Marcus Luttrell might actually appeal to both sides but at the same time you can say it's guilty of having its cake and eating it .
Even if like me you are not from the United States you can not help but feel considerable sympathy as you watch a group of young men horrifically slaughtered as they take on an overwhelmingly larger enemy force.Whats really troubling about Lone Survivor is it stubbornly refuses to shed the jingoistic overtones that could have lifted this film above the raft of other US made war movies.
But it was Mark Wahlberg who excels the most as the last standing soldier (hence the title).MOST MEMORABLE MOMENT(S)The extended combat sequence between the four-man Navy SEALs team and an army of Taliban fighters.THE BAD STUFFIf there's any flaw in this movie, it's Eric Bana.
Instead, more time is devoted to combat sequences—which are admittedly well done—than to any sort of character development.Lone Survivor tells the true story of Marcus Luttrell, the sole survivor of a failed Navy SEAL mission, "Operation Red Wings" in the mountains of Afghanistan in 2008.
Instead, all we know of Marcus is his love for his fellow soldiers, and we can cheer him on as a leader and warrior.Berg (who directed and co-wrote) takes his time getting to the actual battle, which comes as the result of a bungled covert surveillance/capture-or-kill mission.
However, the film's first forty-five minutes or so are combat-free, and one would think Berg would invest this time into developing characters and making the audience really feel the sense that these men have something at home worth fighting for.
In other cases, Berg eschews the generally gritty look of the film for fog-filtered, picturesque, slow-motion deaths which come across as stagy and shallow.Lone Survivor is a well-made war movie, albeit one without a clear message.
Nonetheless, its actors turn in realistic performances in their depictions of soldiers (Ben Foster and Emile Hirsch are especially good) in a film that ultimately keeps its audience at arm's length from them, emotionally speaking.The most powerful aspects of Lone Survivor are its bookend montages of footage of the real SEALs involved in Operation Red Wings.
I know, Berg's reputation as a director isn't exactly stunning, but stay with me here...Lone Survivor is the adaptation of the book by Petty Officer First Class Marcus Luttrell, and is based on his true story of survival after "Operation Red Wings", a mission to take out a high ranking Taliban leader, goes awry.
Peter Berg seems to be trying to hard to imitate Michael Bay. Whereas Battleship was effectively a Bay version of a film based on a toy, here we see the same type of bombastic and patriotic tones that Bay likes to indulge in.Based on true events, Lone Survivor follows Marks Wahlberg and his Navy SEAL team try to hunt down a Taliban Leader.
Hold on it was mentioned in the mission briefing a few minutes earlier!As they have to abort the mission the SEALs encounter the Taliban forces and get involved in a brutal and visceral gunfight in the wild Afghan terrain which suspiciously looks like somewhere in America.Mark Walhberg, Ben Foster and Taylor Kitsch give strong performances but the film although starts off slowly then becomes scenes of constant blood-soaked fighting and running or more accurately falling down the mountain from the Taliban.There is an element of war porn in this film with the prolonged battle scenes as the SEALs are repeatedly getting shot.
there are lot of viewers, especially males, who just like to gobble up anything related to 'special forces', 'rangers', and 'navy seals' military movies but never watched them with 'reasonable doubts'.
of course the only good thing about this movie is not killing the goat herders and then they save the soldier's life but not enough time was pent on this..
Sometimes we get to see a movie, we think....well we have been here before...we may have even seen it all done before, oh so many times...then, oh yes dear reader, then we get into the action and the realisation that this is based on a true story, the actor Mark Wahlberg (Marcus) is in almost every film we have seen him in great (exception was Ted)..we don't often get to the tears stage nowadays...far too old and set in our ways for mostly any films, this one does test it all the way though....gripping action, fire fights,enemies never giving up, all the way right through to the end, as it is based on a true story you just wonder "WHY" what is life all about...anyway we both enjoyed this epic adventure, all the supporting actors do a splendid job, the special effects and general camera work via the director ( Peter Berg)makes this film one of the better ones to show the middle east conflict from the American side of things...WOW.
After watching this incredibly heart ripping, realistic War film based on a true story I was light headed, and literally wanted to kiss the American soil.
Since virtually all SEAL missions are classified, we never get to hear about the heroic actions of men like these that result in saving lives for their brother soldiers, as well as innocent civilians.The movie brought a tear to my eye, and made me reflect on the sacrifice so many have made for this country.
Movie Review: "Lone Survivor" (2013)This outstanding biopic war-movie directed by Peter Berg starring Mark Wahlberg as real-life military black operation (Black Op) in the mountains of Afghanistan surviving U.S. soldier Marcus Luttrell, delivers without overly-executed pyro-technical visual effects an deeply-emotional due to character close-up cinematography by Tobias A.
I highly recommend reading his book, its excellent.The story is based on Navy Seal, Marcus Luttrell's bestseller following himself and three others on a covert mission into the Afghan Mountains to locate a Taliban leader.
This movie is about the true story of Operation Red Wings, a military scout mission that turned into a massive firefight between four Navy SEALs and a small army of Taliban soldiers and the heroism the SEALs displayed during the battle.
I am not entirely certain that I would be happy that the film presents this particular branch of the U.S. military's special forces in a particularly good light.Based on a true story about a past Navy Seal mission in Afghanistan.
Anyway, the footage of the real soldiers was emotional but there are better movies out there that portray the Americans at war. |
tt1398941 | Superman/Batman: Public Enemies | Lex Luthor has been elected President of United States during a severe nationwide economic depression. Under his leadership, the economy begins to thrive, and he assembles a force of government-employed superheroes consisting of Captain Atom, Katana, Black Lightning, Power Girl, Starfire, and Major Force. Superman and Batman maintain their distrust toward Luthor.
The United States government discovers that a massive Kryptonite meteor is hurtling toward Earth. Instead of asking superheroes for aid, Luthor decides to destroy it with nuclear missiles. Luthor arranges a meeting with Superman in Gotham City under the pretense of forming a pact. This results in a battle with the hired Metallo against Superman and Batman, in which Metallo manages to injure them both. After, an unknown assailant kills Metallo. On national television, Luthor pins Metallo's murder on Superman, using footage of their battle to implicate him. Luthor claims that the meteor's radiation can affect Superman's judgment, and he places a one-billion-dollar bounty on Superman.
Batman and Superman break into S.T.A.R. Labs seeking information on the meteor and find Metallo's remains; they realize radioactive energy is what killed him, and it was made to look like Superman's heat vision. An army of villains looking to collect on the bounty attacks them. Most of the villains are defeated and Captain Atom defeats the rest with a giant energy blast. All of Luthor's superhero team but Power Girl, whose loyalties are divided, attempt to capture the heroic duo. Superman creates a twister using his superspeed, and the two heroes escape with Power Girl.
In Metropolis, Power Girl admits that she does not believe Superman killed Metallo. Luthor's superheroes catch up and the fight begins anew, Power Girl aiding Batman and Superman. Batman realizes that Major Force killed Metallo under Luthor's orders and goads him into admitting it in front of everyone. When Major Force begins angrily attacking him, Power Girl punches him in the stomach hard enough to rupture his containment suit, releasing his radiation. Captain Atom absorbs the energy, disintegrating Major Force and injuring himself in the process.
Meanwhile, the missiles fail due to the sheer amount of radiation detonating them before impact. Amanda Waller discovers that Luthor has secretly been taking a serum composed of liquid kryptonite, making him lose whatever rationality he had left. Feeling disillusioned by his failure, Luthor decides to let the meteor hit the Earth so that he may rule over what remains of society. Batman and Superman battle Captain Marvel and Hawkman before breaking into Luthor's base of operations to retrieve data on the meteor's radiation. Luthor refuses to relinquish the data, going so far as to erase it from the lab computers, but Waller gives them a copy. Batman and Superman fly off to Tokyo to deliver the data on the meteor to the Japanese Toyman, who has already built a giant rocket-propelled spacecraft, intending to use it as a large missile to stop the meteor. Waller and the military then attempt to arrest Luthor, but he injects himself with more kryptonite steroid and dons a power suit. After escaping Waller and the military, Luthor follows Superman and Batman overseas.
After Batman and Superman arrive at Toyman's base, he shows them the spacecraft, which resembles a giant, robotic composite version of Superman and Batman. With the data, Toyman is able to calculate the necessary reinforcements needed for the rocket so it will not explode before impact. Unfortunately, Luthor neutralizes Power Girl, Superman and Batman, and then disables the rocket's remote guidance systems so that it will not take off by itself. Having no other choice, Batman decides to fly the rocket himself, despite Superman's protests. Though initially faring poorly against Luthor and his kryptonite power suit, Superman eventually gains the upper hand and after an aerial chase back to Metropolis, Luthor is defeated. Batman succeeds in destroying the meteor, and Superman finds him alive in an escape pod.
With the truth of Metallo's death now public knowledge, Superman is cleared of the murder charge and Luthor is arrested and taken away to face trial and impeachment for his crimes. Batman then returns to Gotham while the Daily Planet's star journalist, Lois Lane, arrives and happily embraces the Man of Steel. | violence | train | wikipedia | The sixth DVD project from Warner Bros's DC Animated Universe unit, "Superman/Batman: Public Enemies" is a fun, socially-conscious adaptation of the six-part comic book story/graphic novel by writer Jeph Loeb and artists Ed McGuinness and Dexter Vines.
Sure, it's short (67 minutes) and not to the letter (no continuity-oriented sidebars), but it's action-packed coolness.America's plagued with crime, economic despair and war, making it easy for unethical corporate shark Lex Luthor (Clancy Brown, "The Shawshank Redemption" ) to run for and win the White House.
There, he initiates that meta-humans and costumed crime-fighters serve the U.S. government, but the Big Two, optimistic Kryptonian boy scout Superman (Tim Daly, "Private Practice") and brooding urban detective Batman (Kevin Conroy, "Dynasty") rightfully feel he's full of it (including the "sh").
It's weird hearing Allison Mack ("Smallville") as Power Girl, due to the character's
well, you know, but she's durable in the role, even with a subtle, but funny sexual gag, validating the PG-13 rating."Public Enemies" should be on every DC Comics fan's wanted DVD's list..
Mixed feelings followed after i first watched this extremely short(compared to other DC animated movies) adaptation of the Jeph Loeb Superman/batman graphic novel.
From the start, they seem like best buds already which makes the whole "unlikely team up" part(not to mention the climax where the unlikely duo come to really respect each other) a little redundant.Despite these shortcomings, what really justifies the price of this show is the action and animation.
The grand, adrenaline pumping score by Christopher Drake compliments the movie perfectly.On a certain level, i enjoyed Superman/Batman:Public enemies very much.
The character interplay by veteran voice actors Kevin Conroy and Tim Daley(reprising their respective roles of Batman and Superman from the animated series)is very well scripted with a couple of witty one liners here and there.
If you like your superhero movie big on action and don't mind one that comes up short in the story aspect, then Superman/Batman: Public enemies is for you.
Fun animated movie based on an enjoyable comic book story by Jeph Loeb and Ed McGuinness.
Luther puts a million dollar bounty on Superman.Batman who has been observing Luthor and the meteor all the time, intervenes and helps Superman to clear his name in the eyes of the public.But with all the villains looking to collect on the bounty, will Superman live to see another day, destroy the meteor and foil Luther's plans yet again?Watch and find out.10/10 a must for any DVD/BLU-RAY collection..
This special 67 minute movie (shorter than usual) was adapted from one of his graphic novels, about how in a kind of bizarre turn of events (if not Bizarro-world) Lex Luthor is made President and declares after a faked-taped scene where Superman appears to be squashing a guy with a car, he puts a bounty on his head for a billion dollars.
Now he is on the lam, and only his best friend Batman (er, not Jimmy Olson) comes to his aid when being attacked by a huge rogues gallery of Batman/Superman/DC villains, and even some superheroes who work for Luthor now that he's president.
For direct-to-video releases, their work just keeps getting better and better (if not quite up to par with last year's near-masterpiece New JLA New Frontier) and it's hard not to want to look at how they reveal a new villain or that giant robot-rocket that the Japanese kid/man develops shaped out of Batman/Superman fandom.
It's predictable writing for much of the time, and the whole cast of villains and heroes is made for the die-hard comic book fans to be interested in - that is until they're pulled out of their one or two seconds of screen-time for someone else (and actors like John C.
It also takes too long to get to the main problem of the meteor, and instead we get some of those silly scenes where Luthor acts all big and mean and nasty but is really just an a-Hole that could be squashed in a moment.This isn't to say a great movie couldn't be made out of this premise of Superman and/or Batman on the lam.
Length, too, is also a factor; I'm ignorant on the Loeb comic, and maybe that is better (or worse), but it's hard not to want a little more story as opposed to mostly generic fighting scenes.
The original 90s Batman/Superman animated movie with the Joker and Luthor as villains is superior if you must see a match-up..
Neither Superman or Batman follow this dictate and, at a meeting to discuss a meteorite heading towards Earth, Superman is framed for murder by President Luthor, who then turns the public against the vigilante superheroes with spin and presentation.
Brown, Berkeley, Pounder, McGinley and a few others are strange finds while Conroy and Daly do solid enough work with their deep voices in the title characters.Public Enemies is a solid enough cartoon.
i gotta say,i thoroughly enjoyed this animated offering from DC/Warner Premiere.the animation was top notch.the voice acting was terrific.the fight scenes were outstanding.in fact,the movie was basically just one big long fight scene after another with a veritable rogue's gallery of DC Villains all lining up to take on Superman and Batman.of course,the story takes a huge back seat in this case,other than a brief set up at the beginning.and the movie is short,clocking in at just over an hour not including end credits.normally i prefer a little story depth to my movies,but i got caught up in the action on this one.however,if you do prefer a more fleshed out storyline,you might be disappointed in this one.for me,Superman/Batman: Public Enemies is an 8/10.
The premise isn't anything super original, but it's a Superman/Batman team up movie and that in itself makes it worth a watch.7.2/10.
After the economical disappointment of Superman Returns, DC Comics redeemed itself with the big critical and commercial success of The Dark Knight.However, I am afraid that that victory created unreal expectations which will sabotage the future films from that publishing company (which has more pressure since it became on a producing company).As examples, I can mention the numerous and frustrated adaptations of Wonder Woman, Justice League, Supermax, Aquaman (produced by Leonardo DiCaprio), Green Lantern (with Ryan Reynolds) and Plastic Man (directed by the Wachowski Bros.).Or that projects will never receive the green-light, or their progress is by turtle steps, and as the times go by, their releases seem more far away, instead of getting nearer.It is obvious the executives from the company are obviously re-planning strategies (translation: trying to cypher what made The Dark Knight so successful).Having said all that, I have to admit I am happy to see those delays; I honestly do not think Warner Bros.
(DC Comics' owner) will be able to triumph again with any of those movies.It is more probable that those adaptations will follow the same unfortunate destiny as Constantine or Catwoman.But, seeing all that from the positive side, those delays and conflicts have left the free field to the making of solid animation movies whose creators really comprehend the essence of comics, they respect the characters and they take advantage of the animation in order to tell stories which would not be able to be filmed with real actors.And the best thing of all is that they are not subject to the demands and whims from the executives, agents and lawyers from Hollywood.Superman/Batman: Public Enemies is a clear proof that "less is more", and although it does not reach the heights from the extraordinary Justice League: The New Frontier, it represents a fascinating view to the most popular characters from DC Comics.Although their methods are different on practice and ideology, Batman and Superman have worked together on many occasions.Their adventures with each other appear on comics like Justice League of America, World's Finest and Superman/Batman.On those stories, their relationship is occasionally rough, some times friendly and other ones antagonistic...but always with a lot of mutual respect.Superman/Batman: Public Enemies perfectly captures the emotional up and downs from that dynamic, with credible and intelligent dialogs which draw their personalities.The screenplay from this movie is truly brilliant, because it is hugely entertaining and deep at the same time.In summary, I have enjoyed Superman/Batman: Public Enemies much more than most of the "real" super-hero films, because it puts the emphasis on the characters and the story, and not on special effects.So, I recommend Superman/Batman: Public Enemies as a great film, which is ideal for having a very entertaining and satisfactory time..
Tim Daly's superman voice is good like super Cavill and Kevin conroy's batman voice brings back childhood memories.
Awesome decent superhero Superman/Batman DC animated movie I love it!.
Superman/Batman: Public Enemies is a really decent awesome DC animated movie!
This is the real Superman/Batman movie in here our two superhero's teams up together to stop Lex Luthor and the meteor destroying our world.
long without credits.Plot: When Lex Luthor gets elected US President, he uses the threat of an oncoming kryptonite meteor striking Earth as a rationale to frame Superman.The story is about more Lex Luthor and America is going downhill people are losing jobs and the economics falls down.
So we have Tim Daly as Superman, Kevin Conroy as Batman, Clancy Brown as Lex Luthor and Lex Luthor has his own group of superheroes, who's powers will be used for America for good, it is like hey if you want to volunteer to be part of us be my guest, but no one is going to be above the law anymore.
It takes place couple of months after that, Luthor is been president, America is been turned around and been doing good, there is this meteor/kryptonite coming down to earth and Luthor is like I don't need superheroes and I got all the calculations and I am going to do this.
Even when he talks to Batman he still says "I don't trust this guy." Luthor wants Superman to meet him, he does and of course it is a trap and you have Metallo, Metallo is there and superman goes in to a big fight with Metallo and I thought it was really well done fight and the animation was good.
This film is pretty much a lot of action, Superman and batman beating other super heroes who are a treat and are working for Luthor.
than he gets mad and he punches Luthor out and that hard on the end Batman destroys the Meteor and Superman saves him.Overall: I love Superman/Batman: Public Enemies DC Animated Film it is a decent awesome super hero movie.
The rating this film get's 9/10 it deserves it.Superman/Batman: Public Enemies is a 2009 original direct-to-video animated superhero film adaptation of "Public Enemies"—the opening story arc of DC Comics' Superman/Batman—which focuses on Superman and Batman teaming up to prevent a meteorite from striking Earth and take down Lex Luthor, who has been elected President of the United States.9/10 Grade: A- Studio: Warner Bros.
DC's Civil War. In preparation for the upcoming Batman V Superman film, I've decided to revisit a few of each of the heroes' feature films, especially those where they come in direct conflict with one another.2016 is a big year for comic-book films.
The film loses its political and moral focus a bit as it slips into an action extravaganza with all these heroes and villains, but eventually it gets back on track.The best part about the film is once again the dynamic between Batman and Superman.
At the very least, the film is a smart commentary on corruption and misrepresentation in the media, which is something you barely see in a superhero flick.+Voice talent, enough said+Cool appearances from heroes and villains+Christopher Drake+Commentary on our society-Fight scenes take over the fascinating elements of the story sometimes8.2/10.
I like Batman a lot but I hate Superman and I gave this movie a try...
While not the worst direct-to-video, superhero cartoon I've seen, 'Superman/Batman: Public Enemies' was entertaining and fun to watch.
The action was good, the bond/banter between Supe and the Bat was nice to watch, as I always seem to see them fight like children and the animation was decent – finally Superman with muscles.
Superman/Batman: Public Enemies is still a good movie, but at the same time was left wanting.
The voice work of Clancy Brown, Tim Daly and Kevin Conroy I can't fault, the rest are great as well, but these three are unbeatable in these roles and they voice the three most interesting characters of the film.
Determined not to give up, Superman joins forces with Batman to thwart Luthor and save the Earth, a task made all the more difficult thanks to the heroes Luthor has dispatched to get in the way of the two men long hailed as The World's Finest.The biggest criticism one can attribute to this animated feature, which is based on the Loeb/McGuinesss miniseries of the same name (the first in a stretch of stories they collaborated on) is that it removes what actually made their original graphic novel so special: the internal monologues in which Superman and Batman compare, contrast, and critique one another.
With animation that looks like it was ripped straight from the book, Superman and Batman go on their adventure, they kick ass, they take names, and exchange witty banter with one another in between action scenes.
"Public Enemies" also features some of the best animated fight scenes for Superman ever drawn, from battling Metallo, to fighting off an army of bad guys, to dealing blows with fellow heroes such as Captains Atom and Marvel, to the final clash with the Kryptonite suit powered Lex Luthor.
Kevin Conroy as Batman, Tim Daly as Superman, in an animated film based on one of my favorite graphic novels.
Pity the execution falls so short it doesn't even look like it tried to jump.This is the story of Lex Luthor as president of the United States, most of America presumably having suffered amnesia, who frames Superman for murder in order to turn the public and his friends against him while a giant Kryptonite meteor plummets towards Earth.
The story is rushed, compressed, and partially re-written to cut out a lot of the deeper ideas, like Metallo possibly being the killer of Batman's parents, or Lex Luthor's struggle to remain credible despite the outrageous nature of his claims, and of course Superman dealing with the people he's sworn to protect turning against him.
The sixth movie in DC's straight to DVD animated movies is possibly the most endearing...and the most frustrating.Based on a six issue comic story of the same name, it finds the world's two greatest heroes are turned into fugitives by Lex Luthor, now President of the United States,when Superman is framed for murder as a giant Kryptonite meteor plummets toward Earth.
It may be short but it doesn't waste a second of its run time, giving us one awesome, kick ass action scene after another as our title heroes take on all comers (watching Superman and the power armor wearing Luthor go at it is quite a show), as well as how they deal with the meteor.
The dialog is lively and smart and the voice acting is top notch, with Superman, Batman and Luthor being voiced by the actors who played them wonderfully in several cartoon series (Tim Daily, Kevin Conroy and Clancy Brown, respectively).
It was so great to hear Tim Daly and Kevin Conroy back in the roles of Superman and Batman.
The movie stems out of the 1st story arc of the Superman/Batman comic, formerly World's Finest.The main premise of the story is that America is in shambles and Lex Luthor is elected president.
I've thought that the animation team has always had a better grasp on the DC Characters and backgrounds than the live-action movies ever do.
A kryptonite meteor is approaching Earth, and Luthor uses the crisis as an excuse to kill Superman.What follows is a mishmash of Batman and Superman fighting a variety of DC villains and some second string heroes.
Lex Luthor becomes President and outlaws Superheroes...Superman decides he is not going to work for the bald president and becomes an outlaw with his buddy Batman....And there is a Kryptonite meteor heading towards Earth, while all this is going on.I've read the comic book named 'Superman/Batman:Public Enemies'...and found it weird watching those frames come to life...Yes, the plot's been done, superheroes go rogue and other heroes chase after them...The graphics were a little rubbish...the 3-D cars and the boring animations...But I loved the action scenes in this animated movie, you felt each punch, kick and explosion while the occasional banter of the two leading superheroes of DC is quite hilarious.For example when Batman swings down from the rafters with a wire, Superman tells him that he could have easily carried Batman down, to which the Knight replies."Between you and me...I don't like that" And, the whole 'Good Villains' conversation.All in all, a nice animated action movie..
When they started creating these direct-to-DVD movies, the people at DC were having trouble balancing character, story, and action.
A major factor behind this is getting the original voice actors who played Batman, Superman, and Lex Luthor.
Superman / Batman: Public Enemies is a fan boys dream come true.
Superman is again voiced by Tim Daly, who has done the job since 1996 in the original animated series, the movies, and video games.
Clancy Brown also returns to the role of Lex Luthor, who he has voiced the arch nemesis since the animated series in 1996.
Maybe a bit stronger story and a little longer run time, but I kind of like the short get-to-the point animated features the best.
Let me tell you the voice work from Superman and Batman is great, as well as the animation.
There are some funny moments in this film, also the final scene is very sweet.My only complaint about this movie is that it wasn't very emotionally weighty, you'd think a Kryptonite meteor bound for Earth that could kill billions would make us feel like there's more on the line.All in all, this is a good direct to disk feature.
Those who are fans of batman or superman, would probably like it. |
tt0099938 | Kindergarten Cop | Detective John Kimble is on the trail of a drug-dealing bad guy. He visits a girl named Cindy who may know something about the bad guy whose name is Crisp Cullen. John is handed an assistant, Phoebe O'Hara after he hears that the ex-wife of Crisp is in a school in Oregon with her son, Dominic. but, what's the lady's name? John hears that it's Rachel. he goes out to Oregon to drop off Phoebe as the subsitute teacher. but things go wrong with Phoebe's sickness and John takes her position. he goes to the school and teaches in a kindergarten class where he meets a mother and teacher, Joyce. well, actually Joyce IS Rachel. but John does not know yet. then, John goes to a dinner in a restaurant with Phoebe, Dominic and Joyce. they all go to their homes at night and one more day of school teaching! soon, in the next or other day, John meets a kid named Zach whose father is abusing him. OMG! but, John goes out to find something about the father via talking to Zach's mother and no... it was not Crisp. he beats up the father and soon discovers that Joyce is Rachel. some kind of party is thrown a bit on and John tries to talk to Rachel, but she walks away. the next day, John invites Phoebe over to teach the kids about strangers while Crisp is in the school and lights the school on fire. he kidnaps Dominic and John rushes to get him, he tries to talk Crisp into letting Dominic go, but Crisp shoots John and John falls on the floor. he groans a bit, is OK, but Crisp's mother Eleanor butts in and shoots John. John now is in real pain, he bleeds and groans and is sent to the hospital. He then is all right and Phoebe, who is injured by a car at the time John is shot, brings in her fiancee who is a chef. John gets out of the hospital and visits the children. then the movie ends. | comedy, fantasy, murder, cult, revenge, violence, cute, humor, romantic | train | imdb | Supporting cast do a nice job, particularly Reed as Arnie's partner and Hunt as his kindergarten supervisor.Many critics found the level of violence to be a little excessive considering it's listed as mainly a comedy, but I don't agree.
They truly don't make them like this anymore, just see awful modern examples such as Vin Diesel's The Pacifer for proof or rather don't see them, watch Kindergarten Cop again and see a great action star and comedy director team up to make a most enjoyable work..
Penelope Ann Miller, Pamela Reed, Linda Hunt, Richard Tyson, Joseph Cousins, Christian Cousins, and all the children in the film do great jobs with their roles.
In between is a nice story of a tough-guy cop becoming a loved and respected kindergarten teacher.The cuteness comes with the kids, who are nice and funny and with Penelope Miller's character.
Miller sports wholesome looks and, except for the end when things get tense, a clean mouth.The star of the film, Arnold Schwarzenegger, shows a good flair for comedy as the tough guy-softie.
i mean, it's funny just to think about a "giant" man taking care of kindergarten children.The truth is that the plot is oriented for an older audience but it fits perfect with the movie's comedic tone.The ending is just priceless and is a perfect example of how early 90's cinema had the tendency to make the lead character into a hero..
Very entertaining film about a cop who must go undercover as a kindergarten teacher in order to track down a killer.Director Ivan Reitman, who delivers his best film since "Ghostbusters", uses Arnold Schwarzenegger brilliantly in this unusual role.
This is an original movie that, although not full of surprises, keeps the drama and comedy perfectly balanced.The children, who are, to Reitman's credit, not used purely to influence the emotions, are adorable and hilarious in a film that is definitely worth your while.Friday, April 12, 1991 - Knox District Centre Sunday, May 12, 1991 - Greater Union Melbourne"Kindergarten Cop" is still entertaining even the third time.
When O'Hara gets sick, Kimble has to fill in on his hardest undercover assignment yet - as a kindergarten teacher.Looking back on it, this was one of several films that saw Schwarzenegger opening up his resume to become more than just an action star.
But, I enjoyed this film a lot.This is about a police officer who goes undercover as a kindergarten teacher to catch a criminal and ultimately fall for the first grade teacher.The acting is actually pretty good here.
Kindergarten Cop is directed by Ivan Reitman and it stars Arnold Schwarzenegger as John Kimble, a tough police detective who goes undercover as a kindergarten teacher to catch drug dealing baddie Cullen Crisp (Richard Tyson), before Crisp can get to his ex-wife and son.
Not only that but he finds himself drawn to another teacher, Joyce (Penelope Ann Miller) to further complicate things.Sandwiched in between Total Recall and Terminator 2:Judgement Day, is this light action comedy on Arnold Schwarzenegger's Curriculum Vitae.
Its normally every other day you see Arnold in a tough guy role e.g. The Terminator series and here he portrays a professional cop, until he is forced to go undercover as a kindergarten teacher, an absolute genius move from the director of 'Twins' Reitman.
Schwarzenegger always played a badass type,in early part he does,but after became a kindergarden's teacher arouse him a pleasure to work with children,this movie itself falling down in those hollywood clichés,too many soppy,as were conceived as commercial picture we must understand,therefore it ends up all fall down a little bit,in other hand we have a crook and his cruel mother marvelous acting by Carroll Baker and also Linda Hunt as quite often had an encreased value to the plot,taking he picture in a high level,in general way the result was totally satisfying as family movie!!Resume:First watch: 1992 / How many: 3 / Source: TV-DVD / Rating: 7.
This truly is a lovely Schwarzenegger Classic movie that i watched so many times growing up on video, i remember this movie from very young & always loved Arnold films he was the first actor i knew & liked & here he is a joy to watch & that's also because the great Ivan reitman knows great feelgood comedy!!!
Schwarzenegger gives a fun performance as Richard Kimble the under cover cop pretending to be a kindergarten teacher & it's so much fun with cool quotable lines & a beautiful music score & excellently directed by REITMAN make this old school cop comedy Thriller a true classic!!!
Just a great fun family film with some comedy,drama & action but mixed together perfectly by director ivan reitman & a great performance by Schwarzenegger, a childhood CLASSIC that I've watched hundreds of times, it's so much fun.
Inevitable before long Crisp is bailed and heads to Astoria looking for his son.One might think that because this is a comedy set in a kindergarten class it will be a family film suitable for all ages...
Kimble will have to act fact, though, because Crisp is on his way to collect his son.For the most part, Kindergarten Cop is an enjoyable movie.
However, "Kindergarten Cop" gives Arnold perhaps his most complete vehicle for showcasing all sides of his acting talent.For a basic plot summary, this movie sees undercover cop John Kimble (Arnold) become a kindergarten teacher in order to scope out baddie Cullen Crisp (Richard Tyson).
Watching Mr. Kimble struggle with his new young charges is hilarious, while scenes towards the end of the flick will have you on the edge of your seat and perhaps even in real suspense.Overall, then, I consider "K-Cop" to be perhaps the most well-rounded performance of Schwarzenegger's career...and just a darn good movie to boot!
and to be honest, it does a pretty darn good job at what it sets out to do.In a way, it's much better than what it "should've been".And yet, the fan average barely scrapes over the 6/10 mark and the critics are just as snobby towards it but that's to be expected.'Arnie' is charming and unintentionally/intentionally hilarious as ever, the film has simply monumentally cult quotes, it's fast, cute, fun, funny, and of course it's got that bit of hollow flavor towards the end where great movies usually shine most, but it's absolutely tolerable when we're given such a genuinely entertaining ride prior.A well earned 7/10.
Continuing My plan to watch every movie in Arnie's filmography in order, I come to Kindergarten Cop. Plot In A a paragraph: Detective John Kimble (Arnie) is a tough cop given his most difficult assignment, to go under cover as a kindergarten teacher in order to find a drug dealer.Even bearing in mind this is a kids movie, Cullen Crisp is simply the worst bad guy to ever grace an Arnie movie.
But that's OK, because John Kimble is a cool character in the opening scene's and then the real fun in this movie is Arnie with the kids.
Kindergarten Cop (1990) *** (out of 4) Detective Kimble (Arnold Schwarzenegger) goes undercover as a kindergarten teacher because they get word that a drug lord's (Richard Tyson) ex-wife might be living there under a different name.
The police need her to testify against her former husband and soon the new teacher begins to think the person might be another teacher (Penelope Ann Miller) that he has fallen for.I watched KINDERGARTEN COP several times when it was originally released and as a ten-year-old I found it to be funny and exciting.
Tyson makes for a great villain and we get nice support from Pamela Reed, Carroll Baker and Cathy Moriarty.KINDERGARTEN COP runs a bit too long and it's certainly way too predictable but if you're a fan of the action star then you can overlook the flaws and just enjoy the picture..
Therefore it is quite a surprise that here we see him playing a tough cop-turned-Kindergarten-teacher and you may not think that he would be much good in that type role, because i know i certainly did and i started watching it rather skeptically.
It captures the very essence of the simple, feel-good story, here blended together with a bit of action and an edge that works surprising well against the comedy; nearly as well as the juxtaposition that is "bodybuilder teaches kindergarten." It's great fun, one of the most quotable films of the 1990's, and holds up incredibly well almost a quarter-century after its release.Overall rating: 7 out of 10..
A tough cop (Arnold Schwarzenegger) is given his most difficult assignment ever: to masquerade as a kindergarten teacher in order to find a drug dealer.When this film first came out, it was panned by just about everyone besides Roger Ebert.
While not the greatest comedy, and certainly not a great action film, this movie has a certain charm that resonates beyond the typical demographic for Arnold's films.The only thing that really ages poorly is the bad guy's hair.
I'm not really a fan of Schwarzenegger's comedy films, given that I adore his action movies and would much rather be watching them instead.
The story, which sees Arnie's cop undercover in a school and saddled with a class of boisterous kids, almost writes itself.The reason that this is a workable film comes down to the script, which is laden with all of the classic one liners we know and love from the star.
It has a healthy dose of 'typical Arnie butt-kicking,' plus a load of cute kids, a child abuse sub-plot, creepy child abductors, romantic comedy element and a kooky police partner (expertly played by Pamela Reed).Big Arnie is a tough cop (no change there then) who has to go undercover in a class fill of five year olds in order to try and find out which child is being hunted by a mobster.
still good to watch today.brings back old memories from those lovely 90's.I love Arnie's acting as a kindergarten teacher.apart from that the small kid who says that boys have a penis & girls have a vagina.really cute.
This is my all-time favorite Arnold Schwarzenegger movie, a story about Arnold's character, John Kimble, going undercover as a kindergarten teacher to track down the ex-wife of suspected drug-dealer Cullen Crisp (Richard Tyson) so she could testify against him.The movie starts out with some gun-totting action with some classic and typical Arnold humor.
What follows is a touching plot showing Arnold's more light-hearted and comedic side.Kindergarten Cop has a fast-paced plot and fun story, mixing just the right dose of action, drama and comedy together - no over-the-top stuff.
Arnold Schwarzenegger, Penelope Ann Miller, Pamela Reed, Linda Hunt, Richard Tyson, the children's cast, and the entire cast did a phenomenal job on this film.
Her role as the teacher across the hall from Arnold's class gives the two of them a few occasions to intermingle, but I think Reitman could have made a few more scenes work.Linda Hunt is absolutely delightful as the principal who looks on while this brooding hulk of a man tries to tame the wild children.Cathy Moriarity provides us with a look into the "single parent capital of the west", and while her role is brief, her input and presence is remarkable.Overall, the film has a buoyancy that allows you to sit through the more placid moments and still want to stay in your seat to see what happens.The real stars are the kids, of course, and I would be remiss not to mention early appearances by Odette Yustman (now Annable), Adam Wylie, and Krystle and Tiffany Mataras, to mention just a few.Rated PG-13 for references to drugs, some language, and some violence, this film is a classic for the kids (I'd say 10 and up, but that is your call) and definitely a keeper for your collection..
The ups and downs and demands of a group of five year olds at times proves to be tougher then this officer of the law imagined with witty questions, lots of resistance and a few tears but through it all he makes a connection with the school, one other teacher in particular in Joyce Palmeiri played by Penelope Ann Miller, and most of all the children In a series of trial and error and some old fashioned detective work Kimble finds the mother and son team and begins to fall for the mom on the run and her child as well as enrich the children's lives with a style of teaching that is called "unconventional but effective".
Kindergarten cop is actually a unique film for its fusion of the lighthearted comedy and the police drama and paved the way for such classics as Turner and Hooch as well as many other films blending these two themes together.Set in the picturesque town of Astoria, Oregon the small town life meets the danger of the big city when Crisp finds what he has been looking for and is determined to take back his son with a finish that will leave you wanting more.
i wouldn't say it's a comedy.it's not a bad movie.it's billed as part comedy,but i wouldn't really say it's a comedy.i think it's more a crime drama,with a bit of lite humour thrown in.there are one or two mildly amusing moments,but nothing i would consider funny.the premise is good.Arnold Schwarzeneggar plays a cop who has to go undercover as a kindergarten teacher.i think they could have exploited this fish out of water angle more in depth and longer.still the movie is actually entertaining for the most part,as a crime drama.Arnold again teams up with director Ivan Reitman(their previous collaboration was Twins).i actually liked this movie more.Pamela Reed and Penelope and Miller also star,but both have less to do than i would have liked.Linda Hunt as the school administrator(or principal,her title is never really mentioned)is good,in what is basically a cameo.for me,Kindergarten Cop is a 6/10.
Despite its ridicule, this is still a fun little film to watch, just as long as you don't take it seriously, i mean it is supposed to be a comedy, after all.Arnold 'i'll be back' Schwarzenneger plays hard-ass cop John Kimble, who goes undercover by posing as a school teacher, in an attempt to track down a guy by the name of Cullen Crisp, who he has been pursing for a considerable time.
He plays John Kimble, a cop who goes undercover in a kindergarten class to uncover the son of a drug dealer before he's kidnapped by his father.
One of the most unlikely kid-friendly people, Arnold Schwarzenegger, gets one of the most unlikely jobs of his life in this 1990 comedy.John Kimble (Schwarzenegger) is on the trail of Cullen Crisp, and has been for years.
As far as I'm concerned, the movie could be a remake of "Big Business" with Arnold Schwarzenegger in the Lily Tomlin role--that's how little I remember of it.But I will tell you this: "Kindergarten Cop" contains one of the greatest moments of cinematic comedy.
Hah."It's not a tumor" falls somewhere between "Here's looking at you, kid" and "Stop looking at me, swan!" as the greatest line ever said in a movie.I wouldn't recommend renting "Kindergarten Cop." Instead, get together with a bunch of friends, pretend you're all Arnold Schwarzenegger, and spend the evening repeatedly saying "TU-MA!
"Kindergarten Cop" is one of Arnold Schwarzenegger's best films to blend family-based values with raw action, though most adults won't really consider this a pure family flick because of the crime-oriented plot.
The big Austrian plays a cop named John Kimble who has to go undercover as a kindergarten teacher to find the whereabouts of a certain kid's drug dealer father.
'I'm a cop you idiot, I'm detective John Kimble' Kindergarten Cop is one of the funniest films made, Arnold Schwarzenegger is a famous comedian, as he sad in Last Action Hero.It starts off when this bad guy named Crisp, and Schwarzenegger with his kewl as gun.
Arnold Schwarzenegger, Penelope Ann Miller, Pamela Reed, Richard Tyson, and Academy Award winner Linda Hunt star in this action-packed, funny movie.
Personally I would've liked Arnold to have some more funny interactions with the kids, and maybe his relationship with Joyce/Rachael could've developed further as it had a nice foundation and good chemistry, but everything happened in such a short period of time between them.There easily could have been a sequel but the thing that gives it strength is that they didn't overdo it like so many films do, and this has possibly also enabled it to gain classic status.It really would be great if they brought out deleted scenes, cast interviews or special features on the DVD..
As Detective John Kimble, he does a great job trying to fit in as the patient kindergarten teacher, and his early scenes with the children are comedy at its best.
Kindergarden Cop is as dumb as films get, but it gets good in my book by Arnold's change in action to comedy (first seen in Twins).
Here, he plays a cop who is on the trail of a drug dealer, and the only way to go undercover is to become a teacher in little kids school, and then the laughs come as some classic Arnold clips (later played on O & A) come up like "Stop Whining" or "You lack discipline." Not Ivan Reitman (or Scharzenegger's) finest hours, but it does give them changes of pace.
As you should know by now, Arnold Schwarzenegger plays detective John Kimble who goes undercover as a kindergarten teacher to track down the target of one of his lifelong enemies.
Here you have a hardcore cop named John Kimble(Arnold Schwarzenegger) who goes undercover as one thing he never dreamed to be: A kindergarten teacher!
When things don't quite go to plan, Kimble finds he has to go undercover on his toughest assignment yet - Kindergarten teacher!As soon as Arnold Schwarzenegger made a splash into the film industry, every action film wanted him.
"Kindergarten Cop" is a fun comedy-thriller starring Arnold Schwarzenegger as John Kimble, a cop who goes undercover as a kindergarten teacher so he can find the son of a killer he had busted. |
tt0448179 | Wild Things: Diamonds in the Rough | Marie Clifton (Laine) is set to inherit two beautiful diamonds, called the "mother and daughter", which her late mother bestowed to her. Marie's step-father, Jay Clifton (Johnson), challenges the will, claiming that Marie isn't ready for the responsibility, but actually wants to take the diamonds for himself. At a sexual education seminar at Marie's school, physician Dr. Chad Johnson (Melendez) and probation officer Kristen Richards (Meyer) discuss sex crimes, and Richards reveals she was a victim of an anonymous rapist many years before.
At Marie's swim-meet, Jay encounters towel girl Elena Sandoval (McCoy), and invites her to Marie's eighteenth birthday party. Elena attends the party but is assaulted by Marie, who says that Elena is not welcome. Jay comforts Elena, and brings her to the construction site of one of his buildings for privacy. Later, Elena alleges that Jay raped her at the site. Detective Michael Morrison (Ashby) is placed on the case, as is Richards, who is Elena's probation officer. Chad is placed in charge of documenting Elena's injuries, and testifies to the court that Elena was raped.
Marie believes that Elena is doing this for money and tells Jay to pay her off. When Jay admits that he's broke, Marie suggests that they sell the diamonds. Jay agrees, and revokes his claim to the will, giving Marie custody of the diamonds so she can sell them off. However, this was a ploy between Elena, Marie and Chad to get the diamonds, and the trio are in a sexual relationship together.
Jay believes that Elena will recant her accusation after being paid off, but at the next court session Elena testifies that Jay also threatened to kill her. Jay is sent to prison, but Richards is now suspicious of Elena's behavior. Richards and Morrison search Elena's trailer and discover she's gathered information about Kristen's rape, using it to form her testimony. Richards and Morrison discuss their suspicions with Jay, and conclude that Marie, Elena and Chad must be working together.
Chad is questioned by Richards and Morrison, and fears they suspect him. He turns on Marie, drugging her and stealing the diamonds. Marie and Elena give chase, following Chad into the woods, where Marie kills him with a tire iron. Marie then meets the diamond buyer Chad set up, but learns that the diamonds are fake. Elena, who is left to deal with Chad's body, is caught by Richards and Morrison.
Richards and Morrison give Elena a task: wear a wire and get Marie to admit she killed Chad, and the charges against Elena will be lessened. Elena goes to Marie and plays along with her plan to get the real diamonds from Chad's safe at the construction site. Throughout, Elena repeatedly tries to get Marie to confess, but is unsuccessful. When Marie and Elena finally get the diamonds from the safe, Elena pulls a gun on her and flees with the diamonds, prompting Marie to chase her with her own gun. Richards and Morrison, who are listening in from nearby, enter the construction site separately. During the hide-and-seek, Richards finds Marie and shoots her in the chest, killing her. Afterward, Elena claims there were no diamonds, and is escorted from the scene by Richards.
At the end it's revealed that Richards and Elena are mother and daughter. Jay was the man that raped Kristen in the past, and Elena is their daughter. During the credits, scenes are shown explaining how they managed to pull their plan off. | murder | train | wikipedia | null |
tt0770828 | Man of Steel | The story opens on the Planet Krypton, wherein Lara Lor-Van (Ayelet Zurer), has just given birth to a son. She and her husband Jor-El (Russell Crowe) have birthed their son naturally and in violation of the basic laws of the planet, where babies are to be bred through genetic engineering with a planetary 'Codex' that imprints what a person's place in life is to be (leader, scientist, general, etc).Jor-El and his wife have chosen this path as their planet is on the brink of destruction. Harvesting their planet's core for resources has made it unstable and it will destroy itself. After the birth of his son, Jor-El appears before the Kryptonian Leaders, pleading with them to allow him to save the planet's Codex, and to search for a habitable world beyond Krypton. However, even with destruction imminent, the council will not abandon its ways.The council is set upon by General Zod (Michael Shannon) and numerous followers, intending to take control of the planet. Though Jor-El does disagree with Council, he refuses to join Zod's coup. Zod orders Jor-El to be arrested, but Jor-El escapes and flees to an area nearby, wherein the planet's birthing chamber resides. Right before he leaves, he tells Lara to prepare the small spacecraft he has built to transport his son from Krypton and to find a suitable world to send him to.Stealing the Codex from the chamber, Jor-El races back to his home where his wife Lara has found a planet to send their baby to: Earth. Though Lara is sad at the loss of their child, Jor-El claims he will live his life in a new way: free of the limitations imposed by Kryptonian society. Their son, Kal-El, will be able to choose his way in life. Lara worries about their son's ability to survive on his new planet; Jor-El assures her he will be stronger, faster, invulnerable and possess powers that will make him a super-being there because of Earth's yellow sun. Jor-El places the Codex into a device that bonds it to his son's living cells.As they prepare to launch the pod containing their son, Zod and his followers force their way into the Els residence, demanding that Jor-El hand over the Codex. Jor-El claims it is in the pod with his son. Zod becomes enraged and attacks Jor-El, eventually stabbing him to death. During the fight, Lara engages the pod's engines and it shoots into the sky.Angered that Jor-El and his wife have doomed the Kryptonian race with the removal of the Codex, Zod orders his followers to shoot down the pod. However, his orders are suddenly cancelled when Kryptonian security ships appear, destroying the attacking vessel and arresting Zod and his minions. In the confusion, a Phantom Drive engages on the pod, rocketing the baby away in the blink of an eye.Zod and his followers are banished to The Phantom Zone. In a fury, Zod lashes out, declaring the leaders will not grant him and his followers a quick death. He also swears to Lara (who is present), that he will find her son. Zod and his followers are placed in a giant craft, the Black Zero, that is sent into the Phantom Zone.Shortly after, Krypton's core collapses as Lara passively watches the planet breaking apart. Many worlds away, the pod carrying Kal-El rockets into Earth's atmosphere, touching down somewhere in the Great Plains of the United States.The scene then shifts to ocean waters, where we see a bearded man (Henry Cavill) working aboard a fishing vessel and having trouble concentrating on his duties.The crew are soon alerted to a distress call for help from a flaming oil rig. The bearded man quickly disappears from the ship but is on the rig moments later, rescuing the crew and getting them to board a Coast Guard chopper. He is unable to join them, as he rushes to keep a part of the rig from collapsing on the landing pad. As the chopper flies away with the rig's crew, the rig collapses down on him and he ends up floating in the water.We soon learn that this is Clark Kent, as in a deep mental state, he recalls when he was younger, and manifested X-Ray vision, and super-hearing. Scared at what he was seeing and hearing, Clark runs from his classroom and locks himself in a closet. His Mother Martha Kent comes to the school, and manages to coax him out, helping him to focus his powers, quelling the myriad sounds he hears.Back in the present-day, Clark has managed to return to land and steals some clothes. As he attempts to figure out where he is, he sees a school bus nearby. Clark has another flashback to when he was 13. He recalls being picked on by a boy named Pete Ross (Jack Foley), before the school bus they were on suddenly blows a tire, and careens off a bridge into a river. Thinking quickly, Clark escapes out the rear emergency door, and pushes the bus to shore. Clark jumps back into the water and pulls the very boy who harassed him to safety.Though Pete's mother claims that Clark miraculously saved the occupants of the bus, Clark's father Jonathan Kent (Kevin Costner) tries to convince her otherwise. Needless to say, Clark feels even more conflicted, as his father has tried to tell him to suppress his powers, but Clark was torn by a need to help others.When Clark demands to know what's wrong with him, Jonathan shows his son the pod he came to Earth in, along with a strange metallic item that was found with him. Jonathan claims he had a metallurgist examine it, but it is comprised of elements not found on Earth. Imprinted on the small fragment of metal is a shield-like shape containing an "S".The scene then returns to the present day, where Clark has a job at a truck stop in Canada. As he works, he hears some military men talking quietly about some object found in the ice a ways north of the stop. When a trucker comes in and starts harassing one of the waitresses, Clark attempts to stop him, but afraid others will see his powers, stands there and takes the trucker's taunts. Without saying a word, Clark takes off his apron and leaves the stop. Later, as the trucker leaves, he is shocked to find his rig impaled on several of the tree logs he was hauling.The scene then cuts to Lois Lane (Amy Adams), landing at the base in Canada, where she is met by Professor Emil Hamilton (Richard Schiff), and Colonel Nathan Hardy (Christopher Meloni). Drilling is still commencing within the ice to get to uncover the craft, but ice drilling tests have at least confirmed that the ice surrounding the object is thousands of years old.Going out in the evening to shoot some pictures, Lois is shocked when she checks them to see a man walking on a ridge near the drilling site without cold-weather clothing. She sneaks up to where he was, and finds a tunnel bored into the ice. The tunnel is Clark's doing, as he had followed the word of the military men, and made his way to the site, using his heat vision to tunnel into the ice. He then finds a strange spacecraft, and going inside, finds a panel that opens up. It contains a hole that seems to match the shape of the object his father found with him in the pod. Inserting the object the hole causes a person to suddenly appear nearby. He doesn't say a word, simply walking off. Clark attempts to catch up to this person, but he always seems to be several steps ahead of him.Meanwhile, Lois has found her way onto the ship, but is attacked by a sentry. Her screams cause Clark to come running. After dismantling the sentry by crushing it with his bare hands, he sees that the sentry has wounded Lois in her lower abdomen. He tells her she's bleeding internally and uses his heat vision to cauterize the wound. Shortly after, military forces nearby are all amazed when the ice starts to crack and a giant ship emerges, flying off.Lois is found the next day and shortly thereafter she writes up an article about what she experienced. However, her editor at the Daily Planet, Perry White (Laurence Fishburne), refuses to publish it. Even the Pentagon has denied her 'aliens and spaceships' story. Lois then attempts to play hard ball. Going to a contact of hers named Glen Woodburn (Chad Krowchuk), she allows him to publish her story. Though he cautions that she could get in trouble for leaking the story, she claims she wants to do this, in hopes that it will catch the attention of the person she met.Meanwhile, Clark has piloted the spaceship to another remote location in the Arctic. It turns out the figure he was following is a hologram of his father Jor-El, who is appearing via the 'key' Clark inserted into the ship. Jor-El explains the history of the planet Krypton and that the ship Clark found was a sentry ship sent out many years before, when the the council of Krypton had attempted to colonize other planets.Jor-El shows Clark a dark blue and red suit bearing the shielded "S". Jor-El explains that it is the emblem of the House of El and a symbol of hope. Jor-El also explains that the Earth's sun has made Clark stronger, and has been helping him manifest powers for some time. Jor-El tells Clark that the suit will symbolize his mission: to help the people of Earth and act as their guardian. Stepping outside the ship, Clark begins to push his powers: first taking flying leaps, before eventually being able to fly at great speeds, breaking the sound barrier and flying great distances around the world.Back in Metropolis, Perry White is furious that Lois leaked her story to the internet, and suspends her for three weeks. Lois uses this time to begin tracking down leads to her mystery man. Her sleuthing leads her to Smallville, and eventually, Martha Kent.Visiting the grave of Jonathan Kent, she is surprised when her mystery man appears (albeit in nondescript clothing). Lois claims she wants to tell Clark's story, but he tells her of how he abides by his father's request to not reveal himself until the world 'was ready.'Clark then relates how Jonathan died. After the two have an argument during a drive, which mostly concerns Clark frustration over his true ancestry and how he is forbidden to reveal his powers to anyone but his parents, they stop when a tornado forms, threatening everyone on the road nearby. Clark gets his mother and several others to safety, with Jonathan attempting to get the family dog free of their vehicle. The dog makes it out safely, but Jonathan ends up injuring himself, unable to make it to the overpass where everyone has taken shelter. Clark had wanted to help his father, but a gesture from Jonathan cautioned him to not reveal himself, leaving Jonathan to be swept away by the tornado. Hearing his story, Lois respects Clark's wish for privacy, and stops trying to pursue a story from him.Clark returns to his mother, and happily tells her that he has found where he came from, and who his true parents are. Though Martha fears that her son will now be taken from her, Clark assures her it won't happen.Meanwhile, the military has received word of a strange ship in geosynchronous orbit around the planet. Soon, others report the strange sighting, but are surprised when power is cut off to all parts of the world, and a message is broadcast from General Zod. Zod demands that the people of Earth hand over Kal-El within 24 hours or there will be consequences. A worldwide manhunt is initiated to find this "Kal-El". Glenn Woodburn is interviewed about the aliens and drops Lois' name, which soon results in numerous FBI agents being sent to take her into custody. Lois tries to flee from them, but she's quickly intercepted and turned over to the US Army.Back in Smallville, Clark goes to a local church, and confesses to the pastor there that he is the one the aliens want. Though he admits he is conflicted: he doesn't trust that Zod will leave Earth in peace, but he is also wondering if he should trust humanity. His decision is made when the Pastor tells him that sometimes one must take a leap of faith.Clark then appears before the Army in his Kryptonian suit, willing to surrender on condition that he can meet with Lois and that she be freed. Clark is handcuffed (he allows them to, as a gesture of trust and to help them feel more secure), and he and Lois have a short conversation. She asks him about the "S" on his chest which he tells her is not an S as Earthlings know it, but a symbol of hope. When she suggests a new moniker, her voice is cut off by feedback from the audio system observers are using behind a 2-way mirror -- but Clark shows he is easily able see through it and identify the people standing behind it. Clark stands up and effortlessly breaks his handcuffs and tells the observers he'll allow them to turn him over to Zod and that he'll protect the planet from whatever danger Zod presents.In a remote desert, a black craft appears to bring him to Zod's ship. The craft is commanded by Faora-Ul (Antje Traue), who also demands of General Swanwick (Harry Lennix), that Lois also be taken with them. Though Swanwick points out that the deal was originally for only Kal-El to be handed over, Lois goes along. Before they reach Zod's ship, Lois is fitted with a breathing apparatus, as the atmosphere on the ship will be toxic to humans. When Faora is distracted, Clark slips Lois the key he used to restart the Arctic ship.On board the ship Zod welcomes Clark, who a few moments later collapses to the floor of the ship, seemingly unable to breathe. Though Lois is worried for him, Zod assures her that Clark's body is simply adjusting to the Kryptonian atmosphere aboard the ship.Clark passes out, and finds himself in a dreamlike vision of his family's farm. Zod explains to Clark that after the destruction of Krypton, the portal to the Phantom Zone where they were trapped was opened again. After modifying the portal's Phantom Drive, they were able to transport themselves all across the galaxy in the Black Zero. Visiting the various planets which colonizing ships were sent, their searches for a new planet proved unfruitful, as each of the colonists sent to these various planets were found to have perished. However, Zod and his followers took what they could from the remnants of their civilization, including a terraforming machine called a "World Engine".When Clark activated the ship in the Arctic, it sent out a signal, which lead Zod to Earth. Zod claims that he intends to turn Earth into a New Krypton, but Clark is unwilling to go along with this plan since it will mean Earth's annihilation and the deaths of all humans.Awakening from the vision, Zod tells Clark that with or without him, he will revive their civilization. As well, Clark's adjustments to the ship have made him no stronger than the other Kryptonians on it. This allows one of Zod's men, Jax-Ur (Mackenzie Gray), to obtain a blood sample from Clark.Meanwhile, Lois is thrown into a holding cell, where she comes across a panel with a small hole. Lois notes it is the same shape as the key she has. Inserting it allows the information from Jor-El to appear before her. The key causes the ship's atmosphere to alter towards more suitable conditions for Clark and Lois, and Jor-El gives Lois valuable information for stopping Zod, along with leading her to an escape pod. As she activates the pod a guard suddenly shoots at her, damaging the pod. The change in the atmosphere returns Clark's strength, allowing him to break his bonds, and Jor-El appears before him, pointing out that Lois needs to be saved because of the damage to the pod.Clark saves Lois from the pod, but his attention is soon drawn to his mother, who is set upon by Zod and Faora. Zod goes to the Kent farm, looking for the Codex. Faora finds Clark's pod, but no sign of the Codex. When Zod threatens Martha, Clark races to save her, hitting Zod with such force that the two end up thrown into the heart of downtown Smallville.Upon recovering, Zod's face-mask malfunctions and his body begins to adapt to the Earthen environment, as he suddenly gains X-Ray vision, and his hearing begins to take in everything at once (just like Clark did when he gained these powers long ago). The effect is debilitating to Zod as his senses overload and he is forced to retreat.Clark claims that his parents helped him hone his skills to control the sensory overload, but his assurance is thrown aside when a ship recovers the stunned Zod, and Faora and a larger Kryptonian (Nam-Ek) attempt to bring Clark down. A battle erupts between Clark and his enemies, causing huge amounts of destruction.Word of the alien presence in Smallville has reached the Army, and Col. Hardy approaches with helicopters and planes. Hardy claims that all three of the aliens (including Clark) are hostile, and all forms of weaponry are thrown at them. Though Faora and Nam-Ek escape, Clark is able to change Hardy's mind when he saves the Colonel along with several other soldiers.Clark returns to his mother, but also encounters Lois, who explains to him what Jor-El told her on the ship.Back on his ship, Zod is informed what happened to the Codex. Jor-El had diffused it into Clark's cells, making him the source to create new Kryptonian life. When Zod is informed that Clark does not need to be taken alive to retrieve the Codex, he puts his plan into effect.Zod separates the World Engine from the Black Zero. As it touches down in the South Indian Ocean, the Black Zero hovers over Metropolis. Using the Phantom Drive, Zod activates the World Engine, which creates a link with the Black Zero through the Earth's core, beginning the process of terraforming Earth into a planet more like Krypton. Dr. Emil Hamilton determines that the process is creating a stronger gravitational pull and making the planet more dense. The effect causes massive destruction, flattening cars and shaking skyscrapers apart. The force of the machine also causes objects to repeatedly rise and plummet to Earth.As Swanwick contemplates what to do, he receives word that Clark (now being called "Superman" by some of the soldiers), has a plan. Using the information that Lois obtained, Clark reasons that if the pod that brought him to Earth is activated by the key he has it will start up the Phantom Drive inside. If the pod collides with Zod's ship which also has its drive activated, a black hole will warp the Black Zero and it's occupants back into the Phantom Zone.Meanwhile, Zod leaves his ship, and heads for the ship Clark found in the Arctic. On board the ship is a gestation chamber with many unborn Kryptonian fetuses. The projection of Jor-El speaks to Zod, telling him to halt his operation. Zod refuses to listen to the words of a ghost. and will stop at nothing to revive Krypton and it's people. Zod's key eventually overrides Jor-El's, and the ship now responds to Zod, causing Jor-El's hologram to disappear.Col Hardy, Dr Hamilton, and Lois board a plane to take the pod to Metropolis, while Superman flies around the world to try and stop the World Engine. However, he is assailed by a Kryptonian defense mechanism within the machine that attempts to fend him off with long tentacles.The situation over Metropolis grows more desperate as none of the planes sent by the Air Force are able to get close to the Black Zero. Zod's ship and the World Engine have created a gravitational vacuum that keeps the transport unable to properly launch Clark's pod. Realizing there's no way he can fight off the tentacles, Clark goes deep under the World Engine and punches his way through it, causing the connection to sever and the machine to explode. With the gravitational disruption gone, Hardy flies the transport closer to Zod's ship but it is intercepted by Faora, who attempts to stop them.As well, Zod has arrived in Metropolis with the ship. As he attempts to destroy the Air Force plane, Clark swoops in and crashes into the ship's control panel. Zod yells for Clark to once again let him complete his plan to revive Krypton. "Krypton had its chance," yells Clark, who then uses his heat-vision to tear apart the ship, causing it to crash and the gestation chamber to fracture.Faora's attempts fail as well as Hardy steers the plane into the ship. As Lois was on the rear of the plane as it tilted down towards the ship, she loses her balance and falls to Earth. The collision of the two Phantom Drives causes the military aircraft and the Black Zero (along with the people on the vessels) to disappear.Clark manages to save Lois again and puts her safely on the ground. Nearby, the sound of moving metal is heard, and Clark finds Zod, thoroughly enraged. Zod tells Clark that he was engineered to be a General of Krypton and to protect it and its people. With nothing left to revive the planet, Zod seethes that Clark has taken his soul and promises to kill the humans one at a time in retribution for what Clark has done.The two then battle across Metropolis, smashing through buildings. During the fight, Zod adapts further to Earth's atmosphere, spawning heat-vision and the ability for flight. The battle soon ends with them in a train station, where Zod blasts his heat vision at a nearby family. "If you love these people so much, then you can mourn for them," he shouts. Clark begs Zod to stop but when Zod claims he will never stop, Clark snaps the General's neck, killing him. It is clear that Clark did not want to exact such a terrible judgement, and he agonizes over having not only killed another person, but one of the last of his race. Lois appears and comforts him.Some time later, Swanwick and Black Ops Mercenary (Christina Wren) find Superman downing an Air Force drone. Superman claims that he knows they had sent it to find his home on Earth but he wants the search to stop. He vows that he will continue to fight for what is right and the security of Earth. The General questions Superman's commitment to which Clark replies that he's from Kansas and can be trusted. As he flies away, the General's adjutant smiles, clearly won over by how handsome and forthright he appears to be.Clark then returns to Smallville, where he and Martha visit Jonathan's grave. Clark claims he wishes his father could have seen what he accomplished, but Martha Kent says he did. When she asks what Clark intends to do now, he claims he'll get a job where he can be updated on what is going on with the world, where he won't be questioned about visiting dangerous places, and where he will be able to ask questions if needed.We then see him in the Daily Planet building, being introduced to Lois Lane. Though he is now sporting a pair of black-rimmed glasses, it is apparent that Lois knows just who this new employee is. | fantasy, realism, murder, violence, flashback, good versus evil, action, revenge | train | imdb | I saw Man Of Steel last night at an advance screening and at no point was I looking down on the movie.From the trailers and TV spots the movie really gets you interested and dying for more.And the Movie itself soars(yes I know ha-ha)above the expectations.First of all Henry Cavill is an excellent Clark Kent/Superman.He really gives the character that "not wanted" or "don't feel like you belong" feeling.The cast in the movie is excellent including Russell Crowe and Michael Shannon.Russell Crowe really expands on Jor-el's character and makes him more than just a voice helping Clark.Michael Shannon as Zod is terrific.He was even better than Superman 2's Zod.The fight scenes in the movie are astonishing.It makes up for all the lack of conflict Superman Returns had.The fight scenes are very destructive yes but there is a very good story around it so it wasn't just mindless explosions like Transformers.Man of steel was by far the best movie of the year..
Battle scenes are good, I can feel Zack Snyder "300" sensation in here.Henry Cavill succeeded bringing a whole new version of Superman to the big screen.
I like Snyder's previous films and particularly enjoyed Watchmen, so I would have had no problem with a darker of more serious version of Superman, except this movie was none of those things.
Man Of Steel (2013)Plot In A Paragraph: An alien orphan is sent from his dying planet to Earth, where he grows up to become his adoptive home's first and greatest superhero.I will admit from the off Richard Donners Superman is in my Top 10 movies of all time, and probably always will be.
I think it impossible to better Reeve's take on Clark Kent/Superman (damn it again) that said, Henry Cavill has the strapping good looks of the comic book legend and the humanity to match his superheroism.
Both Costner and Diane Lane (who I've always had a crush on, and still would here) are great as Clark's Earth parents, although Costner in particular deserves much more screen time.Those that complained Superman Returns didn't have enough action, will have been happier with this one due to three major battles in the latter half of the movie.
Like The Dark Knight Rises, Man of Steel is full of these kind of pot holes that is likely to leave even children scratching their heads.I did however enjoy much of the first half of the film, Kevin Costner gives the best performance in this movie by a distance in my opinion.
Laurence Fishburne may as well have been cut from the movie all together in his utterly pointless role as Editor at the Planet and Adams was wasted in the weakly written part of Lane.It's perhaps unfair to expect another Dark Knight, given it's standing as one of the greatest films ever alongside The Godfather & Shawshank here on IMDb, but I was at least hoping for a movie on a par with Batman Begins, to really set the tone for another epic series of modern-day comic hero movies from DC.
Instead I left the cinema feeling like I just saw 20 minutes of Avatar eventually turn into Independence Day meets Transformers in a piece of film-making that will be rather forgettable in the end.Maybe at some point in the next 30 years Superman will finally get his day like Batman got his in 2008 in The Dark Knight..
Henry Cavill as Superman/Clark Kent done amazing, Amy Adams as Lois Lane, Diane Lane as Martha Kent and Kevin Costner as Jonathan Kent, Laurence Fishburn as Perry White, Russell Crowe as Jor-El and last but not the least Michael Shannon as General Zod. All the actors and actress done peerless performance so does the directors and writers and make the wonderful movie.
After watching it i am came to the conclusion that finally DC > Marvels and this is the epic superhero movie after batman trilogy (nolan's)Man of steel has good visual and special effects so its looks more amazing when you're watching in 3D..
I had the good fortune of being one of the very first Superman fans to watch Man of Steel (the movie started showing here in the Philippines today, June 12, which happens to be our country's Independence Day).
When I was watching the trailer for man of steel I felt that this movie will be the greatest movie for Superman and also it will take the sci-fi genre to the another level and finally when I saw the movie all of my expectations were full filled the movies action scenes were new though the origin was old but they had made a superman which is very difficult to make.I like this movie and waiting for its next sequel.In this movie Mr.Snyder has given one of the greatest directions in superhero genre.
I however, am part of the latter.I'm going to try my best to write this review without any spoilers, even though there's one moment that made my sister walk out of the theater in anger and made me nearly scream.This review is coming from someone who has watched 2 Superman movies, 8 and a half seasons of Smallville, and a season of Lois and Clark.
I really like the 'Superman' series especially the movie which came earlier to this version.But I couldn't agree with all the other one star reviews of this movie and not that other reviews were great , those authors simply enjoy the cinematography and story and not that nostalgic or other universal emotions that a hero or its compatriot should emboss.I really hate the Amy Adams in this title as she is really not the character the superman should be paired with or it may be just me.But I just see her as an actress who performs small roles and entertains.I couldn't stand her till the end of the movie.Overall,it wasn't good and except the main character every other character was skeptical and boring..
There are plenty of reviews which highlight the countless inconsistencies of this movie (the director should be made to watch it), so I won't mirror these.What bothered me far more were the numerous religious/theistic tones and symbolism throughout the movie, highlighting the entire wreck as nothing more than a vehicle for some Christianity-selling.I'm, of course, talking about the title character's baffling, needless Jesus Christ pose in Earth's orbit, the female 'baddie's' childish, claim that "Evolution always wins' (that why the majority of humans are God-fearing despite no sensible reason, facts shunned in favour of here-say), and Superman's Earth-father telling him that he was 'sent to Earth for a reason', that old, egotistical attitude that encourages people to believe that the vast entirety of the universe operates solely to benefit the youngest, most destructive species on a tiny planet in a quiet corner of one galaxy among billions.And people told me that the movie was "Awesome"?!
The best of summer 2013 so far, one of the best Superman film (if not the best to date), amazing action flick (believe it or not, people might say it has too much action), and overall one of the much better superhero movies out there only rivaled by Nolan's batman trilogy (Someone give the Justice League a green light, Bale and Cavill?
Two and a half hours of superficial, overblown, CGI packed nonsense that fails spectacularly to make an emotional connection with the viewer in the first hour and thereafter settles for mindless action, the film is worse than I expected—and I never expected it to be good.The special effects employed in 1978's Superman The Movie might have been crude in comparison to the spectacular mayhem presented here, but as an overall experience, the Christopher Reeve film wins hands down, director Richard Donner giving his audience humour, pathos and a genuine sense of awe, helped in no small part by the wonderful John Williams score; Snyder achieves only boredom, his huge explosions and random destruction rapidly becoming extremely tedious.Tall, muscular and handsome, Henry Cavill makes for an impressive Supes (even in his dingy 21st century version of the iconic costume), Michael Shannon is suitably imposing as General Zod, and although Amy Adams is miscast as feisty reporter Lois Lane, I never complain when she is on-screen.
Man Of Steel was Amazing Henry Cavill(Immortals) Played Him to The T and Is Best Superman ever Surpassing his Christopher Reeve also The Rest Of The Supporting Cast Was Brilliant Russell Crowe(Gladiator) Playing The B.A. Jor-El Also Ayelet Zurer(Angels & Demons) Played A Great Lara also Christopher Meloni(Law & Order) & General Swanick(DollHouse) Played Great Friends Of Superman also Richard Schiff(Jurassic Park:The Lost World) was Brilliant as Dr.Emil Hamilton and Laurence Fishburne(The Matrix) was Awesome as Perry White also Diane Lane(Unfaithful) and Kevin Costner(Dances With Wolves) did Brilliant as Jonathan and Martha Kent also the stunning Amy Adams(The Fighter) Played The Best Lois Lane Ever and Totally enjoyed her Relationship with Superman,Are you Listening New 52!
Amazing Direction by Zack Snyder(300), Great Costume Design By Michael Wilkinson(Watchmen) & James Acheson(Spider-Man 2) and Hans Zimmer(The Dark Knight) who Composed The Best Superhero Theme of all Time for The Best Superhero Movie of All time Chris,Jerry & Joe would be Proud how far Superman has Come Loyal Fan since 01 Up Up and Away!
Man Of Steel (2013) Rating- 85/100The origin story of the greatest superhero of all time ,Superman.Starring- Henry Cavill,Michael Shannon,Amy Adams,Russell Crowe Director- Zack SnyderHenry Cavill as Clark Kent/Kal-El/Superman is great.He puts in a lot of effort behind the role and he is successful most of the time.You could sense the pain and loneliness behind his character ,which is essential to the tale.Amy Adams as Lois is good.She proves to be a much better representation of Lois than her earlier predecessors.Micheal Shannon as Zod is great.As a villain he is excellent and truly the best villain to face off against Superman.
On a surprising note ,Russel Crowe as Jor-El, has a good amount of scenes and hes amazing in them!Diane Lane and Kevin Costner do good as the foster parents.There's a tight bond between Superman and both his parents (his dad and both foster parents) and the actors do an excellent job bringing it out.The stumbling block for MOS is its story.Don't get me wrong ,its good ,but there's some heavy structural problems and thats mostly the directors fault.Other than that ,the story is engaging.The excellent depiction of Krypton and explaining Superman's powers on Earth were all done neatly.Goyer has brought in the realistic natures that were seen in The Dark Knight Trilogy and lends MOS the same ,a hard task considering the highly out of the world powers of Superman.
The relations between Superman and his parents were excellently highlighted.But his romance with Lois was not good enough.Some scenes do go a bit over the top (ex:The tornado flashback) ,and its hard to understand the choices the characters make.Zod's character was well developed and this helps in making him a great villain.The visual effects were amazing.The Krypton sequences and especially the climax was wonderful!Music from Hans Zimmer was as usual amazing.It really gives the movie an intense atmosphere.Direction by Zack Snyder was good.He keeps the movie packed with emotion and drama and amazing action scenes.The pace of the movie is a bit uneven at the start as it shifts back and forth from action to drama in the course of minutes ,but the latter half is fast paced and action packed.One of the issues i had with MOS was, Zack trying to 'Nolanise' the movie.The first half is riddled with jumping from the past and the present almost continuously.Juggling with timelines is best left to Nolan.Some scenes end all of a sudden and others just jump ahead without proper clarity.Editing is weak especially in the middle ,and this could irritate some viewers.But Zack does master one aspect of the movie and thats the ACTION.I really have to talk about the action of this movie.
The entire third half of the movie is one gigantic EPIC battle.I have to say that its the best superhero fight sequences I've EVER seen.Mixed with the soundtrack and the visuals ,the action is just jaw dropping.The scale of destruction was immense.It was really great to see Superman actually fighting someone that matched his powers.The finale left me speechless There are plenty of powerful scenes showcasing Superman's powers and all of them are spot on.Zack has made no mistake handling the action sequences ,and thats what keeps this movie afloat.Overall ,Man Of Steel will go down as an excellent reboot of Superman made memorable with those jaw dropping action sequences.Its not perfect but its a blast!Its a must watch if you love action!Acting- 4/5 Story- 3.5/5 Direction- 3.5/5 Action- 5/5 Drama- 4.5/5 Thriller- 5/5 Visual Effects- 5/5https://www.facebook.com/photo.php?fbid=673752085985052.
I had the privilege to see Man of Steel a little early and let me say it does not disappoint plus we quite possibly get the best movie of the summer and the best Superman since the 1978 Christopher Reeve classic.The plot is as follows: A young boy discovers he has powers and not of this earth, so as a young man he must discover where he came from and why he was sent here while along the way saving the world from annihilation and becoming the symbol of hope for all mankind.The Man of Steel completely reshapes the way we see Superman from the ground up in a way that feels new and fresh.
Goyer.The film stars Henry Cavill as Clark Kent/Superman who makes the role his own along with everyone else in the cast that includes Amy Adams, Michael Shannon, Diane Lane, Kevin Costner, Laurence Fishburne, and Russell Crowe.
If you subtract or otherwise disregard the previous superman movies, then all you're left with is some weird tale about a willfully reclusive guy who's chosen to save the world and has a devotion to a woman (Lois) whom he only shares screen time with for a few minutes.There's no character development in this film.
The Zack Snyder-directed film revisits Superman's origin While certainly a superhero movie, Man of Steel is first and foremost a science fiction drama about an alien trying to find his place in our world and dealing with humanity's reaction to his existence.
Otherwise, Clark is, as Lois describes him at different points, like a ghost or a cypher.The visual effects, many of which were created by WETA Workshop, are generally great, especially the screen's most fully realized depiction of Krypton yet...Action-packed, briskly-paced and featuring a stellar cast, Man of Steel is the best Superman film since the 1978 original and proves DC can match Marvel in the massive scale department.
And amidst the bombast you would expect of a summer blockbuster, there are many such heart-tugging moments to be found here, which lend a depth to the character that no other Superman film has been able to.In building the emotional core of the movie, Synder makes some unlikely yet inspired casting choices.
MAN OF STEEL is the latest in a long lineage of Superman films that spans more than thirty years so there was a lot of hope and some high expectations for many people going in.
We see superman on a fishing boat early in the movie for about 2 seconds before he goes off to be a hero, and that was supposed to be like a big emotional arc ohhh he worked a regular man's job.I found myself about halfway through completely disengaged from this film and had I not been with friends I probably would have left.
Now don't get me wrong I like entertainment I enjoy Iron Man and Thor but this movie was just lacking any kind of personal connection.There are also long sequences of Superman fighting these other alien villains in the film who are also generally unbeatable so there's no suspense and its pg-13 fighting so you don't want to actually show anything.I wasn't expecting much going in to this film and I got even less than I expected, all the reviews that are on here are from pumped up fanboys who have been waiting for this movie for months.
Amy Adams is strong and superb as Lois Lane and really stands up to the male characters in this film, and the villain General Zod is played magnificently he is evil and menacing but his best quality is the fact that he has a true reason to be evil to save his people.
People complain this is just an action film but they are wrong as the flashbacks of Superman's origin as Clark Kent makes us feel sympathy for this God and show us just how much this character has had to go through.
No double identities, no coy disguises for this couple (if one could ever call a pair of black-rimmed glasses and a fedora a disguise)."Man of Steel," in many ways, plays less like a superhero movie and more like an alien-invasion thriller, as Clark is reluctantly forced to reveal his identity and special powers to the world when one of the survivors from Krypton, the evil General Zod (Michael Shannon), comes to Earth, all guns a-blazing, intent on making it his own.At first, Henry Cavill seems a bit stiff as the man of steel (pardon the pun), but, as that moniker suggests, that might not actually be a bad thing, for it underlines the earnestness and innate goodness of the character in a way that a more emotive performance likely would not.I must also add that among recent blockbusters, "Man of Steel" easily has the most spectacular special effects and the most exciting action scenes, bar none.
Very entertaining and heartfelt Superman film - great acting by Diane Lane and Kevin Costner (should have had more scenes).I really enjoyed 'MAN OF STEEL' much more than I thought I would.
The movie's stellar ensemble cast includes the likes of Amy Adams (as Lois Lane), Russell Crowe (as Jor-El), Kevin Costner (as Jonathan Kent), Laurence Fishburne (as Perry White), Diane Lane (as Martha Kent), and Michael Shannon (as General Zod).Man of Steel takes a departure from the trademark style of the "Superman" films starring Christopher Reeve. |
tt1403177 | Hesher | Following the loss of his mother in a car crash, T.J. (Devin Brochu) falls into a state of depression. He becomes obsessed with the car his mother died in and follows it when it is towed away. He and his passive, depressed and pill-taking father Paul (Rainn Wilson) live with T.J.'s grandmother Madeleine (Piper Laurie), where they are soon joined by a squatter, Hesher (Joseph Gordon-Levitt), a foul-mouthed, tattooed, heavy metal-loving lout.
After school, Dustin, a bully from the towing service, finds his car vandalized and blames T.J., who is saved and taken home by Nicole (Natalie Portman), a grocery store clerk. Hesher witnesses Dustin attacking T.J., but does nothing. Later, Hesher sets Dustin's car on fire, leading to police questioning T.J., but lack of evidence forces them to let him go. T.J. proceeds to spy on Nicole at the grocery store when Hesher appears and follows her home with T.J. She causes a fender-bender and is verbally assaulted by the other driver, when Hesher comes to her rescue by threatening him. He then takes Nicole and T.J. to a random house that is for sale. There, Hesher trashes the swimming pool and lights the diving board on fire before he shocks Nicole and T.J. by leaving them there alone. When the pair get back to Nicole's broken down car, it has a ticket in the window, at which point Nicole breaks down and cries about how bad her life is.
Later that night, T.J. and Paul get into an argument over dinner. Madeleine is saddened that there is 'nothing she can do', and goes to her room. Hesher says he'll walk with her in the morning, but the next morning, he finds her dead. T.J. steals his dad's credit card and takes money to buy the car back, but is told it's been removed. He decides to give the money to Nicole, but when he gets there she is having sex with Hesher, so he damages his van while telling both of them he doesn't want to see them again and leaves.
He threatens Dustin at his house and finds out the car was taken to be crushed. Dustin begins attacking T.J. until Hesher, who has been following him, appears and drags Dustin off him. T.J. tells him he still doesn't want to see him again and then goes to the junkyard. He climbs in the wrecked car and sleeps, dreaming of his mother's death. He wakes up when the car is going to be crushed and falls out. He returns home after seeing it destroyed. While getting ready for his grandmother's funeral, Nicole comes and asks for forgiveness and leaves him. At the funeral, T.J. is asked to say words for her, but has nothing to say.
Hesher walks in drunk and demands that the mourners listen to him. He tells a story about how when he was younger he blew up a car and shrapnel destroyed one of his testicles, and he was upset about it until he realized he still had one and a penis that works, and that Paul and T.J. both lost a loved one but still have each other, and that he promised to walk with Madeleine, so he takes the casket. He is followed by T.J. and Paul, who join him in walking her to the cemetery.
The next day, Paul shaves for the first time in weeks and shows T.J. the compacted remains of his mother's car, which Hesher has procured from the junkyard and dumped in the driveway. On their roof, he has painted in huge white letters "Hesher was here." | comedy, murder, violence, flashback, humor, revenge, storytelling | train | wikipedia | At first, the character "Hesher" is sort of not likable but the way that Joseph Gordon-Levitt plays him, with a ' Cary Grant-ish' twinkle in his eye and his tongue placed firmly in his cheek, you can't help but cheer for this twisted rocker.
A great job of directing by Spencer Susser is evident by the way he has molded this young actor, with very little experience, into a character who's pain you can feel.
Lastly, kudos are in order for Piper Laurie, the attractive young leading lady of yore (she played Paul Newman's girlfriend in the "Hustler") and more recently was the witch of a mother in "Carrie", who makes the grandmother who is slowly loosing her marbles, a great friend and confidant of Hesher.
And a strange, reluctant "savior" that brings the family to the precipice of death; and life.I think the greatest theme in this film comes when Hesher says he lost a (body part), but he has another one.
Life is completely messed up, but we have each other.Joseph Gordon-Levitt, Natalie Portman, Rainn Wilson, Devin Brochu: beautifully acted.
Metal, Loss, Arson, and Moving On. Simply put, Hesher is an exploration of loss: a universal experience shared by the film's characters: a nihilistic head-banging arsonist named Hesher (Joseph Gordon-Levitt), a supermarket clerk with thick-rimmed eyeglasses and financial troubles named Nicole (Natalie Portman) who doesn't like being called "lady", a depressed widower named Paul (Rainn Wilson) who takes pills and sleeps all day, and a boy named T.J (Devin Brochu) who recently lost his mother, has a crush on an older woman, and is constantly bullied at school.There are equal moments of humor and sorrow that bring a unique balance to the film.
The irony here being that that the fact she would feel guilty about something like that makes her a good person and someone who really wants to help.There is great acting from all involved, particularly Levitt, Wilson, and Brochu.
The world is very dangerous for a child and you root for T.J. and hope he overcomes all the troubles he faces.All in all, Hesher is a great film that is at the same time both hilarious and moving.P.S. Best soundtrack ever.
Not so much in anger, but in freedom, and having fun at the expense of a few 'versatile solutions for modern living'.Hesher is an amazing character, and Joseph Gordon-Levitt is brilliant.
There is no comparative circumstance in the film for me, nor is there an obvious message that everyone can relate to, it is simply a story with colourful characters, with simple lives, told in such a unique and crazy way, that for some reason you commit to it and totally embrace it, only to feel on top of the world for having done so..
Joseph Gordon-Levitt's titular character is a psychopath, a heavy metal loving maniac who uses foul language at the most inappropriate times, flies off the handle with violence and pyromania and generally frightens anyone who sees him.
The concept is still a little too bizarre and the final act gets way too melodramatic and schmaltzy, but the film hit me a lot more honestly and emotionally than I was expecting it too.I've always admired Levitt as one of the finest actors of his generation, but even I didn't think he could pull off a role like this.
The film takes a lot of time to get to this realization, but the time spent getting there is great fun to watch.Joseph Gordon-Levitt impresses me more every time I see him.
There is nothing wrong with that, her character just wasn't an important role to the story it seemed.One of the best aspects of this film was the relationship between Hesher and the grandmother, Madeleine, played by Piper Laurie.
Devin Brochu and Rainn Wilson, who play T.J and Paul Forney looks so compatible with Laurie and Levitt that it makes the acting look as natural as possible.This movie is incredibly GOOD and anybody who enjoys films of any kind should undoubtedly see this movie ASAP!.
Joseph Gordon-Levitt in doing some fine acting here but the film gave me the feeling of here is a movie about poor depressed people made by abundant Hollywood people that know nothing about the characters they make the film about.
It's reckless and antisocial and esoteric and yet somehow it distills into a completely honest and unpretentious social satire that feels more documentary than parody.It would be hard to watch if it weren't so real.Huge props to Joseph Gordon-Levitt, Rainn Wilson, Piper Laurie and Natalie Portman, but most of all to Devin Brochu, the 11-year-old moral center of this wasteland that we undeniably recognize as truthful while politely pretending it's a surreal dark comedy.I love this movie.
Piper Laurie is a wonderful actor and young Devin Brochu is a handsome boy and a good actor but nothing helps the film move along not even Natalie Portman.
Some people will clearly A) Be entirely too dense to grasp this concept, B) Judge it entirely on it's vulgarity, thus ignoring it's message, or C) Understand it and appreciate it for what it is.Whereas some movies rely on overly positive, loving, compassionate, understanding, and patient characters to get it's point across, "Hesher" doesn't just deviate from that...it takes a huge steamy dump on it.
If you like to see a guy who looks like a slob, acts like a monkey, doesn't care about anyone or anything, uses foul language, does drugs, and who just does what he wants to do at any given time and not a lot of that is pleasant, and just drifts in and out meet Hesher (Gordon-Levitt); and you have found your movie.
First up I'd like to say that I was looking forward to seeing Joseph Gordon-Levitt in a new movie, he is a talented actor.Unfortunately I was let down by the story, dialogue and direction.
I'm a fan of both Joseph Gordon-Levitt and Natalie Portman and having read some of the reviews on IMDb was expecting this to be a decent film, but, unfortunately, I couldn't have been more wrong.It's difficult to sit through the entire film because the story is so disjointed and disappointing.
I waited far too long to review this one and I don't know why.This may be a "story-driven" film but do not let that put you off.Repeat; DO NOT let that put you off!This is understated, hilarious, dramatic, violent, slow, edgy and everything else a character driven film is supposed to be.Even the ending starts off cheesy and predictable and then says "just kidding, we're better than that" and proceeds to make me laugh so hard I have to pause the film to finish laughing.Hesher is just cool.
I can't quite remember because I watched it a fair while ago but I think he was blackmailing the kid in some way and this was why the kid pretended he was friends with Hesher hence why his dad (who was beyond the point of caring about anything anyway) let Hesher stay.That's not a spoiler as the real story kicks in from there, just some reviewers here didn't seem to get why the dad wasn't kicking this guy out in the beginning and have complained that it wasn't realistic; there was a reason for it!An absolute must-see.
not having big expectations didn't work, I was pretty disappointed.The movie is not even about Hesher, its about a little kid lives with his chronic depressive father and his grandmother.
Somehow and in a senseless way a metal-head bump just pops up in the story, next thing you know hes living in the kid's house smoking weed and drinking beer in the coach, it made absolutely no sense the way Hesher ends up in there, as I said he just POPS UP and joins the family.I don't understand how Natalie Portman accepted to participate in this awful movie, if you ask me, don't waste your money, its not even worth your time.For me this is a 3/10 movie, I didn't give it a 1 because although the movie was incoherent, Gordon-Levitt delivered good acting as Hesher, as well as Portman as Nicole.
There are many things in the movie which comes off extremely outrageous and the foremost thing will be a young guy "Hesher" forcing himself into someone's house saying he is kid's friend and kid's dad and granny just accept his weird antics with open heart without even questioning that why the hell he is half naked in front of his young kid.
OK , first of all i must admit i am not the type that likes deep drama arty farty movies so i expected not much from this but you never know when you get to watch another Dancer in the Dark or Trainspotting and the music looked tempting so i gave it a shot.If you want to know what the movie is about read the other reviews , they cover it way better than i ever could but i simply had to write something here to let the world know this is worth the effort.Funny , gritty , painful with a storyline that reminded me of Charles Bukowski.
Paul (a bearded and despondent Rainn Wilson wallowing in his depression and filth) and son TJ (impressive newcomer Devin Brochu) are struggling to deal with the loss of wife and mother when in moves Hesher (Gordon-Levitt complete with long greasy hair and moronic tattoos) resulting in hilarious consequences.
Character developments were very good.You just feel sad for father, son and grandmother, in the meantime feel good with Hesher.Generally, cliché script and directing and some good musics make this movie watchable..
Some will love it, others will hate it, some will turn it off after 10 minutes, others will watch it a second time because they relate to it so well.J.G Levitt in my opinion gives his best performance as the loner Hesher.This is the story of one family devastated by loss and another individuals refusal to allow the world to get the better of him.
Certain types will find a good degree of truth to writer/director Spencer Susser's tonal chaos, while others will raise eyebrows, but a part of "Hesher" will resonate with everyone.Devin Brochu stars as T.J., who from the opening scene makes it clear he's trying to get himself killed at some point during the film.
He's a bit reckless, and as it turns out he and his father (Rainn Wilson) are grieving for his mother, who died just a couple months before.T.J's troubles lead him to an unfortunate encounter with a probably homeless chain-smoking metal rocker later to be introduced as Hesher (Joseph Gordon-Levitt, who needless to say plays delightfully against type here.) Turns out that Hesher is about 10 times as reckless as T.J. and in a more brutal and calculating way.
This, of course, is not the world view of an kid in his early teens, and it leads to several emotional whirlwinds for T.J. as he starts to come of age.The script treats T.J. like an adult despite not being one: he curses regularly (which gets worse with Hesher around), he makes friends with people twice his age such as the grocery clerk at the local store (Natalie Portman) and in general he deals with things kids his age would rather not deal with.
Although the best and biggest roles are performed by Joseph Gordon-Levitt and Devin Brochu, Hesher and TJ, respectively.
(except the young boy, what does he know) Joseph Gordon-Levitt did gave a solid performance and Devin Brochu was quite good, I'll give them that.Hoping to see more of Devin in the future and hopefully he doesn't sink so low to play in raunchy movies that give the wrong impression about"real life".
And although the film is not a straight forward comedy I would rank it as one of the funniest of the year.The 2nd half of the film slows a bit when it actually has to face up and deal with the family issues it has laid out, but strong writing by Susser and acting by the young phenom Devin Brochu and superbly sad Rainn Wilson (playing the exact opposite of his cocky & confident Dwight Schrute character from The Office) keep it on track.
As I said on the beginning, the presence from Joseph Gordon-Levitt, Natalie Portman and (on a lesser degree) Rainn Wilson might look like a commercial "hook"; however, they take their characters very seriously, and bring them such a force and conviction that I immediately forgot I was watching celebrities in order to fully focus myself in the characters.
I honestly did not know that Laurie kept acting (the last time I had seen her was 7 years ago, in an episode of the TV series Dead Like Me), but it was a pleasure to see her again fully displaying her big talent.In conclusion, Hesher deserves a very enthusiastic recommendation because of its excellent screenplay, solid direction and perfect performances.
I really think HESHER is a great film and it's helped me forgive Joseph Gordon-Levitt for his part in G.I. JOE.
Hesher Kicks Ass. Hesher played by Gordon Levitt Smith carries this movie about crudeness, recklessness, sadness, humor, adrenaline, rock, darkness, and great story telling.Raw and unchained you may laugh, you may cry, but you will surely enjoy it's sure out of the box brilliance.Hesher really has a bit of everything, but let's just say it's highly entertaining.It's also more complex than it seems.
I think each character was as important as the next -except for Natalie Portman who was great, but like many movies, I feel was there because there is some rule where a love interest needs to be thrown in to everything.
Fortunately, the film Hesher doesn't stop at just that, but expands the character of the same name to the point where we don't consider him a loser but a strangely placed hero caught up in a bad lifestyle.The character himself is played by Joseph Gordon-Levitt, who steps about as far away from his 2009 (500) Days of Summer, gives an electrifying performance.
I hope one day, someone sees a film like Hesher by accident and then see what a good film looks like.Starring: Joseph Gordon-Levitt, Devin Brochu, Rainn Wilson, and Natalie Portman.
This film is about a young boy who has a strange relationship with a punk rebel, and also a crush on a shopkeeper.Despite having Natalie Portman and Joseph Gordon Levitt on board, "Hesher" is a terrible mess.
We rented this movie because we have loved Joseph Gordon-Levitt, Rainn Wilson and Natalie Portman in several other films.
I know this sounds a bit weird but that's what really happens in the film; T.J. coincidentally meets the title character Hesher (Joseph Gordon- Levitt), who all of the sudden moves into his place.
There is a reunion of a great cast, the story is interesting and moving but the dynamic factor of Hesher is a bit a failure: his vulgarity, his wild attitude can be funny at start but after a while, the character is too much and he destroys the touch of reality of the movie.To extend my introduction, the family has fabulous people: it was good to meet again the great actor i spot by watching "Dark Angel" (see my review of his appearance in episode 1.17).
Wow. The movie Hesher is authentic and gritty story-telling and is the best kind of film-making.
There is not a hint of Dwight Schrute in Rainn Wilson's acting, though he is mostly depressed or angry until the end.Devin Brochu is great as TJ, a 10-year-old kid left stunned by the death of his mother and frustrated and angry by his seeming inability to combat a bully at school.Natalie Portman does a wonderful job portraying the hapless cashier who wonders if her boss hates her for her lack of salesmanship at the Super Dollar.
While she does show TJ a positive side of life, she also demonstrates that everyone has their own weaknesses, and that it is up to the individual to decide how best to cope.Joseph Gordon-Levitt is nothing less than mind-shattering in his pivotal role as Hesher, the mysterious seemingly homeless young long-haired rebel that doesn't know what he is looking for until he reaches a revelation smoking medical marijuana with the ten-year-old protagonists' grandmother, played beautifully by Piper Laurie, the night before she passes away.
Kid actors are always hit-or-miss, and I felt Devin Brochu did a great job in his role.No one questions Hesher's presence in the house because they are dealing with other issues, the father his crippling grief over the loss of his wife, and the grandmother is dealing with not only that, but her own terminal illness.As for the "lost nut" scene, I came away from that with the feeling that Hesher was saying to TJ and his father, "You've lost a mother, but you still have a father, and you've lost a wife, but you still have a son." I found the "casket walking" scene to be cathartic for the characters, and touching to watch.
Now the film never tells us one thing about Hesher, but I thought in doing that it created more of a character that stands out on the screen.Devin Brochu is truly a remarkable kid actor.
And honestly I love all the performances, very believable to their respective characters, especially that of Piper Laurie as Grandma and Devin Brochu as TJ, and yeah, Joseph Gordon-Levitt and Natalie Portman, good as always.
Hesher is a very interesting story which is about a young rebel named Hesher (Joseph Gordon-Levitt) who forces his way into a kid's life (TJ played by Devin Brochu) after he spots him in grief by throwing a rock in an old abandoned home.
After watching Hesher, you are left in a very depressing feel as the films just ends.
"Even if you lose one ball, you still have another," Hesher teaches us, an "always look on the bright side of life" message which is in keeping with the film's hokey, disguised sentimentality.Both Portman and Gordon-Levitt are watchable, but their characters don't convince as real people. |
tt0050083 | 12 Angry Men | In a New York City courthouse, an eighteen-year-old boy from a slum is on trial for allegedly stabbing his father to death. Final closing arguments having been presented, a visibly bored judge instructs the jury to decide whether the boy is guilty of murder. If there is any reasonable doubt of his guilt they are to return a verdict of not guilty. The judge further informs them that a guilty verdict will be accompanied by a mandatory death sentence.The jury retires to a private room, where the jurors spend a short while getting acquainted before they begin deliberating. It is immediately apparent that the jurors have already decided that the boy is guilty, and that they plan to return their verdict without taking time for discussion with the sole exception of Juror 8 (Henry Fonda), who is the only "not guilty" vote in a preliminary tally. He explains that there is too much at stake for him to go along with the verdict without at least talking about it first. His vote annoys the other jurors, especially Juror 7 (Jack Warden), who has tickets to a baseball game that evening; and Juror 10 (Ed Begley Sr.), who believes that people from slum backgrounds are liars, wild, and dangerous.The rest of the film's focus is the jury's difficulty in reaching a unanimous verdict. While several of the jurors harbor personal prejudices, Juror 8 maintains that the evidence presented in the case is circumstantial, and that the boy deserves a fair deliberation. He calls into question the accuracy and reliability of the only two witnesses to the murder, the "rarity" of the murder weapon (a common switchblade, of which he has an identical copy), and the overall questionable circumstances. He further argues that he cannot in good conscience vote "guilty" when he feels there is reasonable doubt of the boy's guilt.Having argued several points and gotten no favorable response from the others, Juror 8 reluctantly agrees that he has only succeeded in hanging the jury. Instead, he requests another vote, this time by secret ballot. He proposes that he will abstain from voting, and if the other 11 jurors are still unanimous in a guilty vote, then he will acquiesce to their decision. The secret ballot is held, and a new "not guilty" vote appears. This earns intense criticism from Juror 3 (Lee J. Cobb), who blatantly accuses Juror 5 (Jack Klugman) who had grown up in a slum of switching out of sympathy toward slum children. However, Juror 9 (Joseph Sweeney) reveals that he himself changed his vote, feeling that Juror 8's points deserve further discussion.Juror 8 presents a convincing argument that one of the witnesses, an elderly man who claimed to have heard the boy yell "I'm going to kill you" shortly before the murder took place, could not have heard the voices as clearly as he had testified due to an elevated train passing by at the time; as well as stating that "I'm going to kill you," is often said by people who do not literally mean it. Juror 5 changes his vote to "not guilty". Soon afterward, Juror 11 (George Voskovec) questions whether it is reasonable to suppose the defendant would have fled the scene, having cleaned the knife of fingerprints but leaving it behind, and then come back three hours later to retrieve it (having been left in his father's chest). Juror 11 then changes his vote.Juror 8 then mentions the man's second claim: upon hearing the father's body hit the floor, he had run to the door of his apartment and seen the defendant running out of the building from his front door in 15 seconds. Jurors 5, 6 and 8 question whether this is true, as the witness in question had had a stroke, limiting his ability to walk. Upon the end of an experiment, the jury finds that the witness would not have made it to the door in enough time to actually see the killer running out. Juror 8 concludes that, judging from what he claims to have heard earlier, the witness must have merely assumed it was the defendant running. Juror 3, growing more irritated throughout the process, explodes in a rant: "He's got to burn! He's slipping through our fingers!" Juror 8 takes him to task, calling him a "self-appointed public avenger" and a sadist, saying he wants the defendant to die because of personal desire rather than the facts. Juror 3 shouts "I'll kill him!" and starts lunging at Juror 8, but is restrained by Jurors 5 and 7. Juror 8 calmly retorts, "You don't really mean you'll kill me, do you?", proving his previous point.Jurors 2 (John Fiedler) and 6 (Edward Binns) also decide to vote "not guilty", tying the vote at 66. Soon after, a rainstorm hits the city, threatening to cancel the baseball game for which Juror 7 has tickets.Juror 4 (E.G. Marshall) continues to state that he does not believe the boy's alibi, which was being at the movies with a few friends at the time of the murder, because the boy could not remember what movie he had seen when questioned by police shortly after the murder. Juror 8 explains that being under emotional stress can make you forget certain things, and tests how well Juror 4 can remember the events of previous days. Juror 4 remembers, with some difficulty, the events of the previous five days, and Juror 8 points out that he had not been under emotional stress at that time, thus there was no reason to think the boy should be able to remember the particulars of the movie that he claimed to have seen.Juror 2 calls into question the prosecution's claim that the accused, who was 5'7" tall, was able to inflict the downward stab wound found on his father, who was 6'2". Jurors 3 and 8 conduct an experiment to see if it's possible for a shorter person to stab downward into a taller person. The experiment proves the possibility, but Juror 5 then explains that he had grown up amidst knife fights in his neighborhood, and shows, through demonstrating the correct use of a switchblade, that no one so much shorter than his opponent would have held a switchblade in such a way as to stab downward, as the grip would have been too awkward and the act of changing hands too time-consuming. Rather, someone that much shorter than his opponent would stab underhanded at an upwards angle. This revelation augments the certainty of several of the jurors in their belief that the defendant is not guilty.Increasingly impatient, Juror 7 changes his vote just so that the deliberation may end, which earns him the ire of Jurors 3 and 11, both on opposite sides of the discussion. Juror 11, an immigrant who has repeatedly displayed strong patriotic pride, presses Juror 7 hard about using his vote frivolously, and eventually Juror 7 admits that he now truly believes the defendant is not guilty.The next jurors to change their votes are Jurors 12 (Robert Webber) and the Jury Foreman (Martin Balsam), making the vote 93 and leaving only three dissenters: Jurors 3, 4 and 10. Outraged at how the proceedings have gone, Juror 10 goes into a rage on why people from the slums cannot be trusted, of how they are little better than animals who gleefully kill each other off for fun. His speech offends Juror 5, who turns his back to him, and one by one the rest of the jurors start turning away from him. Confused and disturbed by this reaction to his diatribe, Juror 10 continues in a steadily fading voice and manner, slowing to a stop with "Listen to me. Listen..." Juror 4, the only man still facing him, tersely responds, "I have. Now sit down and don't open your mouth again." As Juror 10 moves to sit in a corner by himself, Juror 8 speaks quietly about the evils of prejudice, and the other jurors slowly resume their seats.When those remaining in favor of a guilty vote are pressed as to why they still maintain that there is no reasonable doubt, Juror 4 states his belief that despite all the other evidence that has been called into question, the fact remains that the woman who saw the murder from her bedroom window across the street (through the passing train) still stands as solid evidence. After he points this out, Juror 12 changes his vote back to "guilty", making the vote 84.Then Juror 9, after seeing Juror 4 rub his nose (which is being irritated by his eye glasses), realizes that, like Juror 4, the woman who allegedly saw the murder had impressions in the sides of her nose which she rubbed, indicating that she wore glasses, but did not wear them to court out of vanity. Juror 8 cannily asks Juror 4 if he wears his eyeglasses to sleep, and Juror 4 admits that he does not wear them nobody does. Juror 8 explains that there was thus no logical reason to expect that the witness happened to be wearing her glasses while trying to sleep, and he points out that on her own evidence the attack happened so swiftly that she would not have had time to put them on. After he points this out, Jurors 12, 10 and 4 all change their vote to "not guilty".At this point, the only remaining juror with a guilty vote is Juror 3. Juror 3 gives a long and increasingly tortured string of arguments, ending with, "Rotten kids, you work your life out!" This builds on a more emotionally ambivalent earlier revelation that his relationship with his own son is deeply strained, and his anger over this fact is the main reason that he wants the defendant to be guilty. Juror 3 finally loses his temper and tears up a photo of himself and his son, then suddenly breaks down crying and changes his vote to "not guilty", making the vote unanimous.As the jurors leave the room, Juror 8 helps the distraught Juror 3 with his coat in a show of compassion. The film ends when the friendly Jurors 8 (Davis) and 9 (McCardle) exchange names, and all of the jurors descend the courthouse steps to return to their individual lives... never to see each other again.(Note: there is no indication nor is the question ever answered if the teenage boy really is guilty or not; instead the film makes it clear that this is outside of the question if the jurors cannot be certain that he is guilty, if there is any reasonable doubt, they must acquit him.) | thought-provoking, dramatic, murder, claustrophobic, realism | train | imdb | This is brought to life even more by the amazing performances, Fonda, Lee J Cobb and Joseph Sweeney are of particular note.I started watching this film on a bored relaxed laying about day but by the end i was on the edge of the seat with my hands on my knees feeling more tense than a politician on results day.How a film should be made.
It is proof that, for a film to be great, it does not need extensive scenery, elaborate costumes or expensive special effects - just superlative acting.The twelve angry men are the twelve jurors of a murder case.
Cobb), the authoritative broker (E.G. Marshall), the self-conscious slum dweller (Jack Klugman), the solid, dependable painter (Edward Binns), the selfish salesman (Jack Warden), the calm, collected architect (Fonda), the thoughtful, observant older man (Joseph Sweeney), the racially bigoted garage owner (Ed Begley), the East European watchmaker (George Voskovec) and the beefcake advertising agent (Robert Webber) who has plenty of chat and little else.Almost the entire film takes place in just one room, the jury room, where the men have retired to consider their verdict.
What follows is a brilliant piece of film making, slowly revealing many of the juror's complex characters to the audience as they react to Fonda's concerns with their own mix of metal scars, prejudices and insecurities.
I cannot think of the last time I was so intrigued by the flawless plot, dialogue and acting since 12 Angry Men. For such a simplistic story set in one jury room, it is surprising that Sidney Lumet can drain you of all your emotions and leave you on the edge of your seat with suspense, mystery, and some of the best acting your bound to ever see grace the silver screen!When a boy is on last day of trial for killing his father in the heat of domestic arguments, 12 jury men are forced to present a verdict in which if guilty, is the one way ticket to the electric chair for the boy.
And the music was minimal, which gave the film a more atmospheric experience, like you were their in the jury room with them - and you just feel that tension really built up as the movie proceeds.This inexpensive film, with such a simple setting had the world talking, the academy awards nominations rolling and Henry Fonda at his complete best form.
Gosh, I don't know how many times I studied this play and performed it in high school, not to mention how many television shows had an episode that was inspired by 12 Angry Men. It was always a great drama because of the raw human emotions that were so true and remain timeless, this play will never be dated.
I've done this a million times, but here is another summary of what 12 Angry Men is all about.12 jurors are about to make a decision about a murder case, over all it seems like an open and shut case with tons of evidence that would make any good man look guilty, an 18 year old boy is about to be put to death if convicted.
Jurour #8 refuses to just jump to conclusions and brings up incredible possibilities that can always make a man think of "reasonable doubts", one by one the jurors begin to see the points he is making, except for one stubborn #3 who would rather just pull the switch to the chair himself.12 Angry Men is a timeless tale that could either be told very badly, i.e. 7th Heaven, or incredibly well and bring out terrific performances like Henry and Lee did.
The story is as simple as it can be: 12 men are jurors on a open and shut murder trial, but one man thinks that another persons life deserves at least some thought on the matter and votes not guilty.
When the jurors go back to deliberate on the case, ALL but one lone man played with a quiet courage by Henry Fonda states not guilty and the rest of the film is about trying to get them to his side.
Not a dull stretch to be seen anywhere.And yes, these are twelve white men judging a Puerto Rican boy, and yes Henry Fonda violated many classic rules of jury behavior when he introduced items into the discussion that were not official evidence, but this was 60 years ago and it IS a movie.
So just suspend your beliefs and try to enjoy the art of the thing -the riveting dialogue, the character studies that don't choke each other out, and the brilliant camera-work that manages to make the room seem increasingly smaller so that you can appreciate the claustrophobia that must be setting in with the jurors as deliberations wear on and get more heated..
"Buffy the Vampire Slayer: The Musical." Mmm-hmm...I'm sure.I recommend this to anyone who thinks classic cinema is boring.Here's a classic, and here's one of many films that is put to disgrace by these newer-age lists of "best movies." I believe many of the people voting otherwise should take into account the fact that they might enjoy "X2" very much (as I did!) but that doesn't necessarily mean it is the 120th best film of all time!.
The deliberation room becomes a kind of boiler room where Henry Fonda's juror #11, the only un-sure one, sets the stage for a something more to be revealed- human nature when on a judgment day, with all its intelligence, ignorance, hate, and seeking objectivism.Sidney Lumet, on his very first feature-film, does a really professional (in a good way) job of directing the picture, by which a) letting the actors, who among the great lot include Lee J Cobb, John Fiedler, E.G. Marhall, Martin Balsam, Jack Klugman, Ed Begley, and in maybe the most under-rated role of the 'old man', Joseph Sweeney, just do their work and try to just make sure no one over-steps their ability in their strengths; b) using the atmosphere to high effect.
But, at the same time, Lumet's making a studio picture, with the all-around good-guy Henry Fonda (in one of his best roles), and dealing with a story that's, when it comes down to it, just the details of a crime examined over.
Sidney Lumet's directing is top-notch, and Henry Fonda is the still turning point of this small, microcosmic little world - his role has to be one of the most finely acted ever committed to film.Set in an actual New York jury room, it's a claustrophobic, tightly confined set, where 12 very different men deliberate over the guilt of a young boy.
But with a superb script and acting Sidney Lumet created one of the greatest films ever made if not the greatest.The dialogue is realistic and so sharp with a brilliant acting from Henry Fonda and Lee J.Cobb, I feel this film is still underrated even in IMDb rankings.And that line "well, so long" stayed with me ever since I saw the film as on of the greatest lines ever.This film is a symbol of simple but great film-making that suggests a man should always return to his senses every time and every where.10/10.
Juror #1, the foreman (Martin Balsam, football coach): "Well, I won't be too technical, or make a long speech
it's just that it's a one-set film, so it's new and risky, because you know, dialogs are not enough, we need
uh
the thrills
and it goes slowly in the beginning but progressively, it's like the jury room becomes smaller, and the faces bigger.
Cobb, businessman): "I told you why this movie is great, it's just
thought provoking, everything and I mean everything looked like it would have been this kind of preachy film with a good-hearted hero and simple-minded antagonists who just want to be vindictive.
Hey admit it, the dialogs, the way opposite characters interact, create a lot of anxiety but is also very fun to watch, sometimes, well
I think you can say anything, but without entertainment, a film is worthless, and the movie could've been a bore, just all talk and no walk, but it wasn't, it worked for me ...
And one truth for sure, this is a GREAT MOVIE"Juror #10 (Ed Begley, garage owner): "I hate the patronizing way some left-wing good-hearted people adore this film, this has nothing to do with politics, truth or justice, it's about manipulation of your thoughts by pushing the right emotional button
you missed the point, and that's the beauty of the film, you're all easily fooled.
With brilliant acting from the jurors, an engaging script and fntastic direction from Sidney Lumet, 12 Angry Men knows what it is doing and succeeds masterfully at it..
With the exception of its bookends, and a brief scene in an adjacent washroom, the entire film unfolds exclusively within the one stifling, increasingly-claustrophobic jury room, as a group of twelve jurors {all male, mostly middle-aged and middle-class}, with vastly differing attitudes and prejudices, debate the innocence or guilt of a young Hispanic man charged with the premeditated stabbing murder of his father.Prior to 1957, director Sidney Lumet had already acquired some experience in television, though it wasn't until he released his first feature film, a low-budget offering shot in only 17 days, that he began to attract the attention of critics.
Though the film opens at the conclusion of the hearing, as the apparently-bored judge (Rudy Bond) offers his final instructions to the jury members, the events of the trial are later recreated through dialogue, without ever resorting to cumbersome flashbacks or heavy-handed narration.What ultimately makes '12 Angry Men' such an electrifying viewing experience are the incredible performances of the twelve main actors, each player delivering a distinct, perfectly-pitched characterisation that contributes richly towards their jury's deliberations on the court-case.
Central to the story, of course, is Juror #8 (Henry Fonda), the lone dissenting member, whose unwillingness to send a conceivably-innocent man to the electric chair forces the other jurors to reconsider their stance on what had initially seemed an "open-and-shut case." Fonda, who also co-produced the film, gives a sincere and righteous performance, his actions assuredly heroic, despite the very real possibility that he has helped a guilty criminal escape from justice.
Cobb, E.G. Marshall, Jack Klugman, Ed Binns, Jack Warden, Joseph Sweeney, Ed Begley, George Voskovec and Robert Webber) each contribute with faultless performances, though some play a more significant role in the proceedings than do others.It would be plain naïve to label any one of the twelve jurors a "villain," but the man who clashes most frequently with the Fonda's well-meaning dissenter is Juror #3 (Lee J.
Though some of events of the jury room would technically not be allowed {Juror #8's extra investigations purchasing the knife, pacing the old witness' journey to the door would undoubtedly have resulted in a mistrial}, the discussions in the film work merely to prove a single, all-too-significant moral: according to the Constitution, the Accused can only be convicted if there exists no reasonable doubt of his guilt.
One does not expect an ordinary black and white movie like "Twelve Angry Men" to set the foundation for great drama.
Deceptively complex courtroom drama enthrals for the duration as one man opposes eleven others in a battle of argument, reason, and logic.Starring Henry Fonda as Juror #8, 12 Angry Men is a very claustrophobic drama which conveys the deliberation room of a trial where the defendant is accused of first-degree murder.
The more you scrutinise so-called unshakable evidence, the more you find holes in it, and the more that logical analysis seems to provide the real answers.Obviously, Juror #8 has to persuade those others who seem to have their own agenda, and pre-conceived notions of what truth equals, but nevertheless it is absolutely fascinating seeing how simply he probes the case and reveals the flaws.The whole movie's pace is absolutely perfect, and given its almost exclusive setting of inside the deliberation room it is a testament to the genius of the script and the brilliance of the acting that the duration of the film seems so short.
Even being such an old movie..It never bores you...I loved the way the movie proceeds...It's got a good pace and actors played their roles effectively...This movie is one of those movies which proves that to make a good film you don't need to have large budgets or beautiful locations you just need a good script...This movie only had 12 characters and a courtroom to make to film it...and it s in itself a marvelous a achievement...The film grabs your attention from the start and makes you think how one person is gong to change the mind of 11 other people in such a short time and during this journey of manipulating minds there are sufficient amount of twists and clever inferences to find clues out of small details will just blow your mind...It is a must watch movie because of its intelligent script and great performance by all the cast....
While many change their minds with the influence of rational thought, some characters simply get angrier and more aggressive; two characters give away their racist views and the powerful scene that runs over the final ten minutes, works to reveal so much about the most moving and brilliant character portrayal in the film.The happenings described in court unfold for a second time over the duration of 12 Angry Men. By the end, it as though we possess the same knowledge of what happened in the courtroom over the days of the trial, as the twelve men in the film.
Except for two short scenes at the beginning and end of the film, it's filmed entirely on one set, that of the jury deliberation room.Sweaty, gritty, claustrophobic-all words that sit snugly in the context of Lumet's excellently crafted deconstruction of 12 men trying to arrive at one verdict in the case of a Puerto Rican youth on trial for the murder of his father.
This film is all about dialogues and acting and is set 95% in a small room yet its most entertaining and has a lot of tension.When I said it had a well selected cast I didn't mean an all star cast; Henry Fonda was the only major star; Lee Cobb, Ed Begley, Martin Balsam and E.G. Marshall where very talented supporting actors but not stars; Jack Warden and Jack Klugman weren't even known much in films yet.
But a simple direction by Sidney Lumet leaving the development to the script and actors performances worked well and the film is tense, intriguing and most entertaining from beginning to end."Twelve Angry Men" is a "trail film" but with a very original focusing since by following the jury's debate the whole case is clearly revealed up to the verdict.
This is a superb drama,and every actor in it gave a great performance.I can watch it over and over without being bored by it.As entertainment it is great,and that is the main purpose of a movie.I only have one slight reservation,and that has to do with the plot.Some reviewers have pointed out that Henry Fonda did things that should not be done by jurors.But the thing that I find strangest is the charge,First Degree Murder,with a mandatory death sentence.Jurors are usually able to find an accused guilty on a lesser charge.Even assuming that the kid was guilty,the circumstances do not look like premeditated murder.Taking place in the middle of a violent argument,after being struck by a much larger and more powerful man,it looks far like manslaughter than murder one.But that is a minor quibble.This is still a great movie..
The film makes it graphically clear that the people who enforce law are all too human and that there are calm, decent people like Juror #8 (Fonda) who are willing to weigh the evidence and look for innocence rather than rush toward the verdict of guilt..........This is undoubtedly one of the top 3 movies i have seen and i give it a Ten on Ten.........
Written and co-produced by Rose himself and directed by Sidney Lumet, this trial film tells the story of a jury made up of 12 men as they deliberate the guilt or acquittal of a defendant on the basis of reasonable doubt.
Over the next 95 minutes, 12 Angry Man watches as 11 jurors, first convinced of the suspect's guilt overcome their less than democratic prejudices and are slowly won over to the side of reasonable doubt by one man's doubts about the accused's guilt.Sidney Lumet creates energy and movement through quick editing and varying camera angles, which makes the film pulse with power and emotion despite its one set location.
It's a quiet afternoon here in Nicosia so i decided to sip on my coffee and watch the old time classic 12 Angry Men, I won't go into deep details because i'm still amazed by the performances in the movie.
12 men unknown to each other come together for one day and leave at the end of the say, perhaps never to see each other again, but what they learn about the accused and themselves makes for one of the greatest films ever seen.The dialog, the facial expressions, the backgrounds of these people and how it affects their thinking is fantastic.If you've never seen it and you call yourself a movie buff, you don't know what you're missing.Most of these actors went on to great thing in their professions and it takes a very simple yet effective movie like this to showcase their acting talents..
and almost full movie takes place in a room only with 12 men.the plot revolves around 12 jurors deciding a fate of a young boy accused of murder and i don't want to spoil it for u.
Director Sidney Lumet really understood how to focus on the right discussions at the right time, he builds the characters with the camera, he did an excellent job."12 Angry Men" is an impressive movie. |
tt0112508 | Billy Madison | Billy Madison is the 27-year-old heir to a Fortune 500 hotel company that his father, Brian, has created. He spends his days drinking with friends and creating disturbances across his father's estate. One day, Billy ruins a dinner meeting between his father and his associates by acting obnoxiously. Brian loses confidence in his son and chooses the conniving Eric Gordon as his successor. When Billy begs his father to reconsider his decision, Brian reveals that he secretly bribed Billy's school teachers to give him passing grades. The two finally compromise: Billy must complete all 12 grades in two-week intervals to prove he is competent enough to manage the company.
Shortly after enrolling into school, Billy becomes attracted to a teacher named Veronica Vaughn, who initially ignores him. Nevertheless, Billy successfully progresses through his first two grades. He finds himself as one of Veronica's students in the third grade and earns her respect by standing up for Ernie, his friend and classmate. Billy becomes popular among the third graders and misses them as he advances through school. Billy's progress alarms Eric, who becomes increasingly agitated as Billy completes each grade. Eric blackmails Billy's principal, Max Anderson, into claiming that Billy bribed him for passing grades.
Brian swiftly terminates his agreement with Billy and renames Eric as his successor. Billy grows distraught and reverts to his carefree lifestyle. Veronica motivates him to return to school, while his grade school classmates convince Max to retract his bribery accusations. Brian agrees to give Billy another chance but Eric cites that Billy failed the challenge by taking more than two weeks to complete a grade. He then threatens to sue Brian if he does not pass the company onto him. Billy intervenes and challenges Eric to an academic decathlon to finally settle their feud.
Both men excel in different activities but Billy manages to take a single-point lead before the contest's final event, a Jeopardy!-style academic test. Billy stumbles on the opening question in the event, and Eric is given the chance to win the contest by answering a question about business ethics. Eric is unable to withstand the pressure and breaks down. He brandishes a handgun, but Max tackles Eric before he can harm Billy. Eric recovers from the attack and attempts to shoot Veronica, but he is shot by Danny McGrath, a rifle-wielding madman whom Billy apologized to earlier for bullying him.
At his graduation, Billy is delivering a speech. Billy announces he will pass the hotel business to Carl Alphonse, one of his father's more polite businessmen, and attend college in order to become a teacher. Eric watches on and fumes in frustration over Billy's decision. | cult, comedy, stupid, entertaining, prank | train | wikipedia | He is a bad, bad man."Adam Sandler has that brand of comic genius in which you don't know what you're laughing at, but it's damn funny!
Billy Madison in a landslide is Adam Sandler's best film.
Maybe the humor is a little stupid, but that is because before seeing this movie, you have to make sure your brain is not in Fellini mode and in Sandler mode.Story revolves around Billy Madison, who must go back to school (he is 27) and graduate High School so he can take over his father's hotel ring.
If you want to see a movie that is fun, puts you in a good mood, and never gets old, then see Billy Madison.
All of you Sandler haters will think this is stupid, but everyone who likes Adam Sandler, or doesn't mind humor that is kind of stupid will love Billy Madison.This is one of Adam Sandler's first movies, and it's one of his best also.
Other movies that put you in a good mood are Happy Gilmore, Beavis and Butthead Do America, South Park: Bigger, Longer, and Uncut, and Tommy Boy.Overall, Billy Madison has a somewhat stupid sense of humor, but it does make you laugh, and it's such an entertaining movie.
It has also become one of the most quoted and memorable films over the past 12 years.It's about a 27-year-old man who makes a bet with his dad that if he repeats and passes grades 1-12 (Where is K?), he will take over for his dad's hotel company, instead of his dad's obnoxious and sociopathic friend Erik (played to perfection by Bradley Whitford; despite Billy not having any experience in the field at all...).
here is your movie.But that aside, "Billy Madison" isn't just awful like many other goofball comedies of the 90's and 00's, it is very entertaining and memorable...
I never thought Sam Kinison was funny (the screaming is annoying) nor do I care for Chris Tucker.I saw Billy Madison at the theater, a friend and myself and the 8 other guys randomly scattered around the seating area found this to be pretty damn hilarious.
I still laugh at a few of the scenes when I see repeats and yes I have it on video.Those of you who dislike this movie are more than likely too old and stuck on your Bob Hope type era comedians and refuse to admit any others.
As a comedian, Adam Sandler does great on all of his comedy films but this one will always stand as one of his best most funniest films.
I'm quite surprised at the number of people who found this movie funny, but I suppose we all have different tastes.Sandler's whiney voice and stupid faces are annoying, unoriginal, and done better by many others (e.g JL Lewis).
His character is unlikeable, the plot is boring, and I just cant believe that this script was ever written.I can identify the jokes but fail to understand why they are funny (like the clown with blood out of his mouth).
Unlike the Happy Gilmore character, Billy Madison is nothing more than a driveling idiot from the start of the movie to the end.I had avoided watching this movie for years because I figured it would be rather bad, but I figured that my kids, after watching and liking Happy Gilmore, would get a kick out of it.
Hate hate hate him.I did not enjoy this movie.Could someone, somewhere, please explain why they think Sandler is funny?
All in all, "Billy Madison" is stupid and funny at the same time, just like "A Night at the Roxbury" and "Dude, Where's My Car?".And one more thing.
This idea makes no sense and it's rather stupid.Well, despite a totally lame story idea, Adam Sandler manages to occasionally do something with the slender material he's been given (of course, since he co-wrote this, he has no one to blame but himself for the premise).
After my viewing of "Billy Madison", I can understand better the level of vilification that Adam Sandler attracts from some quarters....
There was only one funny line in this movie, although not remotely fresh or innovative, and it perfectly describes the whole experience: "Mr. Madison, what you've just said is one of the most insanely idiotic things I have ever heard.
It's also quite hilarious because, you see, BILLY MADISON is the kind of movie you'd roll your eyes at if that immature side of you wasn't still kicking.BILLY MADISON launched the big screen career of Sandler, who was winding down his memorable stint at the floundering Saturday NIGHT LIVE at the time.
Some classic lines include:"I kind of feel like an idiot sometimes but then I am an idiot so it kind of works out." "Ta-ta-Today Junior!" "The C is silent!" "I am the smartest man alive!"I thought this was one of the dumbest films I have ever seen the first time I saw it.
I fear I shall never know if I was lucky or unlucky in chancing upon this film as my first exposure to Sandler (except for Airheads, which came before his elevation to star status and in which I recall him giving a perfectly acceptable performance in a minor role); perhaps this is his greatest work and I have saved myself from far worse, perhaps this is some terrible travesty hacked to death by blinkered execs and stripped of all its comic genius.
Billy Madison, this is the film that supposedly gave Adam Sandler his huge break in Hollywood along with Happy Gilmore.
So I rented it yesterday and watched it this morning, I admit this was a fun story and had some funny moments, but for the most part I think that this is a pretty over rated comedy.
I prefer other Adam Sandler comedies like Happy Gilmore, The Wedding Singer, Big Daddy, Anger Management, and Click where he actually acts like a grown up, those actually work comedically.
An rich nitwit by the name of Billy Madison (Adam Sandler) bets with his father (Darren McGavin) with a smile ball worker (Bradley Whitford), who could win Billy's father hotel business company but Billy has to go back to school starts from the bottom to high school.Directed by Tamra Davis (Crossroads, Half Baked) made a watchable dumb comedy, which it was a Box Office Hit in the winter of 1995.
This crude comedy has some funny moments but Sandler got better and funnier in his other movies.
why does everyone like this film, I thought that this was one of adams worst movies I gave it a 5.
He gets in people's faces, says something stupid, and we are supposed to be enchanted.the story, though, is okay...we know where it's going but the idea of a ridiculously rich kid on the brink of increasing his wealth as inheritor of a huge hotel chain, first going back to school, not college, but kindergarten, is pretty funny.
The nineties were kind to Adam Sandler, what with his Saturday Night Live career taking off to new heights and movie deals coming left and right.
If I didn't know any better, I'd think it would've been his worst.And here I am, where I usually wind up after rewatching an Adam Sandler movie; appalled and dismayed.
As you can infer, Sandler's character is a lame-brained, overgrown child also equipped with one of the most annoying, insufferable accents of his career (second to only The Waterboy).Billy's life is made; he doesn't need to work because his father is filthy rich and he is permitted to act like a senseless buffoon as long as he doesn't interfere with his father's line of work.
His father accepts and so unfolds a comedy of dead ends.Some people will be in tears watching Sandler's character yell, scream, and fight as he repeats every grade and some will even list it as one of their favorite films.
I'm astonished when people call this "the best Adam Sandler movie." Have these same people seen Reign Over Me?
But Sandler pulled out every stop on the `just plain irritating' organ to prevent this coming to pass.I suppose there's no talking people out of a laugh, but the jokes weren't funny, either..
Adam Sandler plays Billy Madison, the son of a wealthy businessman, who is about to hand over the reigns of his company to a greedy businessman.
There are some laughs in the beginning, but I didn't find the addition of Norm MacDonald very funny, nor did I think it great how the teacher who hates Billy is suddenly, for no reason whatsoever, willing to take off her clothes for him.
Adam Sandler had a very funny role (he always does in his movies), and this movie was hilarious!
I also like the other movies Adam Sandler plays in (The Waterboy, Happy Gilmore, Big Daddy, Little Nicky).
Adam Sandler brings great hilarity to the film, and the rest of the cast were very funny.
If you are an Adam Sandler fan (which I am) you should like this movie.
Adam Sandler is very funny in this movie.
Billy Madison is one of those movies that many like, but I find to be okay.
It does have some funny moments, but I feel that Adam Sandler's character is very annoying and unlikable.
But then it has moments that try to be funny, and I didn't find myself laughing.All in all, Billy Madison is okay.
Young Adam Sandler triumphs in a wacky, stupid and down right ludacris movie.
I know I'm not the only one that has a love/hate relationship with Adam Sandler's films and if there's one film of his in particular that's a good example of why then 'Billy Madison' is it.
This is probably one of Sandler's dumbest, most absurd movies (and that's saying something) and it's no surprise that it didn't go down too well with the critics, receiving an average score of 16 out of 100 on Metacritic!I do think sometimes though, no matter how bad a film may be in terms of its technical qualities and the plot and script, it can still be enjoyable and rewarding for the average viewer.
I think it's a rule in film criticism to hate Adam Sandler movies.
I couldn't pass 3 minutes of that!I want to be a film critic, but I love Adam Sander movies, for the most part!
take it for what it is, and for all you people that don't like it just remember Adam was able to make a production company from this and Happy Gilmore so hate all you want this is still a great comedy.
Billy (Adam Sandler), an adult who lives his life as an obnoxious man-child, is told by his father that he will not inherit the family hotel business unless he can pass grades one to twelve in a giant three month sprint.
It's not clear what this will prove, exactly, since the problem his father is trying to avoid is putting someone unqualified in charge of thousands of employees, but that's the premise so whatever.The villain of the movie is played by Bradley Whitford, who wants to take over the company himself and says mean things to Billy (usually after Billy has said something obnoxious or weird to him).
His father wants to turn over the business to his son, but Billy spends his days drinking and messing around with his friends.Of course this film is very silly and over the top and that is its intention completely, The inevitable scenes of a full grown man sitting in a too small chair set the tone for the rest of the film.
This is one of those goofy, silly, awkward and stupidly funny flicks, starring Adam Sandler as Billy Madison, a rich but lazy son who makes a deal with his father that in order to inherit his hotel company, he must repeat Grades 1-12 in school in order to earn his education.Sandler seemed he doesn't care about good, careful and dramatic acting in this movie; he just wants to have fun and be silly, etching out slapstick comedy, gags and awkward moments whenever he can.
I had never seen any other Adam Sandler film from start to finish at the time, but over the years since then, I have seen a handful of them, and some of them I've found pretty funny.
This movie obviously relies mostly on Adam Sandler's antics for the humour, which can sometimes be funny.
Billy didn't want to look like an idiot so he made a deal with his dad that if he did each grade of school in two weeks, he would get the company.
This being the first Adam Sandler movie i've seen, i didn't really expect much at first.
But Billy won't let that happen, so he'll go through grades 1-12, to prove to his dad he's not an idiot!Sandler is loads of laughs in this movie, along with Bradley Whitford, Josh Mostel, Norm MacDonald, Chris Farley, and many more!
F.U.N.N.Y. This is probably the funniest movie I have ever seen, Sandler is funny and excellent in this role and it is just a gem!
I can not put this down, the most stupid things are made funny in this movie, like the Penguin scenes.
I'm not even that big of a fan of Adam Sandler but i like him here.Billy Madison is a comedy.
It's about a twenty something kid called Billy Madison (Adam Sandler) who goes back through school to impress his dad (Darren McGavin).
I'm a fan of adam Sandler and think most of his movies are good.
Watch it with that in mind!But I'm writing like I dislike the film but I was satisfied with the movie and laughed many times!If you just want a brainless comedy!
The plot of Billy Madison and Adam Sandler's antics throughout are immature, silly, and at times, just plain stupid.
First of all, this is not a movie that you would rent if you really want to 'LAUGH', cuz with this movie you can't, although I kinda like the hilarious quotes, well if you wanna have a CRAZY movie, and if you like these kinda movies, rent this one, but I WARN you....Not Funny, No Originality, No Good Acting, Sorry this one FAILED for sure, Mr.Sandler** out of *****.
Billy Madison, a 1995 comedy, was directed by Tamra Davis and co-written by Adam Sandler and Tim Herlihy.
Adam Sandler's "Billy Madison" is perhaps one of the most uniquely funny movies I have ever seen.
Billy Madison is the best movie I think ever created!
I think this is Adam Sandlers best movie.
Adam Sandler plays Billy Madison, the goofball slacker son of a hotel chain owner.
This movie isn't as funny as Sandler's other flicks like Happy Gilmore, Bulletproof, Airheads or The Waterboy but it's funnier than The Wedding Singer or Big Daddy.Billy Madison is a rich kid who mooches off of his father's success.
So Billy makes a deal with his father to go back to school(1st through 12th grade)and if he wins he gets the company instead of Eric, who tries to stop him.This movie is really funny, even though some of the jokes are rather weak.
I like bill murray he's great, and in this movie Adam Sandler has no resemblence to bill murray.
Of coarse, I think that MOST every movie with Adam Sandler in it is going to be funny.
Billy Madison is without a doubt the BEST movie I have ever seen.
Billy Madison is 1 of the best movies ever.
There are so many quotable moments in this film yet I found myself laughing at times because of the movie's complete and utter stupidity.
Billy Madison is Adam Sandler's best movie ever!
In my opinion, still the best Adam Sandler movie to date.
As Adam Sandler's movies were made, they became more and more commercial - and less humorous with every one.
Billy doesn't want to be cut out so agrees to go through school all over again - doing one grade every two weeks.Adam Sadler films are very much a matter of taste - if you like him doing his usual `dumb guy who makes good' stuff then you'll be right at home with his early films.
I know that these things are not what the film is about, but one has to wonder how stupid the writers think the audience are when they simply switch Veronica from hating Billy to being totally in love with him with no explanation or reason!
Billy Madison (Adam Sandler) is a goofball slacker who drinks all day and do nothing.
It has so many things to laugh about and quote...it's HILARIOUS.Adam Sandler is Billy Madison...your typical slacker spends his days getting drunk with friends.
His Whenever Billy finds out that Eric (Bradley Whitford) is taking over his father's company, and not him, he asks to go through grades 1-12 all over again to prove he's not an idiot and get the company.Adam Sandler gives a hilarious performance, and he also falls for a teacher (Bridgette Wilson) and everyone else (especially Chris Farley)me...I give it 10 out of 10 because i like comedies, and especially like Sandler's work..
Now I find it very rare to find a good Adam Sandler movie.
I wouldn't call Billy Madison one of Sandler's best as so many other people say it is.
There are moments of humor in Billy Madison, Happy Gilmore, and The Waterboy, but none of them are funny movies.
Adam Sandler does things in his movies that I have never seen done in others.
Adam Sandler is Madison, sent back to school in order to gain his father's company.
This is a great movie It shows Adam Sandlers greaT talent as a writer and the plot about a guy who has to climb his way through school is brilliant I love this movie and could watch it over and over.
Billy Madison, an adult with the mind of a five-year-old child, will lose his father's company if he doesn't complete grades 1-12 again in two weeks. |
tt0375611 | Black | The film begins with Michelle McNally (Rani Mukerji), a blind and deaf woman, visiting her former teacher Debraj Sahai (Amitabh Bachchan), who now has Alzheimer's disease, in a hospital. The film then flashbacks to the past to her childhood.Michelle was a girl who lost her eyesight and hearing after recovering from an illness at the age of two and exists in a black world where she is isolated in the darkness of her own existence, trapped by her inability to see, hear and express. She grows up becoming more and more frustrated by the black and dark world around her, making her a violent, uncontrollable eight-year-old child. Her parents, Paul and Catherine, are at their wits' end trying to control her, until one day the light shines through the end of the tunnel.Debraj Sahai enters their lives, an elderly alcoholic teacher for the deaf and blind, Debraj sees himself as a magician and is a disillusioned eccentric man. He takes it upon himself to bring young Michelle into the light. He uses harsh methods, although always for Michelle's long-term benefit. Initially, his methods are met with disapproval by Michelle's father, who asks Debraj to leave. Although her father thinks he is gone, Debraj stays as the teacher while her father is away on business for 20 days. Her mother grudgingly approves of his continuation given her fear of Michelle being sent to an asylum. By the 20th day, Debraj manages to teach Michelle some words and better manners, but he has difficulty teaching her the meaning of words. When Michelle's father returns, Debraj packs his bags. At the very last moment, as he is walking towards the door suitcase in hand, Debraj gets frustrated with Michelle's continuing insolent behaviour and he throws her into a fountain full of water. Michelle suddenly takes to Debraj's lessons at that moment and begins to understand meaning. She is able to recognize her mother and father, and can vocalize the first syllables of some words small enough for her to understand. The McNallys decide to keep Debraj as Michelle's teacher.Many years later, Michelle has learned a great deal, becoming relaxed and expressive, and she is even able to dance and expertly sign. Debraj convinces the Principal of a university to grant her an interview which she passes and gets admission to pursue a Bachelor of Arts degree, the first deaf-blind person to do so at that university. Michelle moves away from home and lives with Debraj and one of her servants. Over the next 2 years, she struggles to gain her Bachelor of Arts degree, failing year after year, but she still maintains her spirit. One reason is that she must rely on Debraj completely for interpretation of the material and studying. This problem is overcome by the Principal of the school preparing the whole first-year Arts course of study in Braille. Another reason for her continuing failure is that her typing skills are lacking and typing is her only way to write down what she knows during exams. However, she also soon overcomes this deficiency through another flash of increased competence when she almost quits the university and gets into an argument with Debraj.At the same time as Michelle suffers through and triumphs over her challenges, we also witness numerous other changes. Debraj begins to succumb to Alzheimer's, first forgetting the way out of the Principal's office and then forgetting Michelle and leaving her stranded during an ice cream celebration for her improved typing. We also see Michelle reconcile with her sister Sara, who we find out was jealous of her parents' affection for Michelle throughout her life. After attending Sara's wedding, Michelle begins to wonder about love, which she has not experienced, and she even asks Debraj to kiss her on the lips. Debraj reluctantly does so but decides to leave Michelle on her own because of this demand and the position she has put him in. Twelve years after enrolment, Michelle does manage to gain her BA, and with her proud parents looking on her, she even gives a speech to the graduating class. Wearing no black graduation robe, she thanks her parents and her teacher and she announces that she will only wear the robe so that her teacher may see her first.Debraj is in a mental hospital due to his almost complete inability to remember his past and even how to speak. Michelle visits him wearing her robe and we see glimmers of memory return as Debraj realises that she has graduated and even does a victory dance. As the window opens to the rain outside, we see Debraj's hand in Michelle's reaching into the rain, and we hear the teacher-student pair say the first syllable of the word "water", with echoes of the scene in which Michelle first begins understanding the meaning of words earlier in the movie. However this time, it is Debraj who is beginning to learn to speak and understand.The movie ends with a scene of Michelle amongst a crowd of people all dressed in black carrying candles walking towards a church. There is a voiceover of a letter Michelle has written to Debraj's friend Mrs Nair explaining that today was her teacher's first day of school, and that like hers, his alphabet began with "B L A C K". | flashback | train | imdb | Nearly EVERY shot is a wonder!Amitabh Bhachchan's acting is his best ever (at least for western audiences), and beats most recent performances from Hollywood.I don't consider this film a remake, but even if you do, you still need to see it..
Which is a real pity because if I had not made an accidental point of presenting myself at a movie-house that was actually screening the picture, as a Euro-heritage native-born Canadian I would likely still be walking around in a typically North American ethno-centric film fog about this excellent picture.When I initially asked the theatre's ticket clerk what "Black" was about, his description hardly got me excited.
It is not a "B" class flic.If only because the film's Director Sanjay Bhansali co-wrote the script, this obviously allowed him to imagine how he might want to capture the story with beautiful emotionally-charged cinematography.
Supporting actors were great too.If Hindi movies are half as good as this, I would watch more.I had a bonanza holiday break watching Black, Paheli and Mangal Pande.
Black is a living hell...until she meets Amitabh bachan's character....her brings light into Michelle's terrifying world.Rani Mukerji is fantastic and she is NOT annoying because you dumb haters just don't see the depth.
Excellent performance of the two main actors: Rani Mukherjee is unrecognizable and believable in her role of a blind person & Amitabh Bachchan, well, wonderful as usual!
For people looking for a Hindi movie without the Bollywood songs and dances, this one will make them happy; there is nothing of that sort here in this film that is a bit long (124 minutes!).For those who admire Amitiji(I am one of them), I guess you must watch this movie because he really is incredible!.
Here's very briefly what the movie is about:It is the story of Helen Keller & Anne Mansfield Sullivan, suitably modified though, to nicely fit into the Bollywood mould.That however should not take anything away from the three main highlights of the film:Sanjay Leela Bhansali's Direction, Rani Mukherjee's execution of a difficult role, & Mr. Amitabh Bachchan!!!Bhansali is best at stories highlighting human struggle.
Before this movie, Gulzar made a movie 'Koshish' in early 70's starring Jaya Bhaduri and Sanjeev Kumar for which they have won the awards.Michelle McNally (Ayesha Kapur/Rani Mukerji), born to an Anglo-Indian family, is deaf and blind.
The real-life story was presented on the big screen in the 1962's Hollywood flick THE MIRACLE WORKER, which starred Patty Duke and Anne Bancroft for which both the performers won the Oscars.A film like BLACK relies heavily on performances and Bhansali has extracted award-worthy work from practically the entire cast.
When you talk of BLACK, it's not just Bachchan or Rani's work you would like to extol, but Shernaz Patel, Nandana Sen, Dhritiman Chaterji and Ayesha Kapur's contribution as well.International Cinematography by Ravi K.
After Khakee and Dev, this one is his best performance and for this role, he felt that for the last 25 years I have been working in the movies but this is the first time that I have shown such an interest.
Forget anything and everything you know or think you know about Bollywood films, BLACK is world class movie making of a standard "Hollywood" aspires to.Director Sanjai Leela Bhansali has used the art of visual storytelling brilliantly - coupled with a wonderful and engaging screenplay.
And the brilliance of Amitabh is perfectly balanced with stunning performances from the beautiful Rani Mukerji and child actress, Ayesha Kapoor.BLACK is a product of a new generation of Indian filmmakers and they are rapidly raising the bar.
At first, when I saw Black, I was really impressed with the movie and the way Sanjay Leela Bhansali made it.
In the process, he has also insulted Indian and non-Indian movie-going audiences by shamelessly copying, and not even acknowledging that it was inspired by another film on the same subject.The film treats the subject matter really insensitively and manages to make a mockery of the DP and editor's work, as well as lay to waste the fine acting skills of AB and Rani Mukherjee.
While some may applaud his effort to foray into semi-serious film-making, especially moving away from the formulaic song and dance numbers, Bhansali comes up short on delivering the story in the best way possible.
Nevertheless it is definitely a moving and powerful performance but I'm not sure it was a consistent performance.Black - why I didn't like it.Story - it was the first of its kind to be witnessed on the Indian screen (I think), but it was based on the life of Hellen Keller.
I know it sounds like too much, but I really do believe Black is one of the best movies that has come out of Bollywood.
There is a certain aura of the movie ,which will grasp you.Some life time remembering performances can be seen by Mr.Amitabh Bachan,Rani Mukherjee and Ayesha.Nobody could have been more appropriate than Mr.bachan.Rani is brilliant and beautiful .Ayesha (who plays young Rani) is outstanding .The movie is loosely based on the true story of Hellen Keller.The film is about hope and courage of Michelle Mcnelly(Rani) who is deaf/dumb/blind who has no hope in life ..but when her teacher Mr.Sahai(Amitabh bachan) takes charge of her life ..Michelle finds a hope for living and with her teachers assistance she manages to passes all odds in life.
And all of a sudden, the word got transformed into a movie that broke all rules of mainstream Indian cinema, a movie which gave Amitabh Bacchan a break from his usual cliché driven films, a movie that proved that Rani is indeed Bollywood's present queen bee.
Sanjay Leela Bhansali presented the unorthodox Indian audience with a masterpiece, something that's so very rare.Right from when the movie began, I could sense that I'm watching something different.
However he doesn't spell it out, for he knows that it's more than a word, it's an experience millions of people like Michelle have been denied.Black is the story of how Michelle, a child who is more animal than human, is taught to live life with dignity, how to control her emotions, how to overcome her handicaps and grow up to be a 'fine young lady'.
If in his previous films he has played with colors and sound and drama, in Black Sanjay has played with human emotions - pain, anger, failure and at last, success.The overprotective mother (where was Shernaaz Patel all these days?), the sulky yet loving father (good acting by Dhritiman Chatterjee - a Satyajit Ray favorite), and the sister (Nandana Sen) who has everything in life except the attention one expects from one's parents, complete the scene.
Chandran's cinematography excels as well, the opulence of the McNally family, the emotion on the faces of the actors have been captured brilliantly.Black is the story of how Michelle achieves the almost impossible task of graduating, how Debraj takes up the mission of teaching her as a challenge, the complex relationship between two people most unlikely to be related in any way.
Excellent cinematography, superb acting, almost faultless direction have made BLACK a worth watching movie.
Black may not be the perfect movie of the year or a flawless attempt at portraying human emotions through a blind eye, but what it leaves us is a great impression by taking us through the journey of two very maturely crafted characters.
A 2 hr movie without songs & sensible plot with just minimal characters who completely convince you of the pain they undergone, BLACK is a fiction but a convincing poetry on Canvas how a struggle by a teacher to bring back an 8 yr blind,deaf,dumb girl to life.
The relationship between the two is perhaps never been portrayed before., sometimes controversial (the kiss scene between amitabh & rani) This particular scene has been made with a lot of guts & full marks to SLB.The movie has got its many flaws but again I don't see a point in criticizing this movie at all; the fact that you now have a product which has come a long away from the clichés of bollywood masalas is a great achievement & attempt in itself & we need to encourage such movies.Go watch BLACK & try not to watch for defects but for the sheer pain & passion of one of the very few genuine directors we have on hand today.Watch BLACK for Amitabh - India's answer to Al Pacino!
The photography, screenplay , choice of colors should make Indian Cinema really proud.I think no movie can match "BLACK" for a long time.
Black is the film we have all waited for and yet again, Sanjay Leela Bansali meets our high expectations with such a classic.Black is the invigorating story of a girl who cannot communicate through her God-given senses however she is able to touch her God the person she saw, heard and walked with into the brightness of her life.
Amitabh has been my ultimate best actor since I was little and have been watching all his films, and watching him in this film both his and Rani acting they have made up an excellent team and I couldn't see anyone else who could have done these roles any better..
One of the changes in the story is that it's set in Shimla, India*--another is that there is a bizarre and highly problematic plot twist that you learn at the beginning of the film--but more about this later.A rich Indian family has a blind/deaf daughter who is in many ways like an animal.
For, what he has done with his character in Black is to endow Indian cinema with a flavour of flamboyant excellence, unparalleled by anything we've seen any actor from any part of the world do or say...The way Bachchan has used that well-known baritone has to be heard to be believed.
"Black" has probably brought out one of the best performances of Amitabh Bachchan even after all these years.Equally moving have been the performances of Rani Mukherjee and Ayesha Kapoor.
"Black" has raised the bar for all Bollywood films in terms of the Cinematography, the Direction, the performances and the credit for all of it goes to only one man, Sanjay Leele Bhansali, who first envisioned black and then has so successfully put it on the canvas like a master craftsman.A songless film which depicts the colors of life in all its darkness.
this is one of the greatest Indian movies i have ever seen.the little girl playing the young Michelle played a performance that blew me away.Amitabh showed once again why he is the best Bollywood actor of all time.he portrayed the teacher role with such passion,and his English was spot on.great performance.the light bulb scene stole the pick of scenes for me Rani Mukherjee was amazing.never have i seen Rani like this,she has shocked me in all accounts,this movie is an adaption on Helen Keller.but people who want to watch this should see it as how Sanjay Leela Bhansali has portrayed it.the scenes were emotional,the acting was good,the scene cuts were exceptional,the background music was a treat.another issue,Indian cinema feels they need to have songs,why not change,I'm not saying that song sequences should stop,but in films like this you do not need songs,the 2 hour platform of how long it ran was just perfect.this is one of the greatest movies I've seen.I've heard its been done in Hollywood in 1962 called the miracle worker,i should be checking that out because there were Oscar nominations.the people who are going to criticise Bollywood for copying again,should know that this movie is portrayed in its own style.the story is a little different.I'm proud of saying the i watched another brilliant movie,it is definitely up there.check out Ayesha Kapoor,the young girl,she gets all the credit on acting stance,totally amazing.brilliant on all accounts,i heard its up for the Oscar nomination for international film,i hope it wins it because it deserves it.well done Bhansalli.
In the "behind the scenes" footage of Black, everyone including Amitabh and Rani pretended how dedicated and ingenious Sanjay is, but not one word was credited toward the source of first half of the film.
Black should be said masterpiece of Sanjay Leela bhansali(Director),packed with great acting of Amitabh bachhan and Rani mukharji.A subject like this practically cries for sympathy, and Sanjay Leela Bhansali's script is propped by visual metaphors and symbols, some of which are rather too obscure.Speaking of Michelle, the performer in Rani Mukerji must have turned more than a few mental cartwheels when she got Black.
It is a pure, performance-driven role, and Rani does it with a fluid maturity that is great to watch.Her chemistry with Amitabh Bachchan makes for some cool screen moments.
being a fan of intellectual cinema, i was especially looking forward to watching BLACK because it had the stalwart of Indian cinema Mr. Amitabh Bachhan pitted against an extremely talented Ms Rani Mukherjee...and to complete the trio is Mr. Sanjay Leela Bhansali who is truly a magician of a kind(even though i didn't really like his previous film DEVDAS which was premiered at Thr CANNES film festival et al starring the green eyed beauty of India cinema Ms Aishwarya Rai) a movie that is a genre of its own tells the story of a deaf and blind girl Michelle Mcnally who is stuck in the world of Black....
the movie has some really strong and high moments like when the teacher (Amitabh) makes his first communication with baby Michelle can make even the most toughest cynic break into a smile i would say this is a movie that can push Indian cinema into the global cinema as the plot is completely universal...moreover most of the movie is spoken in English anyways coming back to BLACK, there is nothing more to say than that it is a tremendous, powerful, strong and a very sensitive movie that does not burden the viewer with any apathy or discomfort but rather takes the viewer to a lexicon of exceptionally unheard of powerful and beautiful emotions...
BLACK is a masterpiece, you must have heard it is like "The miracle worker" or is this or that but the truth is this movie is of substance and very powerful performances by all the actors.
The portrayals by Ayesha Kapoor and Rani Mukherjee are brilliant and Amitabh has given the best performance of his long film career.The expressions on young Michelle's face all the times she is unable to communicate and when she finally learns to communicate are sheer joy to watch.
However there could be a problem with the movie having too many dialogues in English which could create a communication gap (not that the director cares) of sorts.On a different note I also believe that the Oscars should be given a taste of both the works as a living proof that Indian cinema has truly moved on from the claptrap that was once an intrinsic part of the film industry.
Firstly: how to deal with a special human with loving care & Secondly: nothing is impossible for a human-being whatever he or she is, special or normal.Subject & filming both combination given this movie perfection and it's total credits goes to Mr. Rajoo for his good story-line & Mr. Sanjay Leela Bhansali for well direction.By the way, i am very surprised to think, why this awesome creation not goes to Oscar?
She finds in difficult to communicate with her parents and because sang animal living in the form of s human being but light shines when debraj sebra enters her life.Flaws: they aren't any it is a complicated astonishing movie which touches your heart.Acting: Every single actor whether they had a small or large role had done phenomenal performances.
But the most amazing job done is by Ayeasha Kapur who plays the eight year old Michelle who is a confused wild animal is most effective she was truly the star of the show and the best performance of the movie.
its such an film that in some heart touching moments scenes u cant control yourself from shedding tears...amitabh ji and rani excels in acting..that too too naturally.authentically....same can be said to child actress..(sad demise..rip)after watching some Hollywood movies on such an issues i thought -y cant v make it here?....
How great is the movies, if you haven't seen it, you have really got to, i saw this this film with out no sub-tiles, and its kind of hard for me, but i got through it, and i understood everything, the acting is superb, with Rani and Bachench being the main stars you have really got to see this movies, and i think you will be pleased and amazed about what people go through, though out there life.
The acting by Rani and Amitabh was exceptional nothing I've seen in Indian cinema before I will definitely watch this movie again and again and it will certainly always be as good as previous.
The acting by Rani and Amitabh was exceptional nothing I've seen in Indian cinema before I will definitely watch this movie again and again and it will certainly always be as good as previous.
Camera-work and editing is absolutely flawless and Bhansali really lets his creativity run wild with the costumes and sets usually contrasting blacks and whites the theme is dark.Debraj Sahani (Amitabh Bachchan) plays is a deaf blind teacher to Michelle Mcnally (Rani Mukherjee) he meets her as an eight year old (played exceptionally well by 9 year old Ayesha Kapur).
If Black cannot get this award then i don't think any bollywood movie can get it for at least 10 years.
Amitabh as never seen before, an unbelievable performance by the young Michelle and great supporting roles by the mother and sister make this a movie that you will surely pause and flashback to in the weeks following your watching it. |
tt0312549 | Veronica Guerin | Veronica Guerin is a feisty crime reporter for the Sunday Independent. Suddenly aware of how much Dublin's illegal drug trade is encroaching upon the lives of its working class citizens, especially the children, she becomes determined to expose the men responsible for its spread.
Guerin begins by interviewing the pre-pubescent addicts who shoot up on the street or in abandoned buildings in the housing estates. Her investigation leads her to major suppliers and John Traynor, a notable source of information about the criminal underworld. Traynor is willing to assist her to an extent but is not above misleading her in order to protect himself from nefarious drug lord John Gilligan. In order to steer her away from Gilligan, Traynor suggests Gerry Hutch, a criminal known as The Monk, is in charge of the operation. Guerin pursues him with a vengeance, only to discover he is not involved.
As Guerin's investigation deepens and she comes closer to the truth, she and her family become targets. When a bullet fired through a window in her home as a warning fails to stop her, she is shot in the leg and the life of her young son Cathal is threatened. Her husband Graham, mother Bernie, and brother Jimmy implore her to stop, but when Guerin confronts Gilligan at his home and he savagely beats her, she becomes more determined to expose him for who he is. Rather than press charges against him, which would necessitate her removal from the story, she forges ahead with her investigation.
On 26 June 1996, Guerin appears in court to respond to an accumulation of parking tickets and numerous penalties for speeding that she has ignored. She is given a nominal fine of IR£100, but while en route home she calls her mother and then her husband to report the good news. She is speaking to her office while stopped at traffic lights on red on the Naas Dual Carriageway when a motorcycle with two men on it pulls up beside her. The driver breaks the window of her car and then shoots her six times. The two flee and dispose of the bike and the gun in a nearby canal.
Guerin is mourned by her family, friends, associates and the country at large. Her violent death results in the establishment of the Criminal Assets Bureau and Gilligan together with several of his henchmen are tried and sentenced to lengthy prison terms. In an epilogue, we learn that "Veronica Guerin's writing turned the tide in the drug war. Her murder galvanised Ireland into action. Thousands of people took to the streets in weekly anti-drug marches, which drove the dealers out of Dublin and forced the drug barons underground. Within a week of her death, in an emergency session of the Parliament, the Government altered the Constitution of the Republic of Ireland to allow the High Court to freeze the assets of suspected drug barons." | suspenseful, murder, violence, flashback, romantic, tragedy, revenge | train | wikipedia | null |
tt0155975 | Psycho | During a lunchtime tryst in Phoenix, Arizona, a real estate secretary named Marion Crane discusses with her boyfriend, Sam Loomis, how they cannot afford to get married because of Sam's debts. After lunch, Marion returns to work, where a client drops off a $40,000 cash payment on a property. Her boss asks her to deposit the money in the bank, and she asks if she can take the rest of the afternoon off. Returning home, she begins to pack for an unplanned trip, deciding to steal the money and give it to Sam in Fairvale, California. She is seen by her boss on her way out of town, which makes her nervous. During the trip, she pulls over on the side of the road and falls asleep, only to be awakened by a state patrol officer. He is suspicious about her nervous behavior but allows her to drive on. Shaken by the encounter, Marion stops at an automobile dealership and trades in her Ford Mainline, with its Arizona license plates, for a Ford Custom 300 that has California tags. Her transaction is all for naught—the highway patrolman sees her at the car dealership and witnesses her purchase of the newer car.
Driving on, Marion encounters a sudden rainstorm and decides to stop for the night at the Bates Motel; the proprietor, Norman Bates, invites her to a light dinner after she checks in. She accepts, but then hears an argument between Norman and his mother about bringing a woman into her house. They eat in the motel parlor, where he tells her about his hobby of taxidermy and his life with his mother, who is mentally ill and forbids him to have a life outside of her. Returning to her room, Marion decides to go back to Phoenix to return the stolen money. She prepares to take a shower, unaware that Norman is spying on her. As she is showering, a shadowy female figure suddenly comes in and stabs her to death with a chef's knife. Norman discovers the murder and meticulously cleans up the crime scene, putting Marion's corpse and her possessions—including the embezzled money—into the trunk of her car and sinking it in the swamps near the motel.
A week later, Marion's sister Lila arrives in Fairvale and confronts Sam about the whereabouts of her sister. A private investigator named Arbogast approaches them and confirms that Marion is wanted for stealing the $40,000 from her employer. He eventually comes across the Bates Motel, where Norman's behavior arouses his suspicions. After hearing that Marion had met with Norman's mother, he asks to speak with her, but Norman refuses. Arbogast calls Lila and Sam, informing them of what he has discovered and saying he intends to speak with Norman's mother. He goes to the Bates' home in search of her; as he reaches the top of the stairs, Mrs. Bates suddenly appears from the bedroom and murders him. When Lila and Sam do not hear from Arbogast, they go to the local sheriff, who informs them that Mrs. Bates has been dead for ten years; she had killed herself and her lover. Concerned, Lila and Sam make their way to the motel. Norman takes his unwilling mother from her room, telling her he needs to hide her for a while in the fruit cellar.
At the motel, Lila and Sam meet Norman. Sam distracts him by striking up a conversation while Lila sneaks up to the house. When Norman eventually realizes what they want, he knocks Sam out and rushes to the house. Lila sees Norman approaching and attempts to hide by going down steps that lead to a cellar. There she finds Mrs. Bates sitting in a chair. Lila turns her around and discovers that she is in fact a mummified corpse. Lila screams as a figure comes running into the cellar: Norman, holding a chef's knife and wearing his mother's clothes and a wig. Before Norman can attack Lila, Sam, having regained consciousness, subdues him.
At the local courthouse, a psychiatrist explains that Norman had murdered Mrs. Bates and her lover ten years prior out of jealousy. Unable to bear the guilt, he exhumed her corpse and began to treat it as if she were still alive. In order to preserve that illusion, he recreated his mother in his own mind as an alternate personality, often dressing in her clothes and talking to himself in her voice. This "Mother" personality is just as jealous and possessive as the real Mrs. Bates had been: whenever Norman feels attracted to another woman, "Mother" flies into a rage and kills the woman. As "Mother", Norman had killed two young girls prior to Marion, as well as Arbogast. The psychiatrist then says the "Mother" personality has taken permanent hold of Norman's mind. While Norman sits in a holding cell, Mrs. Bates' voice is heard protesting that the murders were Norman's doing and that she "wouldn't even harm a fly." Meanwhile, Marion's car is pulled out of the swamp. | insanity, mystery, murder | train | wikipedia | While it was a pointless re-make to begin with, the miscasting of the story's most important character sucks this film down completely.As a side note, I feel that Hollywood's propensity for re-making great movies because 'young' people refuse to watch anything that's not filmed in color not only stinks to high heaven of corporate greed but is exceptionally disrespectful to the original work.
The only good thing I saw about the film was that Gus Van Sant was able to open the movie with the shot Hitch had envisioned.
Hitchcock's masterpiece is much better and Van Sant fails to realize that in hiding the nudity and the gore, the original shower scene is all the more terrifying.
The acting of Anne Heche and Vince Vaughan is so inferior to that of Perkins and Leigh in the original version they have to be seen to be believed.
Yet, if they were going to keep everything the same, why bother when you weren't going to improve on Tony Perkins, Janet Leigh and the original cast?Did they honestly think Vince Vaughn was going to be as good or better than Perkins?
No matter what other people have said you can't review this movie without comparing it to the original, if it existed on it's own it would be a 2-3 out of 5 film but it is a remake of a 4-5 out of 5 film and so has standards to live up to and we need to see if it reached those standards.
That said this film doesn't just fail to be as good as the original it fails spectacularly, like it or not the original was one of the best movies ever made, the shower scene will never be forgotten, the remake was meant to be a celebration of Hitchcock but ended up actually degrading him and his master work.The degrading aspects of this picture were Vince Vaughn and Anne Heche.
In the remake that whole dynamic is gone, I must admit to Janet Leigh not being my type but she is very attractive and you can see that, Anne Heche is really unattractive and so Norman finding 'her' Marion attractive is unbelievable if you add that to Vince Vaughn's Norman masturbating whilst looking at her and you get a Norman that is just waiting for a chance to jack off at any naked woman no matter what she looks like, who you feel absolutely no sympathy for, they further destroy Norman's innocent nature by putting the porno mags in his room.
In the original when Pat Hitchcock says the line 'he must have noticed my wedding ring' it elicits a response of laughter as she is absolutely kidding herself, when Rita says it it just seems plausible as there really isn't any other reason why any man would flirt with Anne Heche over her.I'll admit that I am very biased, the original 'Psycho' is my favorite film of all time, had the film been a reworking, with a different angle, then you could have turned these characters on their heads and it would have been perfectly acceptable.Hitch famously thaught the film would be too gory in colour and made it in black and white to lessen it.
I know this has been said, but I watched the making of this film, and the director was like "Oh, I just want to update it and shoot each scene shot by shot like the original"...
I mean, the acting wasn't up to par, but honestly, it looked like the actors just watched the original and just memorized the lines from there and made it their crappy own.Watching the making of this film, I wanted to slap Anne Hasche, she said "I've never seen the original, I just wanted to work with Gus." Ooh, that made me angry, because frankly, it's not just that, she really sucked in this role as Marian, she wasn't convincing, not to mention her shower scene really was horrible.
There is likely a very good reason for that...it stinks.Like nearly ALL the endless remakes and reboots that have been plaguing movie goers for the past decade or so....all this is, is a heartless version of the original.It has no heart.It has no soul.It is a retelling of a film that we all love and cherish...and it adds nothing to the story.
In the supporting roles, there's nothing much to comment on except maybe for James Remar's note-perfect reproduction of the original film's state trooper.This is intended to be a shot-for-shot remake, yet Van Sant felt compelled to add a couple of needless things.
Anne Heche may have been atrocious but, unlike Janet Leigh who was untruthfully advertised as one of the biggest stars of the film, Anne Heche was given last billing in the opening credits.I read on the cover of a copy of the Psycho novel that Gus Van Sant claimed this was not a remake of the Hitchcock film but rather a new adaptation of the original novel.
The only difference between the HItchcock classic and this poor imitation is color,wide screen and Leila's Walkman!!A movie which's supposed to generate thrills and fear leaves me completely indifferent.Now you' re going to tell me it will urge the young generations to see the original?balderdash!This "psycho 1998" is a giant spoiler.They could have done something different,for instance ,by casting an actor closer to Bloch 's Bates ,an obese man.They content themselves with an obnoxious rehash!A pox on it!and long live Alfred Hitchcock!.
With the shot-by-shot remake of "Psycho", Gus Van Sant rises to the challenge of directing a film even worse than his 1994 dud "Even Cowgirls Get the Blues." This travesty is even worse than I thought it would be, and I set my expectations very low.The acting is appalling, with the exception of William H.
And why would Vince Vaughn take on a role so closely associated with Anthony Perkins, who not only played Norman Bates in the original film, but three sequels, too?
The biggest surprise in this cast is Julianne Moore, who is usually excellent in any role; here, she looks embarrassed, like she's going through the motions.Universal could have used the money they wasted on this rape of cinema to restore the original 1960 film, or perhaps one of Mr. Hitchcock's lesser known pictures..
Of all the classics out in the movie world, why does director Gus Van Sant (Good Will Hunting) have to screw up Psycho.
First of all,the whole idea of remaking a classic such as "Psycho" is nothing short of ludicrous.A lot of time and effort was wasted here.I am sure they are smart enough to know that they could not improve on the original,so they must have had a tribute to Alfred Hitchcock on their minds.However,the idea that began as a well intentioned tribute, results in being a slap in the face to the horror master.This movie is poorly produced,poorly acted,and unnecessary to begin with.The original classic stands well on it's own,even after 40 years.The event of Hitch returning from the grave and coming after the people responsible for this piece of trash is unlikely,but if I were them,I would sleep with one eye open just in case.Don't waste your time..
Anyone who has ever watched any of the other 4 original Psycho movies starring Anthony Perkins, knows that NORMAN BATES DOES NOT MASTURBATE!!!
There really is no reason to remake a movie as superbly directed as Psycho so I'm not sure what Gus Van Sant was trying to prove.
It was somewhat more of a strained effort to watch Vince Vaugh trying to waltz through the performance of Normal Bates.This 1998 remake might actually pass as an adequate watch for those not familiar with the original movie.
I was cringing so often and it was toe-curling to witness director Gus Van Sant do absolutely no justice to the original "Psycho" movie..
Even the first scene after the credits roll is THE EXACT SAME AS THE ORIGINAL but with color !!I'm so mad at this movie, this is legitimately the worst remake I ever saw.
You just kind of want him to stop giggling and stuttering.This brings me to the Magnum Opus of the sins in this film: WHAT KIND OF A PERSON WOULD WATCH PSYCHO AND THINK "u know what this scene would be better with Norman intensely rubbing one out"?
Macy is about as pleasant and fitting in the role as Balsam, but the stair/stabbing scene is still going to have you wincing through the colors.Only remake a movie when: you can modernize the script enough to keep it from feeling outlandish, bring something original to the plot and something new for the audience to think about, and sustain the feel of the source material.
This known shocker concerns about Marion Crane(Anna Heche in similar role Janet Leigh),she works at a Phoenix office when his employer(Chad Everett) trust her a money .Seeing the opportunity to take the cash and beginning a new life along with her fiancé(Viggo Mortensen in role of John Gavin).Larcenous Marion Crane leaves Phoenix(Arizona) and heads with her car toward California where lives her lover.Later,when is caught in a storm, leaves the highway and pull into to the Bates hotel.The motel with twelve rooms(and 12 showers) is managed by a strange and paranoid young(Vince Vaughn-Anthony Perkins)who seems to be controlled by his overbearing mummy , and ,she's living in a creaky old mansion nearly to hotel,then rare things start to happen.After a detective called Arbogast(William H.
Macy with similar character at Martin Balsam), her sister(Julianna Moore-Vera Miles)along with Sam(Viggo Mortensen)are looking for to Marion, asking help to sheriff(Philip Baker Hall-John McIntire).The story is a rip off from original classic picture,frame-for-frame, with a few news scenes though filmed in glimmer color and lensed beautifully by cameraman Christopher Doyle.Thus,it contains the same screenplay by Joseph Stefano and Robert Bloch infused with deliciously macabre wit,plenty of grisly murders,stabbing shots,horror,suspense and lots of blood.The highlights film are,of course,the famous murder of Marion Crane-Anne Heche completely copied scene-for-scene although with a few more nudism and the creepy final images where is turned out the killing conclusion.Again the suspenseful music score,adding impressive excitement,nowadays deemed a classic soundtrack by Bernard Hermann is arranged by Danny Elffman.The motion picture is regularly directed by Gus Van Sant(Drugstore cowboy,Elephant,among others),nowadays considered a cult-director.The original Hitchcock film is highly superior to this one and the numerous movies which tried duplicate it, like as : Psycho II(1983) by Richard Franklin,Psycho III(1986)by Anthony Perkins,and for cable TV :PsychoIV(1990)by Mick Garris.
You have a 1960 classic, so why make the exact same thing over again?Let's just hope Gus Van Sant never touches Jaws or any other films like that.0/10.
I don't want to scare anybody and I certainly don't want to offend anybody, but I have come to realize that Gus Van Sant's exploration of Hitchcock's 'psycho' is quite simply one of the most baffling masterpieces of the last decade.My ideas aren't entirely concrete and I know millions will think I'm crazy or stupid.
Exception Wizard of Oz. The acting is actually pretty good better then anticipated Vince Vaughn and Anne Heche do a great job doing their reprisal of my favorite scene in the movie when both are in the parlor.
I recently finished watching Gus Van Sant's faithful reproduction of Alfred Hitchcock's masterpiece, *Psycho.* This movie was excellent, in nearly all formats, and I am somewhat surprised as to why it did so poorly in both box-office and reviews.
Bates is a fat, fidgety, paranoid young man who I think would have been cast better as someone such as Wayne Knight (Newman off of Seinfeld).But overall, the movie is an excellent adaption of the book, both Hitchcock's and Van Sant's.
It was actually about the controversial remake by Gus Van Sant - a film that I've always been amazed at the negative reaction by older filmgoers around the world.From the reaction in class today, it's nice to know that like me, there are plenty of people my age (in there mid 20's) who liked the original but like the remake even more just for trying something knew and appropriating a classic for the younger generation.
He does a great job at re-interpreting the character as does over cast member in the film.After watching the original film a few weeks ago, as much as I still like it, I find every character in the film - with the exception of Norman Bates - to be flat and very uninteresting.John Gavin's performance in the original 'Psycho' was terrible as he was nothing but a man there to solve a mystery while the same character in the remake is a laid back cow-boy thanks to Viggo Mortensen.
Anne Heche makes for an interesting Marion Crane and comes across as far more 'human' than Janet Leigh did.Take the amazing performances and add some surrealistic colour that is quite unique, plus some clever cinematography from Chris Doyle, Bernard Hermann's groovy score (in stereo!) and the result is a film that is creepy from an entertainment point of view and a fascinating film from an analytical point of view.The original 'Psycho' was way before it's time and it's nice to know Van Sant was able to shoot some scene's off Hitchcock's original story boards that he wasn't allowed to film in 1960.
This remake was never meant to be better than the original 'Psycho' but it was supposed to re-create something that cinema has lost these days and it pulled it off beautifully.All those people who detest this film for simply being a remake of 'Psycho' really have no idea what film making is really about and should be very pleased that Gus Van Sant didn't turn 'Psycho' into a tacky 'slasher' film.
I love the look of the film - the use of color is overly saturated and makes it look so cool (the abstract imagery during the murders really ads to the scenes).The cast all go out of their way to deliver a performance that is different to the original.
Psycho unfortunately has already had its unique qualities tarnished by Gus Van Sant and the rest of the ensemble involved in this version, makes me wish Good Will Hunting wasn't as successful so he wouldn't be commissioned to have a stab at Psycho (lovely play on words there ladies and germs).The best part of this film is the end, enough said I think.Malcolm McDowell: 'I hope i am not alive to see it' (A Clockwork Orange remake).
While Director Gus Van Sant copied Hitchcock's work shot-for-shot (with one obvious addition that seems to be way out of place and is just plain disrespectful of the original), it cannot even come close to the original.
I know remakes have been big in Hollywood for some time, but give me a break.Van Sant obviously didn't try to change anything around from Hitchcock's vision, in fact he tried to copy it exactly.
Anne Heche was ok, nothing special and Julianne Moore looked like She just came that afternoon to do the scene, completely not into film .Gus Van Sant haven't put anything new and refreshing which should happened if you are UPDATING the original.
But Van Sant was motivated, not by simple greed, but by an apparent desire to actually make a good movie and one that would compare favorably to Hitchcock's original.
I'm not sure how much thought Hitchcock put into choosing to make PSYCHO in black and white (legend has it that he did it just because it was cheaper at the time), but Van Sant makes no apparent attempt to use color effectively.
The original PSYCHO is often thought of as being a director's film, a work whose success is primarily based on Hitchcock's style.
Firstly, the remake of Psycho is not trying to improve on the original and as for those who are still wondering 'Why?', it is all made abundantly clear by Gus Van Sant on the DVD release of this film.
Van Sant pays tribute to the original film by keeping it exactly how it is and should be.So with improved acting, up to date technology, this is an interesting way of taking a modern look at a classic.
If you've never seen Psycho, well, this is a great way of experiencing it without having to accommodate for datedness.While there is some occasional cheapness due to remaking a scene exactly, for example a certain exact remake of a violent scene on a staircase seems a little fake in a 1998 film, Psycho's message makes it through, and it's definitely one to show to your younger siblings (or whoever else) whose minds aren't open enough to watch a black and white movie.Did anybody really imagine Saul Bass' opening credits to be lime green like that though?
I love this movie because it was bold and I am a lot happier Van Sant didn't take the original 'Psycho' and make some kind of 90's slasher film.
They all felt like poor imitations of the originals, with one exception: Vince Vaughn acted like he was juggling between poorly imitating Norman Bates and Rain Man. Then there's the overall feeling of the film.
Gus van Sant is a good director in several films, but why he has to go in for remakes or rehashes is beyond me - especially talking about this masterpiece by Hitchcock.
I didn't think that director Gus Van Sant was doing a good thing, remaking Hitchcock's masterpiece and one of the greatest movies ever, but after seeing it opening night, I was amazed.
While on the way to meet up with him, she checks into a remote motel run by the mysterious and mother-dominated Norman Bates (Vince Vaughn).As the story and plot were the same in this remake as in the original, it is still a movie full of suspense, intrigue and excitement.
This remake wasn't filmed in black and white which I thought added to the mood of the original movie. |
tt0466816 | Hallam Foe | Hallam Foe is a teenage loner who lives on his father's large estate near Peebles. His hobby is spying on people from his tree house. Hallam is convinced that his stepmother (Verity) is responsible for his mother's death by drowning two years earlier. Hallam's sister leaves home to attend university and it becomes clear that Verity and his father want Hallam to move on as well. Hallam initially refuses due to his suspicion of Verity, but she uses his diaries first to have sex with him and then to blackmail him into leaving. To escape his father and stepmother, Hallam travels to Edinburgh.
Upon arrival in Edinburgh, Hallam sees Kate, an administrator at the Balmoral Hotel, located in the city centre. Kate bears a striking resemblance to his late mother. He manages to persuade her to give him a job as a kitchen porter in the hotel. Hallam makes his home in the clock tower of the hotel because of its vantage point over Kate's home in a top flat, where he can spy on her. He also spies on Kate through a skylight on her roof, clambering over the roofscape to reach his vantage point.
Hallam learns that another senior hotel employee (Alasdair) is having an extra-marital affair with Kate. Alasdair then discovers Hallam's lookout in the clock tower. Hallam attempts to blackmail Alasdair with the knowledge of his adultery, but Alasdair dismisses him. Hallam retaliates by finding Alasdair's wife and child and thereby demonstrating the ability, if he wishes, to inform her of the affair, which forces Alasdair to give him back his job.
Hallam eventually works his way up to being a front-of-house porter at the hotel. On his 18th birthday, Kate invites Hallam to have a few drinks after work. Whilst drunk, Hallam reveals his continuing love for his late mother. This seems to fascinate Kate, as she "likes creepy guys". A complex relationship starts to build between Hallam and Kate from this point.
Kate first invites him home with her that night, and when she attempts to seduce him, he begins to get uncomfortable and instead they sleep in the same bed. The next day he asks her on a date and she rejects him, but later she asks him to one of the hotel rooms and they have sex.
When Hallam is watching Kate, Alasdair confronts her and begins to act violently. Hallam comes through the skylight to save her, which results in her finding out that he had been spying. She tells Alasdair to leave. She punishes Hallam by making him stand nude and explain to her why he was spying. She feels bad for him after he tells her about his mother and she lets him stay. She puts on the dress that Hallam keeps that used to be his mother's, and when Hallam sees her he cries, and they fall asleep together.
Hallam's father and stepmother track Hallam down at this time because Hallam had reported his suspicions about his mother's death to the police in Edinburgh. They track him down because his father has run up significant debts and needs to develop some of the land on the estate, but Hallam is entitled to consultation under his mother's will. Hallam refuses to co-operate due to his suspicion of Verity.
Hallam's hatred of Verity consumes him entirely, and he tries to drown her in the loch by his father's house. However, his humanity takes over and he revives her. Only at this point does his father reveal that he had made no attempt to prevent Hallam's mother from committing suicide. This revelation allows Hallam to realise that his anger is in fact with his mother for leaving him. This cathartic moment enables him to move on for the first time and we leave him happy and content walking the streets of Edinburgh. | revenge, psychological, boring, storytelling, romantic | train | wikipedia | But where the disbelief needs suspending,Jamie Bell's performance saves the day, on the emotional side through bringing tremendous depth to his character, and on the physical side by making his rooftop athleticism completely believable.
The seventeen year-old Hallam Foe (Jamie Bell) is a weird teenager that misses his mother that committed suicide, drowning in a lake nearby their house in Edinburgh after an overdose of sleeping pills.
Hallam spends his spare time peeping the locals and blames his stepmother Verity Foe (Claire Forlani), accusing her of killing his mother.
After a discussion with his father Julius Foe (Ciarán Hinds), Hallam sneaks out from his house and travels to London, where he sees Kate Breck (Sophia Myles) and becomes obsessed for her because of her resemblance with his mother.
Kate hires Hallam to work in the kitchen of the hotel where she works and they have a strange romance, while Hallam reaches his maturity through the hardest way."Hallam Foe" is a surprisingly great and stylish little movie with an original and erotic romance with Oedipus complex, obsession and voyeurism.
The enjoyable story is funny, sexy and dramatic and the characters are well developed with great performances and chemistry of Jamie Bell and Sophia Myles.
Since Hallam's (Jamie Bell) mother died two years ago, he has detached himself from life, watching (even spying) the people from a distance, going as far as breaking in and searching their closets.
Jamie bell has certainly come a long way from that little dancing boy 'Billy Elliot', although he never seems to get any older, and here he takes another challenging role as Hallam Foe. Hallam is introduced to us as he skylines onto a couple having sex near his tree house, not only is he semi-clad and wearing make-up he is sporting a rather bizarre piece of headgear made out of a badger.
Directed by David Mackenzie it really does have a sense of love for the city and its people, but its Bell and Sophia Myles (Kate), whose strange relationship forms the centre of the film, that carry the plot along.
A strong cast made for compelling viewing, particularly Sophia Myles as the object of Hallam's roving lenses, though for me it was Jamie Bell's impressive turn that made it real.
Hallam is a film about a boy who misses his dead mother and ends up striking up a relationship with a women who looks like her.
The best parts of this film is the voyeurism angle and even that seems to get lost in the shuffle and even downplayed to other aspects like a weak and unnecessary family drama in addition to a murder mystery that it seems even David Mackenzie tries to downplay and holds off as long as he can.
Jamie Bell does give a great performance as Hallam playing a somber yet energetic teenager even if he doesn't have much to work with.
The result is a film that strives hard to be a departure, but spoils its early promise.The film is about an adolescent, Hallam Foe, in a Scots upper middle-class dysfunctional family (wife recently dead, the husband having replaced her with his young English lover) on a remote Scottish estate.
The early scenes are full of an atmosphere of unknown menace and lurid danger, reminiscent of Ian MacEwan's early stories.Hallam Foe is a very unusual, oedipal adolescent, one of many young screen protagonists that seem to be the spawn of the original fictional teenage weirdo, Holden Caulfield.
But after developing a relationship with the stranger, the film becomes slack and loses interest as the plot becomes tenuous and spins off into improbability.Still, on the plus side, Hallam Foe is not bad and even quite funny, and has a real sense of place.
After various confrontations in his home town, mostly brought on by spying on the locals, he flees to London and begins a stalker type of romance with a hotel worker who looks like his deceased mother.The charm of this movie is in the witty dialog, Hallam's unexpected cleverness, and his determination to confront his own issues.
The ending is especially good, being just about what you would expect to happen in real life.There is a real overtone of romance in this movie, making it a good date film, and a couple of clever sex scenes that are graphic without being explicit: there isn't much skin on display, but what's going on is obviously no-holds-barred humping.Guys will like this film for Hallam's cleverness and determination, girls will like it for the offbeat romance, and everyone will groove to it for the quirkiness.
MISTER FOE (aka HALLAM FOE) is another dark film about buried pain and insecurities, much like director David Mackenzie's YOUNG ADAM.
Mackenzie is also responsible for the crackling screenplay adapted from the novel by Peter Jinks, the story of a young lad named Hallam (Jamie Bell) damaged by his mother's death/?suicide to the point where he separates himself from the world by living in a tree house, observing his father (Ciarán Hinds) in his too rapid replacement of Hallam's mother with the dangerous Verity (Claire Forlani).
One day he spies a woman named Kate (Sophia Myles) who greatly resembles his dead mother and he begins stalking her, spying on her in every conceivable way until he convinces her to hire him in her hotel as a kitchen porter.
The story is bizarre and very dark at times, but the performance by Jamie Bell, well accompanied by those of Hinds, Forlani, Myles et al, make this tale of coming of age fascinating.
A wonderful atmospheric film in which Jamie bell shows off his excellent emotional range - one of the highlights of this year's Edinburgh International Film festival - along with 'Saxon' and 'Control', I found this one film made me leave the cinema smiling and also with a slight tear in my eye...The settings of the City are at times breathtaking and yet also grim But that is the beauty of it - the supporting cast give us colour and the atmosphere is first rate.Highly recommended.Fiona (Ilove Brit flicks).
Troubled by his mother's death, Hallam Foe (Bell) runs away to Edinburgh where he finds a woman who looks startling like his mother The nature of Hallam Foe shows a young lad fighting an onslaught of emotions after the sudden and complicated death of his mother.
The title character is strong to lead, adds the necessary drama whilst never letting up on the controversial stalker ideology whilst never being too in your face to be a preacher.The scripting never makes you feel like you're being force fed issues and regulations like some British films do, as with East is East for example.
The opening scenes of Hallam walking around the country are splendid but the best shot comes when he is climbing the roofs of Edinburgh with his boss.What I must say is that whilst programmes such as Skins and films such as Brassed off all have relevance to real life is relative, Hallam Foe is perhaps a more established show that does not showcase its issues, and for that reason it is up there with the best British films.
But the film withholds it until the protagonist has been through what he needs to go through in order for the film to be the number of things that it is.The father is Julius (Hinds) and his son and character from which the title heralds is Hallam Foe, played with the right amount of naivety and confidence by Jaime Bell, one of Britain's more promising recent talents that has made it big in America thanks to such films like King Kong and the recent Jumper.
This embeds more distrust and, ultimately, hate within Hallam and spawns a certain sexual encounter which forces him away and onto his adventure.While the film is all those things in terms of narrative, the study is one that goes a little deeper.
He gazes at a young girl and her partner kissing and so forth in the forest at the beginning before incurring the wrath after interrupting; he shares a joke at the dinner table to do with his stepmother looking like a prostitute; he is blackmailed and seduced away by a woman much older than him and already in a relationship with his father but the biggest piece of evidence is the fact he mistakes a woman as his mother once in Edinburgh and actually falls in love with her.The girl is Kate, played by Sophia Myles.
I also felt there was something lacking between actors Jamie Bell and Sophia Myles.Still, this is decent film-making and at least an attempt to tackle an interesting subject, so worth a rental..
It won't be your liking ...Jamie Bell has a great role here, where he can play out a few things and try his acting skills.
And yet, he - Hallam Foe (aka Jamie Bell from Billy Elliot fame) - is our hero and, stranger still, we root for him.He gets in all sorts of trouble when he leaves his father and stepmother to go and live and work in Edinburgh, where he meets someone who looks like his late mother and then starts a relationship with her.The soundtrack is great and goes well with the beautiful shots of Edinburgh city from on high.
While Hallum was battling adversity & falling in love with a slightly older woman (He seemed to be about 18), Sophia Myles did everything possible in her acting to come across as the most desirable woman I have seen on film in some time.
As soon as you get onto his wavelength, though, "Mr. Foe" is involving and quite suspenseful; Edinburgh, where Hallam ends up after a few frantic scenes, seems like paradise for a teenage voyeur (another of his wee idiosyncrasies) who's not afraid of heights, with its ladders, gutters and pitched slate roofs.
We hadn't seen "Billy Elliot," so Jamie Bell was a revelation; Ciarán Hinds, as Hallam's father, is always good as a suspect authority figure ("Rome," "Game of Thrones"), and Sophia Myles and Jamie Sives are perfect as a lovely apparition and an ugly foe (with a lowercase f).
David Mackenzie's follow-up to the brilliant Young Adam wants to be a feel-good underdog story of a lonely voyeur who is trying to confront some psycho-sexual issues with his dead mother.
But strangely the film is anything but youthful.Like Young Adam this film's central mystery concerns a drowned woman- in this case Hallam's mother.
Then he gets extremely sidetracked by a girl who resembles his mother, which frustratingly leads the story away from the mystery element.While Jamie Bell does bring out some very endearing traits in his lost character, he was limited by the obviousness of his psychological needs.
a boy falls in love with a girl who looks like his mother - and the imagined murder of her mother was the interlude.well i still rate this film as watchable purely because of jamie bell's beautiful nuanced performance but for nothing else.
Jamie Bell (who I'll always associate with Billy Elliott) was phenomenal as Hallam Foe, a seventeen year old voyeur, whose mother had recently committed suicide.
Probably one of the most widely anticipated films of this year, "Hallam Foe" is a weird voyeuristic drama, a mix of whodunit, romance and family drama.There is a great level of eccentricity that completely permeates "Hallam Foe", and this generates right from the eponymous title character, in an intense yet believably rounded performance from Jamie Bell.Hallam (Bell) is a self-absorbed outsider obsessed with his dead mother who lives with his dad (Ciaran Hinds) and his stepmother (Claire Forlani) in the Scottish Highlands.
Kicked out of his house after he goes too far, he heads to Edinburgh where he gets a job as a kitchen porter, beginning a romance with his boss Kate (Sophia Myles), the spitting image of his mum...The film looks great, with some great location shooting in the Scottish Highlands and Edinburgh, complemented with a lively contemporary soundtrack.Bell is well supported by Hinds and Forlani, along with rising star Sophia Myles as the luminous Kate.
Jamie Sives as excellent as Hallam's thoroughly dislikeable love rival, and Maurice Roeves and Ewen Bremner, as his bonkers work colleagues, provide much welcome comic relief.It can feel a bit too weird for its own good and Hallam does things which would land ordinary people in jail, and it's only through Bell's sympathetic portrayal that we're warming to him, when probably we shouldn't.For anyone keen to see what all the fuss has been about, "Hallam Foe" is well worth your time..
In the end what should have been a film about a kid coming to terms with the death of his mother and growing up, it becomes a lot more: it's also a film about a weird and probably even slightly incestuous and uncomfortable love story, a nasty step mother, voyeurism, sexuality, pain, death
There's just too much in it and some of it just doesn't go anywhere.
The scene with the mother's dress at the end is rather forced and actually for the film to worked better (WATCH OUT FOR THE BIG SPOILER HERE
) Jamie Bell and Sophia Myles should have never had sex (another scene that really sticks out as uncomfortable is the one where the two of them name their private parts
When you see it, you'll know what I mean).
Anyway, to round it all up: "Hallam Foe" is an OK film, lifted from the bag mediocrity where most films lay these days by Jamie's performance and some lovely moments throughout which are genuinely inspired and original and make you want to forget the (several) other bad bits.
Hallam Foe(Jamie Bell) hates his new stepmom, but it doesn't stop him from doing her, in a tree-house, no less.
At times, "Hallam Foe" suggests what "Back to the Future" would look like if Alfred Hitchcock directed it.
Since Hallum eventually beds Kate, the sight of the mother's double having rough sex with another man would seem to indicate that his covert witnessing triggered a feeling of longing that's both romantic, and parental.In the film's most pivotal scene, "Hallam Foe" evokes Hitchcock's "Vertigo" when Kate wears the dress of Hallam's dead mother.
By going after the stepmother instead of the father, "Hallum Foe" never fully commits to the idea that the boy thinks Kate is his dead mother.
Hallam leaps gaily from rooftop to rooftop, obsessively following Kate (Sophia Myles), a complete stranger that he believes resembles his mother.
The psychology being, if you need instant intelligence and charisma to fulfil the oedipal complex of a movie script, it will suddenly appear.Now Hallam Foe is not an awful film: it just isn't very good.
Jamie Bell looks like he's enjoying being Grown Up, but otherwise he seems to think he is so good that just saying the lines will make him great.
Probably David Mackenzie's best movie since 2002's weird and wonderful, not to mention kind of shocking, "The Last Great Wilderness".Jamie Bell (never better, not even in "Billy Elliott") plays Hallam Foe. Living in the Scottish Borders, Hallam is a rebel.
Both Jamie Bell, as Hallam, a physically attractive voyeur/creep, and Sophia Myles, as Kate, his kinky partner in sex and fantasy romance, are convincing.
As he walks through the city the camera films the understanding on his face; first it's miserable and childish, then it goes up and you see a new Hallam, a clear and beautiful character development.That is why this movie is good.
Seventeen year-old Hallam Foe is a weird teenager that misses his mother, who committed suicide, drowning in a lake nearby their house in Edinburgh after an overdose of sleeping pills.
Hallam spends his spare time peeping at the locals and blames his stepmother Verity Foe, accusing her of killing his mother.
After a discussion with his father Julius Foe, Hallam sneaks out from his house and travels to Edinburgh, where he sees Kate Breck and becomes obsessed with her because of her resemblance to his mother.
Yes, it's very impressive to look at, and the performances are great, but it concentrates too much on the mother fixation to convince us that this is some kind of psychedelic coming of age movie, or the Anti-Ferris Beuller if you would.It's not very nice to watch in some scenes, and it has a downbeat feel all the way through, But Bell and Miles put some much needed human elements into it, thanks to their decidedly weird relationship.The soundtrack is absolutely amazing, and just about saves the film, but it doesn't really make a lot of sense unfortunately, it's just a film about a boy who cannot forget about his mother, tries to get away from it, finds a woman who looks like his mother, watches her have sex, and in the last minute of the film decides not to dwell and find himself instead.A bit bland to be honest..
Hallam Foe tells us the story about a boy who lost his mother and experiences some sort of Oedepus complex afterward.It is something like 95 minutes long but would be better in ten.
Good Date Movie And Another Excellent Performance By Jamie Bell.
There, that is the best thing a critic can say to get guys to see a film, and I don't think I am wrong in that assessment, although a description of the film will not really be of much help.Mister Foe stars Jamie Bell (Billy Elliot) as the title character named Hallam.
It is jealousy at first sight and soon becomes a sort of oneupmanship like game between the two guys about who can become more important to Kate.Of course, the psychological motives for Hallam are Oedipal and sexual and his knee- jerk male attempt at dominating a woman and marking out his territory alludes to other flaws in his character, but you can't help but get involved in the story although it may be hard to explain to your friends why they should watch a film about dysfunctional Scottish people.I can only say it is because of the charm of the actors. |
tt1116182 | Affinity | Affinity is a beautifully shot costume drama set in Victorian England. Like Tipping the Velvet and Fingersmith, it has a lesbian romance at the heart of a tale that explores the underside of "proper" society. With a gloomy prison setting and a host of supernatural undertones, the movie carries a darker tone and creepier setting than the previous two works, but is consistent with the mood of the novel it is based on.The film centers on Margaret (Anna Madeley), a wealthy young woman suffering from depression after the death of her father and the rejection of her best friend and former lover who's gone and married her brother. Searching for a new way to get through her days, she signs up to become a "lady visitor" at a bleak women's prison, Millbank.A mysterious girl named Selina (Zoe Tapper) soon catches her eye. Selina claims to be a spirit medium a person who channels spirits and the souls of the dead. She's also serving a long sentence after being convicted for murder, but she claims the murder was the work of one particularly strong and malicious spirit called Peter Quick.At first, Margaret doesn't know what to think about Selina's mystical leanings, but after a few close encounters of her own (including a physical "manifestation" that's impossible to ignore), she begins to believe. After an initial curiosity and attraction, their relationship builds slowly through Margaret's many visits, and her reservations begin to melt away. She becomes obsessed with her mysterious friend, and the pair begins to bristle under the watchful eyes of the prison guards, particularly the head matron, who suspects that the two women are "sweet on" each other.Outside of Millbank, Margaret falls deeper and deeper under Selina's spell and begins to investigate Selina's murky history. Her family and friends tolerate her bizarre new interests to a point, but everyone would prefer that she marry and settle down as soon as possible.Margaret, of course, has other plans involving Selina and the supernatural. In many ways, Margaret is as much a prisoner in her own life, dictated by gender rules and societal expectations, as Selina is in her physical cell. | romantic | train | imdb | I am very disappointed that there where a lot of very low ratings for this movie by a good number of people.
Personally I found that the movie was very captivating, and it made me want to understand better what was exactly happening all along.
The costumes where marvelous, and the twist at the end (although I expected something similar, because it almost always happens in these kind of movies) was very good.
It is a very good drama, however only for people that know how to appreciate it.
People who like a lot of action, and not understanding will not appreciate it as much..
I read the novel first, and was so glued to it that i got through it in the matter of a weekend.
when i went to see the film i was not expecting to be as impressed as i was through reading it, but this adaptation is as magical as the novel and did it the justice it deserved.
it is they type of film that can be watched time and time again without losing its appeal.
i would recommend it to anyone, regardless of whether they like period dramas or not, because it is not the average period drama - it is a film that transcends time, and will reach some part of every person.
personally i would go and watch it innumerable times if i could, and cannot wait for the release of the DVD..
I decided to stay up and watch Affinity due to being " a gripping dramatisation" and "full of feints and foreboding" as promised by this weeks RadioTimes Magazine....I can say without hesitation that I was not disappointed.The story was powerful and full of human emotion.
I felt that Zoe Tapper who plays the women's prison inmate/spiritualist Selina Dawes and Anna Madeley as upper-class lady Magaret who together form a bond of strange depths are absolutely fantastic as their characters.
Full of emotion, foreboding and uncertainty until the very end.
Nothing can prepare you for the final twist.I have never read the book unlike the previous reviewer and to be honest I am not sure I am going to now because I would not want it to change the impression I was left with following the film....so powerful I dreamt of it the same night.Watch it or you really are missing out.Richard.
Having just read the book, I was really looking forward to the film adaptation.What a disappointment.
The film felt extremely rushed, with no development of the characters.
I did not for one minute believe the "affinity" between Selena and Margaret and so, consequently, felt nothing about the ending.
More time should have been spent showing the relationship between Margaret and her family members, for instance.
And more emphasis on Selena's previous life and Peter Quick.
And, lastly, more about that awful prison and what the women had to endure.Read the book if you want "the real deal" and to be suspended in excitement, suspense and terrific writing!.
A huge let-down..
Affinity was the television low point of Christmas 2008.
Everything seemed wrong - the men's facial hair, the extras' wooden street-walking, the dreadful music, the sheer repetitiveness (we turned it into a drinking game: one finger for 'walks nervously through prison gates', two fingers for 'walks nervously into cell'; we all got very drunk.) I loathe wobbly-cam shots, trying to watch characters as they bounce around the screen in a haphazard fashion, but occasionally, it can be bearable - Bourne, for instance.
'Affinity' was not the place for wobbly-cams, especially when they are mixed - seemingly at random - with steady shots.
When is affinity real?.
This is another superb film directed by Tim Fywell, based on a novel by Sarah Waters and with a script by the noted Andrew Davies.
The film is dominated by a superb central performance by the young actress Anna Madeley.
It is an eerie tale set in Victorian London, and the directing and art direction are a bit high Gothic intentionally, to heighten the sense of the supernatural.
For me, the high point was a personal one, for it featured one of the last film performances of my old friend Domini Blythe, who died not long afterwards of cancer.
The first time I met Domini, John Hurt and I were in the Flask pub across from his little house in Flask Walk in Hampstead.
Then an amazingly beautiful girl entered the pub, in search of a cold beer for herself.
We got her name out of her, but John was otherwise getting nowhere and so I decided to try a chat line of asking her if she were related to Blythe the stage hypnotist, and said I was fascinated by his technique of being able to exercise mind control by speaking through a loudspeaker attached to a large balloon which he floated above crowds of people outdoors.
When Domini realized I knew of and appreciated her grandfather (her father was Peter Blythe the actor), she instantly made me a blood-brother, and she fastened her magnetic eyes on me and began speaking to me in her low, sultry, mesmerising tones so that I was quickly entranced.
She would make me stand in the middle of a room, preferably with an audience of friends, and she would slither over my shoulder, down my back, under my arms, under my legs, and eventually come to rest on my shoulders, hanging her down down in front of my chest and look up at me with a penetrating hypnotic gaze.
She went on a long Shakespeare tour of Canada and didn't come back, so we were out of touch for many years.
In the last months of her life, as she was desperately ill, my wife and I exchanged loving emails with her, having by chance discovered how to contact her.
Her brother told us how much it meant to her that her old friends had not forgotten her, and it gave her some comfort in her last days.
Another actress in this film who was also near the end of her life and would die of cancer at practically the same time as Domini is Anna Massey.
I did not know her nearly as well as I could have wished, but she was one of the most fascinating women in London.
If you wanted real conversation, then going to her house and talking to her and her scientist husband Uri could not be bettered.
She kept it on inconspicuous display in her sitting room at the front of the house.
She told me to look at it more closely.
Probably it was the only such specimen in London apart from the Natural History Museum's mineral collection.
Anna Madeley, however, remains, now has 41 credits, and was even in A FANTASTIC FEAR OF EVERYTHING (2012, see my review), part of which was shot in my office.
The other young female lead in the film is Zoe Tapper, whose treacherous allure is enough to lead many astray, which is what happens to poor Anna Madeley.
For this film is about spirits, séances, lies, treachery, crime, redemption, and girls liking girls.
And watch out for Peter Quick!
Oh yes, there is the comforting and soothing presence of Anne Reid as Mrs. Brink in the film, who seems prepared to reach out of the screen and wipe any anxious brow..
This film is a must for fans of costume drama, which the British do so well.
I don't want to give away too much of the storyline but basically it centres on the main character (a middle class spinster) and her relationship with one of the prisoners that she visits during her 'project'.
I was glued to it all the way through and you feel 'drawn in' to film.
There was a very good twist of the plot at the end which I certainly didn't see coming!
A definite one for the girls - not sure guys would be so enthusiastic, although (without giving too much away) they may be interested in the developing 'friendship' of the two women!.
Affinity.
No doubt this is definitely not the best movie adopted from Sarah Waters' works, as far as I'm concerned.
I kind of like this dramatic plot but strongly detest the false ending.Similar to Fingersmith, Affinity is a story of skin game.
The swindler commits her scheme successfully through all the lies and deceptions.
But there's no winner in Sarah Waters' stories.
Huge price is paid.
The conspiracy costs too much, purity, clear conscience, and maybe more.The victim of Affinity, Margaret, was at the tragic focus.
Her secret lesbian lover, Helen, betrayed her and it made things even worse that Helen married her brother and made herself Margaret's sister-in-all.
The only consolation left to Margaret was a strand of hair in her necklace lock.
But the movie generously provides scenes to support her claim of innocence.
Margaret devoted her curiosity, compassion, and finally her affection to this so-called affinity, which turns out to be beguilement in disguise.Celina fled away with her real partner Vigers in a ship while Margaret committed suicide by drowning herself in the river.
The ending would be prefect if it just stopped here or at most with Celina's inexplicable tear drops.
The illusionary intimacy in water and Celina unquenchable grief which aroused Vigers' strong reproof "Remember whose girl you are" are really too much.Is the affinity between them real or just a lie?
I would like to make it unknown if I were the film director, because it is unknown.
Who could tell for sure that Margaret killed herself out of nothing else but losing her one love of lifetime?
She was desperate, when she was cheated for the second time, when she was given the last straw and taken away immediately after, when she lost everything she had, her money, her wooer, her hope for a brand new life.
I cannot deny that she had a crush on Celina, but was it true love without any impurity?
And as to the adorable puppet and great performer, Celina, who knows who her real affinity was?
They were far away from affinity, not even close.I haven't read this original novel yet so that I don't know whose idea it is to fake or at least exaggerate their love in the end.
Sarah Waters, probably.
Maybe that's true that she worked out Fingersmith years later to compensate the sadness of this tragedy.
It's a much better work.Most of Sarah Waters' protagonists are lesbians.
But I think she's intended to tell more than homoerotism.
Sarah Waters makes her novels a stage, to reveal their, or to be more accurately, our life, love, desire, solitude, and the darkness in the deepest of our hearts.
Lesbians are the representatives rather than all her subjects.As one of the woman audience, I've seen myself mirrored in her work, more or less.
I even cannot tell for sure whether there's something like that in her creations or in this world.
But one thing is certain that Sarah Waters tells us through her stories: Affinity may not find us some way out.
A shame about the ending....
I checked the IMDb rating of this film before watching it.
But as I subsequently watched it, I found myself more and more surprised at this low rating, because this was well-produced and well-acted and would probably, I thought, get a 7 from me, at the very least.
The plot was intriguing and exciting and understated in an appealing way.
Which is why the nonsensical ending was so disappointing.I haven't read the book, but I understand I have the exact same problem with the film's ending (different from the book's) as do those who've read it.
It's a common theme in stories of the supernatural that it is eventually revealed to be a hoax (Dean R.
Koontz, anyone?), so while it was not surprising, it would have been a great deal more refreshing if it had turned out to be real.
The very core of the plot, the whole concept and the entire point was deception.
Hence the story undermined its own plot by having Selina nurture regrets and have feelings for Margaret after all.
Because Selina and Vigers could only have pulled something like that off if they were really, really committed to these fraudulent schemes, and worked together with complete trust between them.
Therefore Selina's regrets just don't make sense.The story, at the end, in my opinion, should have focused on the relationship and genuine feelings between Selina and Ruth Vigers, which would *actually* have made this into a proper love story after all - except of course for the a bit more than slightly silly fact that they were lesbian rapists (uh - a bit of a stretch in any case) and thus the bad guys.
But I could actually have looked beyond this because of the era in which it took place; an era where lesbians could not openly live out their heartfelt lifestyle, but had to find very alternative and creative ways of doing so.Anyway, the "spirit rapes" being their chief motivation made the whole plot rather dumb, and after that revelation how on earth are we supposed to care for these characters?
A very tragic yet powering story!.
I really enjoyed the movie but it was rather sad y'know.
It would give you great shocks like the pauper Selina Dawes betraying her lover Margaret Prior who is an aristocrat.
Then Margaret committing suicide in the end because of the betrayal and the fact, her family wasn't very supportive with her choices.
I felt like I would give the mother a slap across the face, she was such a horrible vile woman to her daughter!
The brother wasn't even a help either, he just thought he could own everything the family owns!
He was pure selfish too!The movie also makes you angry too for the people that hurt Margaret.
I thought that Selina one was better then that.
She was such a cow, I'll never get over the fact she just took everything belonging to Margaret!Very good story which reflects life during the 1800's, well done BBC!.
Disappointing till the last moment.
I tremendously enjoyed Tipping the Velvet and Fingersmith and I was looking forward to another adaptation of Sarah Waters' novels.
Affinity, unfortunately, did not deliver.The storytelling felt a little bit rushed and I constantly had the feeling of missing important plot elements.
At times, I was sorry for not reading the book before watching the movie.I did not quite like the acting of Zoe Tapper and I could not relate to her character.
The final "twist" was not a twist at all for me, as I was telling myself since halfway into the movie that Selina is a scam and is into Margaret just to get herself out of the prison.The character of Margaret Prior almost negated my suspension of disbelief, as I tried to understand her infatuation with Selina, and failed.
The filmmakers did not offer me enough reasons for a love story, enough reasons to care for this woman's feelings.Only watch this if you're a fan of Sarah Waters..
Very slow-moving Victorian/Edwardian style melodrama about a high-strung Jodie Foster type who, after her father dies, begins to pay visits to a women's prison with the intention of helping the inmates.
Instead, she -- on the rebound from an affair with a girlfriend who has recently married her brother -- falls head over heels for a young woman who claims to be clairvoyant but clearly is a charlatan.
The first half of this TV movie plays like a Henry James story, such as TURN OF THE SCREW.
And like any modern thriller, it includes a twist ending.
I suspect the average American will not be able to sit through the whole thing.
Impressionable types of the British persuasion are, I suspect, likely to be its best audience.
By the way, a quick-cut scene at the very beginning betrays the ending, so beware..
A British Historical Film in the Mode of the Lifetime Channel.
Set in the rigid social environment of Victorian England, "Affinity" tells the fascinating story of Miss Margaret Prior, whose repressed life is awakened when plays the role of the altruistic visits a women's penitentiary.
When she fatefully counsels a spiritualist found guilty of crimes of abuse in her seances, Miss Prior finds herself enmeshed with the sensitive young woman named Selina Dawes.The film successfully juxtaposes the physical prison where Miss Dawes is incarcerated with the highbrow prison of Miss Prior's upper-class home, where she is misunderstood and made to feel like a pariah.
The truth about Miss Prior's predicament is slowly revealed when we learn that she had a deep physical and emotional attachment to Helen, who broke off the relationship to marry Miss Prior's brother.
Helen then "buried" her past attachment to Margaret, who still feels the emotional trauma of the loss.The inmate Selina Dawes is perceptive is immediately recognizing Margaret's vulnerability.
She slowly leads Margaret on, claiming that "You are my affinity!" Margaret buys into the outward expression of Selena's expression of love, setting herself up for the big fall.One of the most interesting characters is Margaret's maid named Ruth Vigers.
Miss Vigers breaks up an attempted rape, rescuing Margaret from the clutches of a male suitor.
But Miss Vigers is playing a dangerous game that will not be revealed until the end of the film.There were times when this interesting historical drama loaded with insights into gender lapsed into (intentional?) comedy.
The flashback scenes of the seances conducted by Selena and her associate named Peter Quick were outlandish, especially when Selena began roaring like a lion in a masculine voice.What began as a straightforward British period drama evolved into high camp with the over-the-top lion's roar.
The film blended styles of Downtown Abbey, grand guignol, and Lifetime Channel melodrama in an entertaining costume piece.
In the end, the character who truly steals the show is Miss Vigers. |
tt0319970 | Carrie | Several people are being interviewed in a police station, including a high school student, Sue Snell (Kandyse McClure) and gym teacher Miss Desjarden (Rena Sofer). Detective John Mulcahey (David Keith) is investigating the disappearance of high school student Carrie White (Angela Bettis). These interviews are interspersed with flashbacks to previous events.
The film then features a flashback of two weeks before the prom at Ewen High School. Carrie is a shy and withdrawn girl tormented by the popular girls; Christine "Chris" Hargensen (Emilie De Ravin) and Tina Blake (Katharine Isabelle) are especially vicious. After gym class, Carrie has her first period in the shower, and she panics. The other girls swarm the shower and taunt her. Hearing the commotion, Ms. Desjarden comes into the shower, and comforts Carrie as a light bulb shatters above them. Later, Principal Morton (Laurie Murdoch) decides to send Carrie home, but calls Carrie the wrong name (he calls her "Cassie", instead of "Carrie.") Carrie corrects him repeatedly, finally yelling as his desk suddenly moves several inches. As Carrie gathers her belongings to leave, she is the victim of a practical joke at her locker, where the words "plug it up" are written on her locker door and when she opens the door, tampons fall out and onto the floor. On her way home, Carrie is accosted by a boy on a bicycle, whose joke goes wrong when he seemingly flies off his bike and crashes into a tree. When she reaches home, Carrie has a flashback to her own childhood before entering the house. Carrie's fanatically religious mother, Margaret White (Patricia Clarkson), who considers menstruation a sign of sexual sin, locks Carrie in her "prayer closet" as punishment.
The next day, Ms. Desjarden gives the girls a week's detention for their bullying. If they skip the detention, they face suspension and refusal of their prom tickets. Chris storms out in protest. After Chris' father John Hargensen, a lawyer, unsuccessfully attempts to get her prom ban rescinded, Chris enlists her boyfriend Billy Nolan to get revenge on Carrie. Meanwhile, Carrie discovers she has telekinesis, the ability to move or control objects with her mind. Carrie has a telekinetic episode in class and, when she goes home, practices her rediscovered talent. Sue, trying to atone for tormenting Carrie, asks her boyfriend, Tommy Ross (Tobias Mehler), to take Carrie to the prom. After some hesitation, Carrie agrees. When Carrie tells her mother about the prom invitation, Margaret forbids her to go; Carrie uses her powers to finally confront her mother, and Margaret seemingly gives in.
As prom night approaches, Chris and Billy prepare their revenge on Carrie when they find out that Carrie is on the Prom Queen ballot. On the day of the prom, Tina switches the ballots, and Carrie and Tommy are declared the Prom King and Queen winners. As Tommy and Carrie take their place onstage, Chris, who has been hiding with Billy in the rafters, pulls a rope to tip a bucket, sending a wave of blood onto Carrie. Chris and Billy run; when Chris releases the rope, the bucket falls on Tommy's head, knocking him out. Carrie goes into a shock-induced trance and telekinetic mayhem ensues. She locks everyone inside the gym and sets fire to it. She kills Tina by crushing her, and then electrocutes most of the remaining students, including Roy and Helen, killing everyone except for a few students, including Norma, who escape through a vent with Ms. Desjarden. Carrie then leaves the burning gym, unleashing a wave of destruction in the entire town. Chris and Billy see her walking in the road. Billy tries to run her down but Carrie tosses their truck into a pole, thus killing them.
When Carrie arrives home, she gets into a bathtub, where she finally snaps back to herself but cannot remember what happened. Margaret comes into the bathroom and calls her a witch for destroying the whole town; she then drowns Carrie in the tub. With her last ounce of strength Carrie stops her mother's heart. Sue finds Carrie near death and manages to revive Carrie with artificial respiration. At Sue's suggestion, Carrie fakes her death and Sue sneaks Carrie out of town to Florida. As the two drive off, Carrie has a nightmarish vision of her mother. When Carrie wakes, she looks at Sue and hallucinates Chris lunging at her. Noticing this, Sue asks her if she wants to stop for a moment, but Carrie tells her to keep driving. | paranormal, revenge, gothic, prank | train | wikipedia | For some strange reason, during the prom scene where the blood is poured on Carrie, I was actually waiting to hear the famous line, "They're all gonna laugh at you!" That was such a nice touch in the original, but very difficult to duplicate.
Overall this movie was enjoyable to watch and to see a classic book and film come back.
It seems to make as much sense to remake a great movie like Brian DePalma's 1976 horror/suspense masterpiece CARRIE for television as it did to make a sequel of it in the form of THE RAGE: CARRIE 2 three years before, but that's what has been done.
A lot of bells and whistles have been added to this television remake, but in the end this CARRIE is still in the shadow of the DePalma original.Angela Bettis (GIRL INTERRUPTED) has the unenviable task of stepping into the shoes (and the prom dress) of Sissy Spacek in the title role of a New England teen tortured at school by cruel classmates (because she doesn't belong) and at home by her religiously fanatical mother (Patricia Clarkson, in the Piper Laurie role).
Soon, she discovers she has telekinetic powers; and when the most gruesome of gags is played on her on prom night, all bets are off.Though looking much more glazed in the eyes than Spacek ever did, Bettis gives a fairly good performance as Carrie; and Clarkson's portrayal of her uprighteous mother is much more low-key, but no less threatening, than Laurie's portrayal.
Because of DePalma's use of slow-motion in the original, the blood hits Spacek like a tidal wave.I give the CARRIE remake a '6' just for trying.
To state that this new version of Carrie doesn't remotely compare with the original horror classic is to belabor the obvious, so I will leave that issue aside.However, I expected this movie to be simply garbage, like the recent "Rose Red", or dull and mediocre, like the TV remake of The Shining, and surprisingly, it was better than that.Making a remake of a classic film is usually inadvisable, but under the circumstances, this was an honest and decent rendition of Carrie.
Still, if you can ignore that....Overall I really enjoyed this telemovie and would recommend it to anyone who wants a bit of a scare and to be entertained, and notI'll probably be burned at the stake for this too, but I preferred Angela Bettis charactisation of Carrie to Sissy Spaceks in the original..
All in all I thought the remake of Carrie wasn't as classic as the original, but was more according to the book and they picked the characters well.
I like that it has more dimensions than Brian Deplama's characterization of Carrie's mom in the original film.Rena Sofer (TV's ED) is also very good as Carrie's tough as nails gym teacher, one of Carrie's only supporters.
The only horror and the terrible thing is that I've spent more then 2 hours on this crap.I saw that there is going to be "Carrie" on TV so I was happy to see one great movie again.I didn't read what version of "Carrie" this was and that was my mistake.But what a hell I decided to take a look.That was my second mistake.Truly stupid and poor try to be better then the original.How did they even come up with that thought of making this movie?With what?Actors,director?Actors-who are they?They are not good and Angela Bettis irritates me.Nothing,I assure you nothing to be seen in this one.Only stupid b-TV movie.1/10.
The original "Carrie" will forever remain one of the greatest horror films of all time, possessing two phenomenal performances and a talented director at the apex of his career, combining the stylistic flourishes of Hitchcock and Argento with amazing results.
Yet expanding on the original might not sound like such a bad idea, particularly taking into account that the sequence, present in the novel, where Carrie destroys the whole town could not be filmed by De Palma for budgetary reasons.
"Carrie" is not a terrible remake, but it isn't a particularly good one either, so unless you're a Bettis fan just rent the original again or even the sequel, which isn't looking all that bad right about now..
This was the question facing the 2002 television version of "Carrie" and is the question currently facing the brand new, Chloe Moretz-starring remake.So, do the performances justify the film?
It's a very good performance from a great actress.Patricia Clarkson also goes in a very different direction from what Piper Laurie did in the original.
Carrie still gets her period in the girl's changing room, freaks out, discovers her powers, faces her religious fanatic mother, gets invited to the prom by Tommy Ross, has pig's blood dumped on her, goes nuts and kills a lot of people.
If you've read the book, you know that Carrie isn't as cute as in the 70's version, her mother is way more crazy ...
The actress delivers the character of Carrie superb, and sometimes better than Sissy Spacek (I am going to get so much sh*t from "real" horror fans for saying that).
It's inevitable to think of Brian DePalma's original scarefest with the Oscar nominated Sissy Spacek and Piper Laurie; but if we take this made for TV movie on its own merits and try not to compare it, we may find it's a pretty good movie.
The production values for a TV movie are very good, even if some of the CGI effects look a little forced, but director David Carson gives us the portrait of a lonely girl who just wants to fit in, and whose retaliation on a sad bunch of spoiled brats is carried to the extreme.
Patricia Clarkson's understated performance as Margaret White is just as chilling as the over the top fanaticism of Piper Laurie; Tobias Mehler is a likable and hunky Tommy; Rena Sofer brings a lot of punch to her role as the gym teacher; Katherine Isabelle (Ginger Snaps) is a bitchy Tina, and the young lady who plays Chris (didn't catch her name, but she's currently on the hit series LOST) is also effectively sinister.
Like "Dawn of the Dead", the original "Carrie" story is so good that generally faithful remakes like this are still entertaining even if they are not equal to the original De Palma film.
But most 2002 viewers watched this thing on 19-inch standard definition televisions where these differences are barely detectable.Both the original and the remake stay "generally" faithful to the Stephen King novel so long-time fans will have little to cringe about.
On the minus side, the original ending is altered (extended) in a totally contrived way to keep things open for a future television series (maybe Carrie finds her "Tru Calling") for which the producers ultimately could not find adequate financing.Angela Bettis' "Carrie" is virtually identical to the Sissy Spacek version.
This is no surprise since Laurie's performance was the best thing about the original but Clarkson's repressed version of the character takes away from the sympathy factor Bettis is going for.
The dialogue is almost exactly the same, except for a few added and deleted scenes.Bettis does a nice job as Carrie; that was the only thing that surprised me about this movie.
As for the sports teacher, she was the worst of the lot and would probably be more at home on the set of 'Baywatch'.This is a weak, boring film with a happier ending than the original, of which left me open-mouth with shock, sadness and wonder...this versions nice ending left me feeling a bit p***ed off and angry that I had wasted my time watching it.
The special FX are weak, the characterizations cold, and the whole movie is quite inferior.The only real highlights come from star Angela Bettis (who was so good in the film May 2003) and supporting actors David Keith and Rena Sofer.Definitely one of the lesser horror remakes of late.* 1/2 out of ****.
Also this Carrie, as scenes in it that are not in the original, but in the book, as well as making the death of the mother less symbolic, and more what Stephen King himself wrote.
One of the things about this movie that made me feel bad was that Carrie (Angela Bettis) got picked on.
For those who can't handle reading the book, at least see the original movie to find out how horror was (and should always be) created on film when there were competent directors in Hollywood..
Not meteors.MUCH of the dialogue in this movie, during crucial scenes makes you feel Deja Vu; lines that were lifted from the book are understandable, but much of it just feels like you're watching a modernized version of the movie, most notably during Miss Desjardin's speaking to the girls about whether or not "any of them ever stop to think?" The bit about the color of Carrie's prom dress ("I might've known it would be red") in the original movie was a mistake, where the dress used was pink, and the script called for red.
This happens lots of times throughout the movie.During the prom scene, Carrie misunderstands much of the slang and jargon of 2002, because she's sheltered, which worked nicely, only I don't think it was handled properly.
Her initial telepathic acts seem almost like she KNEW she was making them, and making them out of anger, rather than the frustration I think she would've felt.I did enjoy the nonchalance with Margaret White (Patricia Clarkson) assaults her daughter, but for the most part she just came off to me as generally very weak and that made Carrie feeling threatened by her harder to swallow.Emilie de Ravin was cast as Chris Hargensen because Julia Stiles either wasn't available or knew better than to take the role.
However, I think she did the best she could under the circumstances, and I liked the exchange between Miss Desjardin, Principle Morton, and Mr. Hargensen.The special effects during the prom scene are good, and the "delay" on the climax was cute, but everything else felt like a waste of time -- not to mention the movie's 180 minute running time.
There were better ways to go about the ending..in fact, Stephen King, if you've heard of him, wrote a great one in the book this movie is based on.So, two stars out of five, I guess.
Angela Bettis gives an off-putting titular performance that plays more like a parade of acting tics than a character, while Patricia Clarkson conversely underplays her role as Carrie's mother and neutralizes the character's menace in the process.
I already know the story of Carrie, but I'm really surprised how much I enjoyed this remake of the horror '76 classic.
The movie has a good editing, camera-work and special effects, but the only problem is that Angela Bettis was too much old for the role.
There are few remakes that are better than the original.Now to remake a King it has to be a reason.The original CARRIE was a new brand of horror,but it didn't have everything from the book,which you would except,yet it's still was good.Now this is what a Stephen King fan was waiting for....CARRIE.This is the book, but a live action pop up version.
Angela Bettis turn as CARRIE was amazing and brilliant,she also looked beautiful.Patrica Clarkson turn as the mother was more sick and abusive than Piper Laurie.Rena Sofer took the role of Sue and made it her own.Both her and Amy Irving played Sue good in each version.Kandyse McClure made Miss Collins a badass and I loved it.And she kinda looks like Demi Moore.Emilie de Ravin made Chris more of a bitch than evil.Katharine Isabelle played Norma a bitch and look like one,but a hot one at that.Tobias Mehler didn't have the sex appeal as John Travolta have,but made Billy's role more creepy and bad boyish,just like in the book.David Keith might be new to the film,not in the book,and made the film more interesting,like the book.
If you prefer a true adaptation and like reality TV, this here, the 2002 version of Carrie by David Carson might be the better one for you.In the end I wish that some of the production costs squandered on this unnecessary remake would have been used to realize something new and original..
Brian De Palma's "Carrie" was a good yet often emotionally icy adaptation of Stephen King's novel of high school hell (and too often surrendered itself to style over substance, from the obnoxiously 'symbolic' kitchen-utensil crucifixion of Piper Laurie to the long tracking shots of the rope attached to the bucket of pig's blood, etc.); in 1999, a sequel (but really just a thinly disguised remake in and of itself) was released, that updated the situations and characters to a self-absorbed teen culture, with its emphasis on style and discrimination.
She is very good at playing misfits who are sweet, innocent and DEADLY!!!And I'd heard a lot of people criticize this TV remake of the Sissy Spacek film.
This longer version is more true to the original intent of the story for many reasons; one of the most important is by having the kids portrayed by teenage actors.And you get a much more complex perspective of the mother and the relationship between Carrie and Margaret.
Rena Sofer's gym teacher fares better as the sympathetic gym teacher, but Kandyse McClure's "Sue Snell" (Carrie's fellow student who farms her boyfriend out for a prom date) has a mysterious agenda throughout the movie (which is told as a flashback), missing out on DePalma's luminous Amy Irving, whose shame, guilt and compassion fueled the sad tale.
I really liked this film,the prom scene was awesome,the effects were really really bad but it's a TV movie so that's reasonable.
NBC's "CARRIE" remake was a pretty good modernization of the Stephen King story.
Over all this film certainly isn't the original, but it is worth watching for the next generation of "CARRIE" fans..
I'm sure that Stephen King's book didn't deal with interracial relationships in high school, and not that it isn't ok, but I don't think that adding politically correctness to this "movie" afterwards adds anything at all to the original's message.
For me, Piper Laurie was the ultimate Mrs. White, and I don't care how many times this movie is remade, she gets my vote, hands down.One more note -- this Carrie didn't win any sympathy votes with me, but Sissy Spacek sure did.See the original, and forget that this one was ever made..
The original version of Carrie was a great movie.
Carrie does stuff that NEVER happens in the book or the original movie.
I know ALOT of people are going to hate this movie, but give it a chance, because it really is worth at least a look.The original Carrie is a classic but it is dated and I thought this Carrie was more in the "now" which I liked very much!It was more faithful to the book and another thing that I thought was better about this one was the bullies who picked on Carrie.
Most of this played out like a first dress rehearsal for a high school play, and to call it "wooden" would only insult a fine building material with things this production sadly lacked: texture, strength, beauty, etc.Apparently the amateurs who put this together could think of nothing better than to follow the original script with lesser performances, add a few computer-aided crash scenes, and then come up with the stupidest ending one could imagine.
Ed. teacher Rita Desjarden, Kandyse McClure re-invented a colored version of Amy Irving's original Sue Snell character and Angela Bettis, though she is no Sissy Spacek, brought a very unique version of the Carrie White character to life.
What sets this version apart,and in some ways makes it better than the original 1976 movie,is it's presentation.
(Only Nolan and his pack of idiots, who didn't know what the pigs blood was for, were in on it.) Angela Bettis who played "Carrie" looked like she was having an epileptic fit half the time.
I had not read the original novel by Stephen King and was told that the movie would appeal to me more if only I took the time to read the book.
I feel that there is no better Carrie than Sissy Spacek, and if a director really needs money, then please remake a bad movie.
The biggest being that even the DePalma film left out a lot of stuff from the book so I looked forward to this remake to see what they did but nothing done here can equal the original and to make matters worse we get a new ending here, which is just downright horrid.
The acting wasn't as good as it was in the original, the story is tweaked in ways that hurt this movie not help it, and it feels like a "Made for T.V" movie at times.4/10.
Having seen the 76 version and being a bit disappointed, I was curious to see what this was like.The movie is completely faithful to the book and all the better for it....with the exception of the very end which looks like it was intended to promote a spin off series.I can only recommend that people see it, I know there is another remake due in 2013, but that looks like it is financially driven in terms of making good box office returns.
Carrie's mother's death was more elaborate in the original Plus the prom scene was better too.
The only thing i give it a FAIR rating is because Angela Bettis plays Carrie very well, she performs almost like Sissy Spacek did.
I was half-way through the movie, when I realized that it was, subtly, better.I also did not want to like Angela Bettis as Carrie White.
Maybe because I read the book before I saw the original, but this feels more like an expansion of the 76 film than a remake. |
tt0810951 | Look | The film follows several intertwining narratives as the security cameras watch over the characters in several different areas: a gas station, a high school, a mall and an office building. The storylines progress over the course of one week and many of the characters end up interacting with each other in the course of their lives.Tony, a manager at a housewares store at a local Los Angeles shopping mall, openly flirts and touches several of his female co-workers. He is seen having sex with one woman, Lydia, in the warehouse space of the store. A day later, Lydia eventually hears from one co-worker, Naomi, that Tony has had sex with her as well. When confronted, Tony tries to twist the conversation around, citing that Lydia's married with three kids, and eventually reconciles with her through more sex. Other security camera footage shows Tony having sex with multiple employees. A few days later, Tony attempts to hit on Courtney, a new employee, who flatly refuses his advances and notifies him of a previous sexual harassment lawsuit that she had to settle with her previous employer. Courtney eventually tells Lydia, and it turns out that Lydia told Courtney that Tony would try to flirt with and seduce her and advised her to threaten him with a sexual harassment suit. However, Lydia pretends that she never fell for his womanizing charms and that only idiots sleep with Tony.Marty is a nerdy office worker who seems to be born of bad luck: an ATM eats his card, he is awkward with social interaction and he ends up being the target of several mean-spirited pranks at his firm by two co-workers, ranging from spiked soft drinks and drawers filled with sour cream, to the wheels from his car in the garage being removed. Over the course of the film, Marty becomes increasingly upset by the wide range of pranks pulled on him. He complains to his supervisor about the harassment, who is completely unsympathetic and refuses to believe Marty due to his nasty and crafty co-workers covering their tracks every time. Marty eventually explodes his frustration onto the co-worker who pranks him, who remains unfazed.Ben and his wife Louise install cameras into their house to look after their baby while they are at work. Ben is a lawyer and Louise works as a loan officer at a local bank. Their six-year-old daughter Megan ends up being the target of a shadowy pedophile over the course of two days who wears a blue sloush hat to hide his face from local CCTV cameras, when she and Louise shop for clothes, housewares and toys.One day, Ben runs into George, a fellow lawyer who works in the same courthouse and shares the same gym. Unbeknownst to his wife, Ben is involved in a romantic affair with George. The two later go to a restaurant, where George tells Ben that while he is still in love with Ben, he cannot share him and happily leaves him with his wife and family. On the second day, the pedophile with the blue hat makes his move and approaches Megan in the mall food court while she is waiting for her mother to return with their meals. Louise, unable to gain assistance from the surrounding diners in locating where her child went, contacts security. The pedophile is revealed at this point to be Marty, the office worker.Meanwhile, two sociopath men are pulled over by a cop on the highway, but end up overpowering the officer, shooting him and driving his vehicle into the ditch. They later rob a woman using an the ATM at gunpoint, lock her in the trunk of her car and leave it in a mall parking lot where they seal another car. The pair then make their way to a convenience store, in which clerk Willie and his friend Carl hang out during the late night hours. The first time the pair visit passes without incidence, as Carl is covering the store for Willie who is persuaded to get back together with his girlfriend. On the second time, Willie has recognized the pair as the "Candid Camera Killers", as the cop's footage has hence been circulated on television networks. Willie then writes down their license plate number on their latest stolen car and calls the police. The pair of killers make a swift getaway as the clerks watch on a news camera, before colliding head-on with another vehicle. The police make their arrests on the seriously wounded men, one of whom dies at the scene.Sherri is an outgoing, sexually aggressive high school student who admits to her friend Holly that she has a secret crush. She eventually reveals that her crush is on Berry Krebbs, one of her teachers. Sherri attempts to flirt with Berry several times but he refuses, citing that he is married and that his wife is expecting their first child. However, he finally relents when she corners him at his car late one night on school grounds. The two have sex in the driver's seat before Berry drives off. Sherri calls Holly shortly thereafter to confirm that she and Berry had a sexual encounter, and Holly then spreads the word all over school. The next day, the police arrest Berry on sexual assault and rape charges. Sherri's true colors are finally revealed of her being a devious and manipulative sexual predator who targets various men to seduce and cry rape on them. At the police station, Sherri gives a passionate testimony, suggesting that Berry forced her into the vehicle and had unprotected sex with her, but she instantly clams up when the police mention that her school is equipped with surveillance cameras and that they have a copy of the tape. Sherri's parents sit down to watch the tape, horrified of their daughter's actions. While Sherri decides to drop the rape charges, Berry's life falls apart as his wife Joan decides to leave him and move back to Philadelphia; and Berry himself, due to the videotape evidence, is charged for statutory rape and is forced to register as a sex offender. His lawyer, Ben, advises him to plead no contest at his trial to have his sentence reduced to ten years.A minor storyline occurs when a dark-skinned man accidentally leaves his knapsack on a bus. The bus is eventually evacuated and the bomb squad is called in, revealing that the knapsack contains nothing more than college textbooks.In a montage during the epilogue:Joan Krebbs gives birth while Berry is incarcerated, and Sherri is seen being expelled from school.Willie and Carl are awarded $50,000 at a public ceremony for the information that led to the arrest of the Candid Camera Killers, while the sole surviving killer is found guilty and sentenced.Ben and Louise return home to their housekeeper without their daughter, with a sympathetic police detective in tow who tells the distraught couple that the police will keep looking for their daughter as well as the man who abducted her despite that they have very little to go on as the man's identity (Marty) has not turned up on any criminal or sex offender database.The sexual predator Tony is shown in a drive-through fast-food place.... with his wife and children, who are all clearly oblivious to the fact that Tony is a sex addict as well as his secret life of seducing other women.George, having been rejected by Ben, is seen at a local gym and scouting potential guys to pick up and have a relationship with.The darker-skinned man is seen graduating from college.The woman inside the trunk of the stolen car at the mall parking lot has stopped producing noise after several days, while people and cars (including mall security people) pass by... oblivious to the woman (clearly dead by this point) in the trunk.Marty is approached by a police officer at his office cubicle. Fearing that he is about to be arrested for the abduction of the little girl, he is instead horrified to learn that this is yet another cruel prank against him: the "officer" ends up being a male stripper, hired by his mean co-workers who laugh and hurl homophobic insults at him (all of them continuing to be oblivious to the fact that Marty is a pedophile madman who will continue to go out to abduct little girls after work hours). The image zooms back to show dozens and hundreds of security camera frames in the screen as it turns off and the end credits roll.. | murder, prank | train | imdb | Very well executed.The lack of traditional camera-work and the ugliness that inherently comes with this "security cam" type footage was a big issue for me before I even started watching it, but once into it I forgot it entirely.
The great thing about it is that not only is it fun and enthralling, but it gets your thinking about the whole concept of voyeurism and how often we're being watched.
By the end of the movie the paths of most of these often unrelated characters have crossed in the 3 main locations- a mall, a school, and a convenience store.---After reading the other reviews I was still very much in the dark about this movie.
However it was the passion of the other reviewers that convinced me to give it a go.After watching Look I can only assume that those giving it zero must be the type of moviegoers who lap up the shallow dross that Hollywood more often than not peddles out to the sleeping herds.
So if you are one of those brain-dead masses then you probably won't think much of this movie.BUT if you are more discerning, enjoy thought provoking material and sometimes despair at the apparent crumbling of western societal values you should find this to be as stunning, riveting and sickly voyeuristic as I did.
After the film, I had the pleasure of speaking with writer/director Adam Rifkin.
We spoke for a good thirty minutes, and I felt it was appropriate and necessary to share my sincere thoughts on the film.If it has ever bothered you that our daily existence on modern Earth is documented by security cameras at nearly second, then "Look" will offer a alarming glance into the lives of people going about their days without the slightest idea that they are being caught on tape.
Shot entirely from the perspective of security cameras, "Look" offers a disturbing and at times hysterical view into the lives of ordinary individuals that are hurled into the path of extraordinary circumstances.
It is difficult without hyperbole to give compliment to the innovative film-making that is "Look" by writer/director Adam Rifkin.
From the shocking opening sequence, to the eloquent concluding montage, the security camera footage is seamlessly blended together into an engaging film.
The dialogue is so natural and candid that you often forget you are watching actors execute the fictional story.
One gets the sense that there is not an extraneous second in all of the footage; hence boredom is not likely while watching the film.
It is refreshing to go to the movies and be able to laugh and cry (within the same film) and leave with the sensation that you have learned something.
After watching the film, one is left with the sensation that the abundant presence of security cameras today is downright disturbing.
I simply don't want to give anything away."Look" is one of those rare films where you will leave the theatre having been simultaneously entertained, shocked, appalled, and enlightened.
There were times during the film that evoked a feeling of an eerie and hollow terror; an awesome compliment to the director who managed to take that type of desolation and marry it so effortlessly with comedy.
Hence, the film exists on many levels as a very sophisticated and existential look into the nature of our day to day lives, and what happens when ordinary people must face intense conflict.
Taking the conceit of ubiquitous surveillance cameras and crafting a movie is a great idea and nicely executed.Remember CRASH.
Rifkin goes one step further to create "real life" scenarios from surveillance footage.
It's funny because I don't think the acting in this is very good MOST of the time...but I'm not sure the movie would be any better if it was.
The storytelling and the "cinematography" is amazing.The terrible way that it starts led me to believe I was going to watch a pretty bad B movie and I even started thinking about what else I could do when I couldn't take it anymore...Then it started to turn into a compelling drama and then a thriller and the whole time I couldn't stop thinking: OMG - there are cameras EVERYWHERE!
I really enjoy that some things don't resolve - that's how life is, right there.Personally, I think that the way it suspends between reality and fiction - constantly pulling the viewer back and forth between the two - is just amazing.
This movie is basically several stories woven together, with the technical constraint of only using footage from any security cameras that would have seen them.
It's an interesting approach, but beyond that I found the actual stories lacking.This wouldn't be so bad if the packaging didn't make it out as a movie that showed why security cameras were bad; ironically, almost all the significant things the cameras capture the characters doing involve breaking the law or other poor things that you want cameras to capture.
Regardless, with so many cameras out there, there's no way even a small fraction of them can be watched by people all the time, since there are so many millions of hours produced each day.At some point I also realized that *none* of the shots in the movie are from actual security cameras, rather they're all done with movie cameras and then digitally altered to look like security camera footage (blurry, camera ID and time text overlay).
Sometimes peoples' faces are pixelated out, as if these were real security camera shots, even though this is just fiction.
Fortunately, Look was made and now after seeing it my longing has been sated.I have found after exposing humans to this film that shooting an entire movie primarily with surveillance cameras opens up many of the voyeuristic pleasure centers in their brains.
This despite the fact that the humans are watching this with the knowledge that this is a work of fiction.This film leaves you wanting more.
2 bit actors attempting to look as though they are being filmed without their knowledge.
I have no doubt that the average American is captured on camera several times a day but this film exploits the concept and does so VERY POORLY.
This lends "slightly" toward the sense that we are watching people captured on store security cameras, gas station monitors, ATM's, etc.
"Look", more like watch, takes the movie experience to a new high in voyeurism.
Using the medium of film in a new way, Director Adam Rifkin employs the idea and view of surveillance cameras to construct a very thought provoking masterpiece.
It doesn't just break barriers in film-making it embraces structure, story, tone and pace to create the ultimate engaging movie experience..
It's terrible.Okay, telling multiple, eventually overlapping stories with pseudo-surveillance camera footage is an idea that has some potential.
Not a single scene is convincing as actual surveillance camera footage.
The main characters are all too conveniently visible, at the center of the shot (as if there were a director filming ...), at all times.Not only that ...
I'm pretty sure most - possibly ALL - of the surveillance cameras represented in the film would not record audio.
This film's creators were either clueless, or banking on a clueless audience.To do this right, it would have had to lack audio, and show only small pieces of events, making it hard to see what's going on at select moments, telling the story by implying it.
The data markers could be dropped from the movie that was made, and it would basically play out like a low budget, schlocky student film.
The whole "Oooooo, Big Brother is watching" conceit is pretty extraneous to the actual film, and comes off as an afterthought.
All of the stories (a teacher having sex with a student, a cop getting killed at a traffic stop, a little girl getting abducted) are nothing more than juicy smut that play to our base nature in the same way certain prime-time TV dramas do.
This movie has nothing to say, but acts like it does in a half-***ed way by tacking on as the opening some text reporting some data about the number of surveillance cameras in the country or on the planet or whatever..
The story involves a lawyer and his family, a gas station attendant(Guiseppe Andrews) and his slacker friend hanging around, two teen school girls, a department store manager and his female co- workers, a nerd at work being picked on, a mysterious dark skinned foreigner in aback pack, two carjackers,a school teacher whose working on a screenplay and his pregnant wife, and a sinister man in a cap following a mom and her child.
It's unfortunate, as the concept is one that could have been used to provide commentary on big brother in society, and it's uses for good or bad.What we get instead, is a 105 minute collection of conveniently staged shots from a downward angle with identifier code used to provide nearly every "shock and appal" theme possible.
Take away the identifier code on the footage, and what you have is little more than a poorly written, poorly created B film..
Even if I where bleep up betting the gee-gees in ISLE OF MAN coming home head down I could not sit watch this movie.
It's one thing to show ordinary people in unusual situations caught when they thought no one was looking.
Will they think that the scum shown in this film is what most Americans are like?
The hook here is that security cameras and closed circuit TV is watching you all day, so using this footage the filmmakers follow a few groups of people around for a few days and piece together their stories.Do the random people end up crossing paths and interacting with each other you say?
(I mean the depressing movie a few years back where everyone interacted and everyone in it was either a horrible person, or the victim of a horrible person.) Credit the guy who came up with the gimmick, but aside from two jailbait girls getting down to their Gs in the first 5 minutes there is nothing memorable here, and even during that scene I felt the need to look away for fear of being an accessory to something gross.
You'll be shocked, you'll be curious, you'll feel skeptical,and by the end you'll know that this film is well worth the watch.
The first film ever shot through surveillance cameras, Independent filmmaker/Director Adam Rifkin has created an extraordinary new type of film that won the cine-Vegas film festival and continues to shock audiences throughout the world.
Support Adam Rifkin and Independent Film Making!
Director Adam Rifkin has crafted a fantastic script with many plot lines that over lap (think "Crash") where we meet characters and then watch them as they lead their public and their very private lives.
The surveillance camera footage allows us to watch from a very different perspective and see things that feel out of bounds.
The acting feels a little uneven at times but the actors are also less self conscious because the camera and the lights have been taken away.
Rifkin has created an original and thoroughly engaging movie that will leave you filled with great images.
i guess the purpose of this movie is too show that no matter where you are,there's a surveillance camera recording your every movement.that might make some paranoid,but others might be indifferent to it.i mean,if you have nothing to hide,who cares,right.but this isn'rt really a movie Per Se.it's more a cluster of vignettes some of which are connected,others which are not.it regardless,it isn't very realistic.and there are a lot of scenes,that could kindly be referred to as filler.you'll have to view it to find out more.there are no big name actors here,which is a plus.form a purely entertainment point of view,it's not bad.from an information standpoint,i don't think it's as good,though.but if you want something to pass the time,this works.for me,Look is a 6/10.
I wasn't sure I was going to like this movie at first, and I questioned if watching a movie via 'surveillance' camera footage was going to take me out of the film, but it totally kicked ass!
The movie totally takes advantage of the 'voyeur' aspect of the human psyche, I want to turn away but I can't!
I bought this movie, not expecting to see anything out of the ordinary, but as soon as I started to watch, I realized that a whole new genre of films had to be created with it's advent.The movie uses a series of security camera like shots to tell the stories of 4 individuals.
The camera-work was creative and the film's unique perspective on life and morality was awe inspiring.
I expected some commentary on the intrusiveness of surveillance cameras or on our voyeuristic culture, but the movie is very much NOT that.
It uses the STYLE of surveillance cameras, which is a clever idea, but the film simply exploits our voyeuristic tendencies rather than commenting on them.
The movie is so raunchy, the camera style just feels like an excuse to portray various people in inappropriate sexual situations while trying to call it "art." There are no characters to root for or sympathize with, and very little plot development beyond people behaving badly.
I wanted the conversations to feel a little more organic and authentic because they looked like they were coming straight out of real life surveillance footage, but they didn't.This "film" takes on some pretty powerful material, but doesn't do anything with it.
I was very excited by the premise of a film taking a serious look at the 'coined "Big Brother" culture we all live in today, it is a known fact to most people and has become a seemingly accepted part of our lives.
Hopefully this film could help me to understand some of the finer or more disturbing facts surrounding this reality.However the films opening scene had me thinking, perhaps I had the wrong film, maybe this was "Girls Gone Wild: Changing Rooms of the Midwest" and not a serious look at anything.
it was at this point I was compelled to look away, for good..
I really liked the idea of this show because it is true that we are captured on cameras many times throughout the day.
The fact that they chose to doctor the footage and use actors basically negates the entire idea of being captured on film without our knowledge.
LOOK- the Movie is POWERFUL, CAN NOT BE MISSED!.
It panders to the 'Big Brother is watching you' notion and is filmed entirely through some form of security or CCTV camera where supposedly no action or event goes unnoticed.
The film follows a series of different story lines covering mostly themes of a very disturbing nature
.murder/rape/child abduction etc.
The sometimes grainy, muddy, or black and white filming is what makes the movie work – it appears 'real' and the actors mostly add to this effectively.
Whether or not this was a budget decision, using unknown actors was a good ploy by the director to instil that sense of regular people doing regular things and having regular jobs.
Nonetheless, the plot lines should retain your interest if the acting doesn't.After watching this for about the fourth time I pondered over what the point of the film was.
So, in a sense, the film turns on its head and points the camera right at the viewer.
For me, there was a real sense of being 'in' the movie, mostly because of the filming, and partly because of the element of normality that's brought into it.
The novelty is that every scene is filmed from the point of view of a security camera.
Mounted in places like stores, ATMs, intersections, and more, the movie definitely got me thinking.
Some of the highlights were (SPOILERS): the music the kid plays in the 7-11 (and the dance his friend does), the high school girl getting caught lying about being raped, and the department store saleswoman who gets mad at a co-worker for sleeping around with other employees (she was my favorite character).Overall, a well-done movie in most every aspect that doesn't feel like a well done movie.
I don't know what to think about this movie.
Teachers can hopefully avoid being sexually active with students by watching this film.
Yes some of these things are indeed disturbing, however the lessons learned from this film make it worth watching.
I do think though, people should watch this film, it really is pretty good.
If though it is looked at as it is, this film is a good one, and should be watched by as many people who find the title interesting enough to "Look" at..
Rifkin took on a very interesting concept and a great way to tell a story through security surveillance cameras, hidden nanny cameras, police dashboard cameras, ATM security cameras, cell phone cameras, etc.
Using only these types of cameras really made the story telling very unique.
Each shot just grabs your attention.A lot of what you see shouldn't come as much of a shock or surprise because we read and hear about it in the news, but you also think how many more disturbing things happen that are captured on these cameras.The only downfall of this movie is not really having a protagonist throughout the story.
You don't really care for most of the characters and very little pathos are created.At the same time that might not even be necessary because the message of the movie is probably more powerful that way..
LOOKing for a Truly Good Bad Film?.
There are a lot of improbabilities in LOOK: e.g., Isn't it illegal to install surveillance cameras in dressing rooms?
Unlike many films that utilize this multiple frame-story technique, each episode of LOOK is well-developed and contributes in some meaningful way to the grand whole.Along with the fact that it's simply very fun to watch, perhaps the best things about LOOK are the morals to its stories. |
tt0264395 | Basic | A helicopter circles over the Panamanian jungle. On board is a team of Army Ranger trainees and their instructor, Master Sergeant Nathan West (Samuel L. Jackson). Their objective is to move through the jungle while a hurricane rages above, use live ammo to hit pop-up metal targets, then rendezvous at a small bunker.Seventeen hours later, Colonel Bill Styles (Timothy Daly) is aboard a helicopter searching for the same team he had expected back on base a long time ago. He sees a Ranger later identified as Ray Dunbar emerges from the jungle carrying one of his wounded comrades, Second Lieutenant Levi Kendall, on his back. He then sees another soldier walk out of the jungle and shoot at Dunbar. This soldier, later identified as Mueller, is killed in self-defense by Dunbar. Apparently, the mission has gone horribly wrong. The rest of the team, including West, are presumed dead.In an interrogation room back on base, Captain Julia Osborne (Connie Nielsen) makes little headway with Dunbar, who refuses to talk. Dunbar is given a pad of paper and pen and he writes that he will only speak to a fellow Ranger, someone from outside the base, and draws an "8" inside a circle on the piece of paper. Noticeably spooked upon seeing the 8, base commander, Colonel Styles calls in an experienced interrogator and friend, Tom Hardy (John Travolta). Hardy, an ex-Ranger who quit the army is now a DEA agent who is presently under investigation for suspicion of bribery. We also find out that Hardy served under West when he was a Ranger and hated him. Hardy and Osborne, initially wary of each other, are forced to work together during the 6 hours they are given before the CID transportation from Washington will arrive to take Dunbar and Kendall away to initiate an investigation. Styles wants the investigation kept quiet.Osborne doesn't approves Hardy's involvement in her investigation because of his spotty resume but does come around when Hardy strikes a conversation with Dunbar, who, until now, had not uttered a single word, proving how good Hardy is at interrogations.The audience learns through Dunbar that West is infamous for being a ruthless, tough-as-nails sergeant. One trainee in Dunbar's unit, a black soldier named Pike, earned West's wrath more than any other. Pike was selected for the Panama training mission along with Dunbar, Kendall, Mueller and two other soldiers, Nuñez and Castro. Since he seemed to have plenty of reasons to hate West, it is suggested that Pike had enough motive to murder him. At this point, Dunbar refuses to say anything more but confirms that the other members of the team and West are all dead.Hardy and Osborne then go see the other surviving team member, Second Lieutenant Levi Kendall, who is recovering from gunshot wounds sustained during the mission. It is revealed that Kendall is the son of a Joint Chiefs of Staff general. At the hospital, Hardy runs into Dr. Peter Vilmer (Harry Connick Jr.), an old friend, and also Osborne's on-again, off-again lover.Kendall reveals that he's gay and once had a homosexual relationship with another soldier that became public. His father pulled some strings to have Kendall transferred to West's unit to cover up the scandal. He claims West hated him for that. He also claims that West silently threatened his life in the helicopter, shortly before the mission began. Kendall was partnered with Castro for the mission and feared that West may have bribed Castro to give him a "training accident".Kendall claims that West was killed by being hit in the back with a white phosphorus grenade, and that Pike confessed to the crime, thinking that his comrades would go along with it. However, the team decided to turn Pike in when they would be picked up the next morning. In the middle of the night, Pike tried to rouse Kendall's sympathies by playing to their mutual hatred of West. Pike proposed they kill Mueller and Nunez and convince Dunbar and Castro to back them up. Kendall dismissed Pike's suggestion then went back to his sleeping area, but later spotted Pike whispering to Dunbar. According to Kendall, Dunbar then went back to his bag, extracted his pistol and aimed it at the sleeping Mueller. Kendall intervened, and caused Mueller to shoot Castro. After Castro was hit, he fired frantically striking Nunez, Kendall and Pike. Nunez and Pike were killed and Kendall was wounded. Dunbar then carried the wounded Kendall on his back through the jungle, exchanged fire with Mueller, and was picked up, as seen in the beginning of the movie. When asked why Dunbar would go through all the trouble of carrying him out of the firefight, Kendall suggested that perhaps Dunbar expected him to cover for him in gratitude.Hardy and Osborne confronts Dunbar with Kendall's revelations. Dunbar claims that Kendall is lying and that he didn't shoot West. He also claims that Mueller and Castro were selling prescription drug injection kits called "combat cocktails" which help dull physical pain and sharpen the mind, and that Kendall was in on it.Hardy refuses Dunbar's drug story because he thinks Dunbar said drugs only to get Hardy's attention as a DEA agent. This leads to a fight and Hardy almost leaves. He then remembers Dunbar's words about not shooting West. He realizes that, according to Kendall's story, West was not shot but hit with a phosphorus grenade. They return to Dunbar to listen to the rest of his story.Dunbar claims that Mueller shot West because he was aware of their drug dealing. He then claims that Mueller used Pike's grenade, which he had stolen from his pack earlier. Back at the bunker, Mueller tried to pin the blame on Pike, but when Pike began pointing out evidence that threw suspicion on Mueller, a fierce argument began, Mueller lost his temper and shot Pike in the head. A firefight broke out in the bunker and Castro and Nunez were killed. Dunbar rescued Kendall, hiked through the jungle, killed Mueller and was picked up by the helicopter.At Osborne's request, Dunbar provides proof of the alleged drug-dealing operation. He also says that it was Vilmer who supplied the drugs to Mueller and Castro.When Osborne and Hardy return to the hospital, they speak briefly with Dr. Vilmer. After a short interrogation, during which Osborne breaks his nose with a phone book, Vilmer admits that he distributed to Mueller and Kendall and that he falsified drug tests so that the soldiers would come up clean. Vilmer is placed under arrest.Hardy and Osborne then go to confront Kendall, who is acting very strangely and refuses to give them any useful information. However he still claims that Dunbar is the guilty party. After a few minutes, Hardy notices that Kendall is bleeding out of his ears. Suddenly, Kendall starts vomiting blood and then abruptly dies. However, right before Kendall dies he uses his blood soaked finger to draw the symbol for infinity () in Osborne's hand.Styles is furious that Osborne and Hardy talked to Kendall a second time after he explicitly ordered them not to. He relieves Osborne of duty and asks Hardy to leave. He informs them that Dunbar and Vilmer will be taken away shortly on the transport plane that has arrived from the U.S. and he considers the investigation closed.Osborne realizes that Kendall didn't draw the infinity symbol, but an 8. Remembering Dunbar's note which also had an 8, she shows this to Hardy, who first denies knowing what the 8 may symbolize. When she insists on pursuing her investigation even though they were just ordered to drop it, Hardy finally explains the conversation he had earlier with Styles about a rumoured group of ex-Rangers in Panama, trained under West, who turned rogue and became drug-dealers. They call themselves Section 8. Osborne, mad at Hardy for not telling her sooner engages him in a fight.After the fight, they return to the stockade where Vilmer, still in custody, remarks to Hardy and Osborne in an offhand manner that he will be on the same plane with Pike. Hardy corrects him, saying that he'll be on the same plane as Dunbar, but Vilmer says that's not right. He says Ray Dunbar is black. This means that the white "Dunbar" Hardy and Osborne have been questioning is in fact Pike, the man whom West antagonized during training (according to his own story). Pike had switched his tags with Dunbar's in order to throw off the local authorities, then disappear after being transported for trial. The soldier files never specifies the soldier's ethnicity.Hardy and Osborne rush back to the base just as Pike is being taken onto a transport plane. Hardy grabs Pike and holds his face dangerously close to the plane's whirling propeller until Pike drops to his knees, out of breath. Afterwards, Hardy and Osborne lead Pike away to interrogate him again now that they know the truth.In Pike's new story, West was not shot. Pike claimed West knew about the main operation going on at the base, cocaine smuggling. He claims West confronted the Rangers in the bunker and told them that he would turn them in to authorities in the morning and tell Styles everything. A brief Mexican standoff ensues and West escapes the bunker. Nuñez chases after him, and gets shot by West. Shortly after Castro and Mueller go looking for West, Pike finds Dunbar dead, West shoots Kendall, wounding him, and tries to convince Pike to give himself up. Mueller manages to kill West. Pike shoots at Mueller, and then, knowing that he would be blamed if West died, took Dunbar's dog tags. It is still thoroughly established that he managed to escape, carried Kendall through the jungle, killed Mueller and was picked up by the helicopter.To prove his story, he gives Hardy, Osborne and Styles, the number of a crate where Vilmer had stowed cocaine.Satisfied that they finally have their answers, Hardy and Styles retreat to Styles' office, unknowingly followed by Osborne who find it curious that she was not invited in the office too. Hardy tells Styles that he finds it curious that West didn't tell his colonel (Styles) about the drugs as soon as he suspected something. Hardy then accuses Styles of lying; he tells Styles that he believes West did in fact go to him, but that he was behind the drug dealing operation the whole time. Rather than side with West, he ordered Mueller and Kendall to kill him and then poisoned Kendall afterward to keep him quiet. Styles laughs off the accusations, but as Hardy starts to leave Styles offers him a percentage of the operation, once he's back in business, to keep his mouth shut. Hardy now understands why Styles called him to investigate. If he found anything, he could be easily discredited or bought. Hardy says he'll have to think about it and turns to leave. Styles draws his weapon to shoot Hardy, but he is shot and killed by Osborne who heard the whole exchange.After the Military Police wrap up the investigation into Styles' shooting, Hardy and Osborne have a coffee before they leave the base separately. Hardy tells Osborne not to worry about the charges and that she would be cleared. All she has to do is "Tell the story right". Osborne recalls hearing that same phrase during both Kendall and Pike's stories, particularly in describing how members of the conspiracy planned to cover up West's death.
This makes Osborne suspect Hardy may be somehow involved, especially since he hated West and because Section 8 contains West's former trainees. She tails him out of the base and watches as Pike runs out from some bushes and into Hardy's jeep.She follows them by car and then by foot through the streets of Panama City and watches as the two of them enter a doorway with a big eight ball hanging above it. Osborne sneaks up behind Hardy and Pike, with her weapon drawn, believing that they are Section 8 and are responsible for West's murder. She confronts Hardy with her own theories but becomes very confused when West, very much alive, walks up behind her and sits at the table with Pike and Hardy. Castro, Dunbar and Nuñez, also alive, come out of the kitchen and join them.They reveal to Osbourne that Section 8 is in fact a special black-ops anti-drug unit led by Tom Hardy himself. The mercenary story is a cover to spook the cartels. Dunbar, Castro, Nuñez and Pike (under fake names) infiltrated the base to investigate the cocaine trafficking that was going on, and discovered that Mueller, Kendall and Vilmer were responsible. West, not realizing that Styles was also involved, informed him of their findings, although keeping their involvement secret. Styles responded by ordering Mueller and Kendall to kill West. The training mission was a set-up to get rid of Mueller and Kendall, and fake West's death. West joined Section 8, and Hardy went to the base to confirm Styles' and Vilmer's involvement. West and Hardy then offer Osborne a job within their group. The movie ends when it is revealed that Tom Hardy is not a DEA agent and never left the army. He's in fact, a Colonel. | murder, flashback | train | imdb | null |
tt0814335 | The Stepfather | The movie starts off with Grady Edwards (Dylan Walsh) in the bathroom looking in the steamed up bathroom/mirror, as he puts some dye into his head and rubs it in. It later shows him showering, and then as he wipes the mirror off, he cuts off the hair on his beard and shaves. He then removes colored contact lenses from his eyes.He makes his way by grabbing his things downstairs, as it shows family pictures of him with the children, and his wife. He turns on the radio to play Silent Night, and you can see by the decorations around, and the song that it's around Christmas time, or even on Christmas day, morning preferably or the day afterwards. He goes into the kitchen where he puts toast into the toaster, and grabs some coffee. He spreads some peanut butter on his toast, and as he's eating he walks around the house a bit, and as he does a little boy is seen with his head down in a sleeping position at the breakfast table.He also looks into the decorated living room, to where it also shows his wife in a lying down position, and another child near the Christmas tree in a lying down position. He picks up his bag and heads for the door, as a flashback comes in with a girl running to the door screaming. At this point as he is about to exit, and punches in the security code there is a little girl lying on the floor. He leaves and gets into his car.It is shown that the bodies of the woman, and her three children have been found, and the father of the children was devastated upon learning about his children's death, and especially in that way and that their stepfather is nowhere to be found.As this is being played out, the stepfather is seen as he goes from one place to another, changing cars, and places and he heads into a town, in where he is at a grocery store. He's in the cookie section, and he overhears a woman (Sela Ward) who introduces herself as Susan Harding with her two children (Braeden Lemasters) Sean Harding, (Skyler Samuels) Beth Harding arguing about what cookies to get. He sides with the woman, and says that women rule and they know best especially when it comes to cookies. That gets a smile from the woman. The stepfather introduces himself as Daniel Harris. She sees his wedding ring and asks him about his children, and he explains how he lost his wife and daughter in a car accident last year. She apologizes profusely and he accepts it and they depart, even though as they go through the check out line aisle they check each other out. She also fixes her hair a bit. Later on she invites him out for pizza with her kids and as he gracefully accepts.Six months later. A young teenage girl (Amber Heard) named Kelly Porter is picking up her boyfriend (Penn Badgley) Michael Harding from somewhere, and as they're in the car talking, she's going on about how he's a great guy, and he's not all that impressed.They make their way into the house and as he is looking around in the house, the girl, Kelly, goes out into the yard to which she calls the boy, Michael out to join her. He does, and is surprised by his entire family, and friends to welcome him home. As he sees everyone again, and meets the man that his mom has been seeing for quite some time, is now living with, and is soon to be married to, David Harris.They talk a bit, and Michael seems suspicious of him even upon first meeting him and is not sure what he thinks of him. Despite David going out of his way to impress him.Michael looks in the basement and sees all these cabinets in there with locks on them. He touches them and is told in a very firm voice by David, that those are his, yet Michael can take any other ones, and David reveals that he's a carpenter wannabe and is experimenting with building things.David tells Michael he heard Michael is a swimmer and says he use to swim back in his college at the U of O back in the day. They share a drink, of some stash of alcohol that David has hidden.Time passes, and David is told that Michael likes to swim a lot, and is a good swimmer so he convinces the swim team coach to let Michael back on the team on a probationary basis, and as he heads home he hands Michael the key to his locker room. As Michael smiles, about this you can see he might be opening up to him just a bit.A nosy old woman with a 'gazillion' cats named Mrs. Cutter shows up at the door and is greeted by Susan. She and Susan talk about David, as Michael overhears. Susan dismisses her nosy neighbor and heads into the kitchen where she shares with David Mrs. Cutter's suspicion/accusation that he's that stepfather that America's Most Wanted is looking for, since he fits the description. This ticks off David, yet he doesn't let it show and asks Susan just how reliable this woman is. To which Susan replies that she knew about someone's affair, and told everyone else before telling him, and she was right. David leaves for work and as he is driving by, he waves at Mrs. Cutter as he leaves which spooks her out. Michael heads downstairs and he and his mom talk as she prepares him breakfast.David is at lunch with Michael and he gets the name of his child wrong, first he said it was Michelle then said it was Lisa, and how she'll be 11 next week or would have been, and then Michael calls him on it, to which David replies her name was Lisa Michelle that's why and he gets angry about it, so much so that when he puts an open house sign in, he's hammering it in totally oblivious to all that is around him. He glances up when he sees a couple that is interested in the house and they make their way inside.David greets Mrs. Cutter upon coming home, and later on her doorbell rings and as she goes to answer it, there's no one there. As she goes back inside, she sees her cat acting wildly and goes to see what's wrong. As she does, the cat shrieks loudly, and starts hissing and she wonders why, as she gets up, she sees David and screams, and he hits her and drags her across the room and he throws her down the basement stairs. He holds her cat and heads down the stairs and holds her mouth so she can't breathe until she dies. He leaves.He heads back to the house, and Michael and Kelly are hanging out by the pool and Sean is playing video games with the music blasting. His mom Susan asks him to turn it down twice, yet he keeps playing it real loud. David comes in angrily into Sean's room and grabs him violently by the neck and tells him, "Your mother asked you to turn it down." Sean is stunned, shocked and scared not sure what to do about what just happened. He's close to tears as well but doesn't say anything.At dinner time he barely says a word, and the doorbell rings and it's their dad, (Jon Tenney) Jay Harding, and he greets his kids as they head to the car and talks to Susan about his arrangement with the kids and they argue a bit. He leaves.Susan comes back in and mentions to David about how her ex is such an ass/jerk.Susan's ex shows up and punches David out, and yells at him for hurting Sean, and Michael takes his father outside, while Susan comforts her son, and David apologizes to him for hurting him, and says he made a mistake, Susan makes it clear what he did was unacceptable. He tells her she's right.Michael is still suspicious of David as he snoops around the house. David is at work and (Paige Turco) Jackie Kerns, tells him that he needs to file out his paperwork so she can stop paying him under the table and he can get paid. She needs his photo I.D. He tells her he'll take care of it right away and puts the file into his desk. Throughout the next few days or weeks she keeps trying to contact him about this, and he keeps telling her he'll get to it, and ignores it. He tells Susan he wants to work somewhere else, as it's not working out for him in real estate, despite being a natural at selling houses.He tells Susan he'll look online for places he could work that require less travel and goes to use her computer. Susan tells him that she's going out with her friends, Jackie and Jackie's friend (Sherry Stringfield) Leah, and they go out for drinks. While Susan is out with her friends they tell her about their suspicion about David's avoidance. And Michael and Sean are playing video games. Sean is still fearful of what David might do about the noise in the game, yet Michael tells him it's cool.Jay shows up at the door and apologizes to David for his behavior and tells him he's heading to the airport and wants to say goodbye to his kids. David invites him in, and goes into the kitchen to answer the phone. It's Susan who asks him if Jay showed up, as he said he would to say goodbye to the kids. David says no, he's not there when he is and hangs up with her. Jay talks to David about his suspicions of him, and about his lie about him going to the U of O College and his name and wants to know what else he's lying about. He goes into the kitchen to find it empty, and wonders where David went. He turns around as David smashes Jay's face in with a crystal vase and Jay crashes to the floor.Michael and Sean hear the commotion and stop playing their game. David holds Jay down, then as he hears them go back to their game, drags Jay down the stairs, as he attempts to suffocate Jay by putting a plastic bag over his head. Michael heads downstairs to see what the noise is about again and Jay is struggling but dies. David then goes and tells the taxi driver that Jay changed his mind and pays him off and unloads all his stuff out of the car and puts it into the locked cabinet in the basement. David sends Michael a message from Jay's phone saying he still doesn't like David but at least he 'seems to be who he says he is'. Michael then becomes tearful.The next day, and Michael looks out the window as David is talking to the mailman about police cars across the street. He finds out that Mrs. Cutter died by falling down the basement stairs and breaking her neck. David tells Susan and the kids about that, and they're shocked about it. Susan feels bad for saying horrible things about Mrs. Cutter and David just shrugs like no big deal. Susan tells David she's heading out and tells him not to forget to pick up the kids from the dentist. He tells her ok. As he does, he heads up to the attic to work on something, and gets a phone call. It's Jackie who tells him again that she wants that paperwork done, and he tells her he's not working there anymore and doesn't think it's necessary. She tells him it is necessary and she needs them ASAP. He tells her he will when he has time, yet he has to pick up the kids from the dentist, and is making up a lot of excuses to avoid it. He hangs up on her, and Michael tells David about Mrs. Cutter's tragedy about how it's a shame and David says accidents happen.Michael and Kelly are in the back in the pool area trying to fill out some college applications and he's talking about his suspicions again, and they go into the pool to swim and make out. David shows up and tells Michael that he's going to go pick up the kids and tells them to behave and leaves.At this point Michael and Kelly make their way into the house and start to snoop around, and David gets a call from Susan who tells him she's picking them up as she's closer and David heads back to the house. He sees that Michael and Kelly are no longer in the pool, or in the yard and goes into the house looking for them as he sees their footprints on the ground. He looks into Michael's room and doesn't see anything, and goes into his room, he looks outside again and sees they're still not in the yard. And as he heads in his room, he hears a splash and some laughing and sees Kelly and Michael back in the pool and then he shuts the curtain.Michael also checks on the computer and sees the America's Most Wanted site up in the search and sees the article about the stepfather and the slayings and prints out the photo for Kelly to see to which she thinks he's reading too much into, and it's probably nothing. Michael takes a photo of his mom and David, and later on takes a look at the photo he has, and the photo of the man that is wanted.That night, Susan takes her two younger kids to some place so they can go camping for a couple of days. She'll be gone at least a couple of hours, and David tells her he'll just search for jobs, and maybe jog. He goes to see what Michael is up to, and Michael says he's heading to see Kelly. Michael sees that his photo on his phone OF David is gone, and knows it was David that deleted it and goes to see Kelly and tell her about it.Jackie is still suspicious of David and tells her girlfriend Leah about it, and tells her she can't wait to see her, and is heading out. She tells Leah that she left a voice message for Jay, and hopes that Susan won't be mad at her, but will leave her a message too about her suspicion and David's avoidance about this paperwork. She sends her an email, which David sees, reads, and deletes. Then he heads over to Jackie's place and drowns her in her pool.Then he heads home, and Susan comes home, and sees David and he tells her he was out jogging to clear his head, and he tells her that Michael is at Kelly's. They head upstairs, and David gives her a sleeping pill to relax her, and she takes half of it. They head to bed. As she is sound asleep, he's wide-awake looking up at the ceiling, and it is shown in the bathroom his tools (killing tools maybe?) laid out waiting for a good time.Michael heads home with Kelly in tow in the car and he tells her of his suspicion, and tells her he's going to check things out in the basement and if she sees any light on in the house to warn him, as he has his phone on vibrate. He heads into the yard and breaks the window to get into the basement. He slips in and breaks the lock and sees a bag, he empties it out and sees the freezer. As he heads to it, Kelly sees the light has opened in her house and heads over to warn him by the phone. His phone vibrates and it falls, breaking, and he goes to pick it up and the pieces. Then he looks in the freezer and sees the dead body of his father in the freezer and screams.Kelly heads out to warn Michael and is knocked out by David, who drags her back into the house and is in the kitchen taking out the duct tape, and some knives and screaming how it's not working out and he needs a new family and blah blah. Susan enters and asks him what's going on, and why is he shouting. He tells her he can't take it anymore and wanted her to be Mrs. Grady Edwards, to which she asks him what he said. He realizes his error too late and says "Who am I here? I meant David Harris", and she screams as she sees him grab a knife and chase her through the house. She's screaming and Michael is down in the basement screaming to get out, and he does and grabs Kelly and she sobs and they head up. Susan heads into the bathroom and slashes David in the throat with a piece of glass that David throws at her. It looks like he is dead as he falls into the shower and she heads out, backing away and embracing Michael and Kelly.Then David shows up and Michael and Kelly and Susan head up to the attic, David chases them up, and they're screaming for help, and he tells them the boards are loose and Kelly grabs a jigsaw and tries to throw it on David, and Michael is screaming no and falls through the crack board, and then Kelly and Susan fall through the roof, and David looks down on them. Then Michael grabs David and they go through onto the roof outside, and both of them topple over onto the ground.Michael is in the hospital as his mom and Kelly are there comforting each other, and he's in a coma waking up.... A month has passed, and they explain by the time the police got there David disappeared and he's gone. And as he's taking all the news in, Michael is in shock and it changes to another scene, in a store, a woman and her two boys. She chases her two boys somewhere, and she meets a man.The Stepfather now has a bandage on his neck, and he greets her, and tells her his name which is now Chris Ames, and smiles. The woman introduces herself as Julie King and smiles back. And it looks like the Stepfather is starting again with his charms as he targets a new woman as it all ends (Another one of those annoying here-we-go-again twist endings). | murder, flashback | train | imdb | The story begins with Michael Harding (Penn Badgley) returning home from military school to find his mother (Sela Ward) happily in love and living with her new boyfriend, David (Dylan Walsh).
Along with his girlfriend Kelly (Amber Heard), his father Jay (Jon Tenney), and Susan's friends (Paige Turco and Sherry Stringfield), they slowly start to piece together the mystery of the man who is set to become his stepfather, but they may be too late in getting to the truth...
And then there's a few things that drag the film down, like the sexualization of Amber Heard ( numerous shots of the young actress in her bikini and underwear, which I wouldn't mind, had it been done more tastefully instead of being a deliberate attempt to please the male audience), plus the poorly done makeovers of David and the lesbian subplot which made absolute no sense to me and seemed out of place.
The Stepfather fully utilized the "dramatic music and close-to-danger" situation that results in nothing but making the viewer think something was going to actually happen.I knew the rest of the audience attending was in agreement with my opinion of the movie as stupid plot mechanism after stupid plot mechanism continued the "thrilling suspense." People were sarcastically shouting "Oh my god!" and "Come on!" and I couldn't agree more.
After killing the whole family in Salt Lake City, the psychopath David Harris (Dylan Walsh) moves to Portland where he approaches to the divorced Susan Harding (Sela Ward) with her son Sean (Braeden Lemasters) and her daughter Beth (Skyler Samuels) in a supermarket.
Of all the films to remake The Stepfather (1987) starring the excellent Terry O'Quinn seems like a really peculiar choice.I personally enjoyed the original and to an extent its two sequels but went into this assuming the worst.
So it looks all pretty pretty but doesn't have the same impact that Terry O'Quinn provided.As a thriller this is passable, just try to forget that its a remake and don't compare it to the superior original.Dylan Walsh is okay in the role and the film also includes a young Amber Heard on the upswing of her career.Watchable stuff, but it simply didn't need making.The Good: Surprisingly excellent soundtrack Passable performances The Bad: The whole thing feels so unnecessary Not as good as the originalThings I Learnt From This Movie: We shouldn't live in a world where we need to background check potential partners, but we probably should.
As both of them get to know each other, he along with his father (Jon Tenney) become more and more suspicious of the person who is always there with a helpful hand .Exciting thriller has well-cast Dylan Walsh who manages to deliver a good performance as a family-values man in search of the perfect little family but he results to be a psycho who eventually erupts into violence.
That wasn't really bothersome to me though because the characters and anticipation overshadowed it for the most part.Dylan Walsh plays the stepfather in a role that was actually likable for the first part of the film.
A lot of them seem to believe this is some kind of Lifetime movie, some call it a typical dumbed-down teen thriller and I saw one reviewer call it a call back to old horror titillation, and I'm surprised and that this film is neither of those.
It's a film about domestic life and show's you every minute of what's happening with both the son and the stepfather, explaining every happening and soaking up all the tension between them, with the only exposure to his teen life his girlfriend, who serves less as his flat love interest to escape to and more like his straight-man who calls him about on an obsession based on a (though correct) simple distrust.
It takes everything you knows about thillers, and while it doesn't turn them all around or revolutionize anything, it at least stays away from the stereotypes or make the standard tropes less tired It's not some kind of Lifetime movie of the week, or MTV Award bait, or even one of those David Loughery faux-thrillers; what this is a tight scripted, well-acted, truly suspenseful film that keeps you guessing, if you can predict what already happens.
I recommend a lot of movies, but if your a horror or suspense fan and you've at least okay with the remakes of films like Friday the 13th or My Bloody Valentine, you have to go see this movie!
There was no story arc whatsoever, it just didn't seem like it was snowballing into this incredible edge-of-your-seat suspense, he ended up killing everyone in such obvious and stupid ways, there were some scenes that could have been made to be incredible, but they were cut short and you didn't really know what happened.
I was really, really impressed with this, and I am going to have to seek out the original now to see what it was like.The Stepfather basically tells the story of "David" - a disturbed man who is apparently normal and caring on the outside but very unstable on the inside, both psychologically and emotionally and one of who lives a lot double lives, looking for recently divorced women to emotionally manipulate them and ultimately, breaks them down and kills them and any immediate family.
I did like the ending and what happens to the stepfather; I felt it was a fairly good and interesting conclusion to the film.
The third act of 'Disturbia' wasn't great, though, which I think the remake of 'The Stepfather' succeeds in – having the film go through a constantly interesting pace..
It brings really nothing new to the table and pretty much just introduces younger crowds to our old school classics.The Stepfather is yet another movie remade and re-imagined but they couldn't really take it to far as the original did.
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning Michael (Penn Badgley) returns home from military school to find his mother shacked up with new guy David Harris (Dylan Walsh) who has a troubled history of his own he hasn't told any of them about- namely, he shacks up with family after family before butchering them and making off as if he never existed.
In fact, it's laughability is one of it's selling points, in a 'so bad it's entertaining' kind of way (check out the still on the back cover with Sela Ward's mother character, screaming in terror but looking more like she's won the lottery.) Aside from this, it's notable for having Dylan Walsh in the lead role, an actor I haven't heard about in quite a while, here showing he's competent delivering darker roles.The Stepfather benefits from a haunting, creepy opening, as the dour Christmas tune Silent Night plays over Walsh's character calmly going about things with the corpses of his latest victims (including children!) lying all around him.
Other than the Stepfather, you'd think one of the characters would have had the sense for what to do with a phone.If you're one for eye candy, you'll love the son's girlfriend who, aside from at the beginning of the movie, apparently seems to live her entire life wearing only underwear or bikinis..
Knowing that some people are aware of my crusade against what I call "needless modern remakes of already modern-enough movies," I'm guessing they may very well ask why I bothered seeing a new version of the 1987 original (which was already a good horror-thriller as it stood).
The movie really is pretty good, I might even say that it is better than the original, but I saw the remake first.
After recalling my nostalgic feelings for the original-and also being a fan of NIP/TUCK-I was sorta lookin' forward to this remake.Dylan Walsh (who plays plastic-surgeon Sean McNamara on NIP/TUCK) plays 'the stepfather' in question who is a serial-killer looking for the 'perfect family'.
Polished up for a modern look with new younger, hip actors/actresses with the hopes of appealing to a new audience that has never seen the original (as is the modus operandi of all the recent remakes), but again has failed to deliver the two key aspects needed for such a feat...quality and substance.Suspension of disbelief is a needed trait for most horror films, but I'm sorry, trying to believe that Penn Badgley is a going into his senior year of high school seems even worse than 90210's peak cast years.Amber Heard is very easy on the eyes but after the 10th scene of her in either her underwear or bikini, I started to question, does she own any actual clothes?
It did not look like an original idea, and it looked like it was taking from other sources.The Stepfather (a remake of a 1987 film starring a pre-Lost Terry O'Quinn) revolves around the titular character played by Dylan Walsh.
After a chilling opening sequence that sets up what kind of a sick psychopath this guy is, the film picks up with him going by the name David Harris and meeting the recently divorced Susan (Sela Ward) and most of her family.
The film stinks of atrocious writing (and even worse dialogue), and offers up far too much curiosity over why no one has thought David's behaviour is odd well before Michael shows up and begins asking questions.Whereas films like Disturbia, its original Rear Window, and even director Nelson McCormick's own remake of Prom Night work on toying with the audience's perceptions of who may or may not be the killer, The Stepfather does away with all of that intensity and gives away everything that even would remotely suggest some sort of fear.
The horror exists only because someone at Sony thought it was a good idea to remake the movie, and just throw together a PG-13 rated script that would potentially lure in the teenage audience and either offend or completely alienate the rest of the movie going public.As bad as the film is, I really feel for Walsh.
But I am certain most people have already heard about how much less she wears in The Informers, so that selling point makes her even more useless mere moments in.I loved the opening scene in The Stepfather, but the film falls apart mere minutes after it happens.
There is likely a very good reason for that...it stinks.Like nearly ALL the endless remakes and reboots that have been plaguing movie goers for the past decade or so....all this is, is a heartless version of the original.It has no heart.It has no soul.It is a retelling of a film that we all love and cherish...and it adds nothing to the story.
Dylan Walsh did a very good job in this picture, the movie is about a man who killed his last family, and now decides it's time to start over in a new town, with a new family, there he meets Sela Ward who he falls for instantly , after time goes by they get married..
b. a person with whom one has sexual relations." (Webster's Collegiate Dictionary Tenth Edition) Now that I've cleared up this factual error on the part of the screenwriter the new 'Stepfather' succeeds as a good remake on the level that it takes much from the original films giving the audience what it wants.
OK it isn't going to change your life but it is gripping in parts and has good ongoing tension.At the very start of the film we know that the Stepfather (David Harris played by Dylan Walsh) is a killer.
You know that something awful is going to happen so you are willing the characters, particularly the son, Michael Harding (played by Penn Badgley), to do something before it is too late.I am confused as to why this movie has received such bad reviews.
This direct-to-video remake of the 1987 film gained pretty negative reviews almost everywhere, but I don't think it's that bad: sure, it's very predictable and it kinda lacks the tension of the original, but it's far better than many other thriller/horror flicks out there.
She's just vapid until the end and even then you don't care about her character because she like the 2 children are forgettable...but she's in more scenes but still I just remember not caring for her much The fact that we see a lot of Michael and his suspicions while it never really focuses a lot on the interplay between him and The Stepfather...it seems forced at times which it's supposed to but it doesn't even gel right when it's forced I don't even remember the names of the little kids, as far as I'm concerned they wasted money on that part of the budget because those two other kids are so forgettable.
While this 2009 version is in itself entertaining and thrilling enough to keep the audience on the edge of their seats, it is a movie that the cinema could have been well enough without.The story is about a killer who preys upon families without a father in the frame, where he movies in, settles in and then kills them when they have served their purpose.The movie is nicely filmed and cleverly set up to thrill the audience, which director Nelson McCormick did quite well.Carrying this movie almost entirely by himself was Dylan Walsh, in the role of the deviant stepfather.The 2009 version is good for those who haven't already seen the original movie from 1987.
I like those, so I was reasonably happy.Dylan Walsh gives a good enough performance, but by the end he is going beyond the ordinary.Sela Ward is a respected actress and she does just fine here, but there isn't anything particularly distinctive.
I wasn't as big a fan of the original "The Stepfather" movie as some people are, but it sure looks better to me after watching this remake.
First off, a warning: THE STEPFATHER is a remake of a 1980s horror film starring Terry O'Quinn (from LOST) as the murderous family member.
The actual lead turns out to be the teenage son, played effectively (although without much sympathy) by Penn Badgley, although the award for best scene-stealer goes to Amber Heard, who parades around in a bikini for her ENTIRE running time.The murder scenes are well handled and the direction is for the most part acceptable, a surprise given that Nelson McCormick also handled the disappointing PROM NIGHT remake.
However, Penn Badgley (Michael) and Amber Heard (Kelly)do have some pretty good chemistry as the slow-to-doubt teens, and Sela Ward (Susan) does a convincing acting job herself, with an optimism that becomes concern as David/"The Stepfather"'s masquerade of perfection begins to crumble.
As in the previous venture, the main character (Dylan Walsh) is a serial killer who woos unsuspecting young women (in this case, Sela Ward) with children into letting him move in as a apart of the family, then coldly dispatches them in a gruesome display of bloodletting and violence.The major difference between this version and the previous one is that the oldest child (Penn Badgley), who becomes convinced of the stepfather's true identity over time, has been changed from a daughter in the original to a son here, just as the daughter's psychiatrist has been converted into a lesbian aunt (Paige Turco) for this version.
Stepfather, The (2009) ** 1/2 (out of 4)Remake of the 1987 cult film has Michael (Penn Badgley) returning home after a year in Military school and learning that his mother (Sela Ward) is living with a new man named David (Dylan Walsh).
I did not find it to be very memorable, but I understand why the film The Stepfather found a moderate success back in 1987.The slasher cinema cycle was on decadence, saturated with masked imitators of Jason Voorhess, whose idea of "innovation" consisted on using new kitchen utensils in order to commit the murders.So, in that context, it was different to present the appearance of the "stepfather", a sober, realistic and disturbingly normal villain.And besides, it offered two solid performances: one of them was from the always brilliant Terry O'Quinn in the leading role; and the other one was from Jill Schoelen as the "final girl", a promising actress who was proclaimed by some people in that time as the next Jamie Lee Curtis.22 years later, the remake of that film was made, and even though there have been worse remakes (like Prom Night or Black Christmas), it is still a lame and tedious movie in which I wasted my time.The only positive element I found on The Stepfather was the performance from Dylan Walsh, because he feels credible on his role.As the "hero", we have the bland Penn Badgley, who feels truly irritating.And sure, the absence of an attractive heroin (as in the original film) created the necessity of new "visual attractive"...a work which fell on Amber Heard, who was condemned to interpret most of her scenes using a bikini or underwear.Heard is attractive, but such an obvious and gratuitous strategy cheapens the movie, and it ends up leaving a bad taste...Was it really necessary to show so many discussions near the swimming pool?In summary, I do not recommend The Stepfather (2009) at all, mainly because the story never got me interested and the direction feels absolutely listless..
The plot is about this guy named David Harris played by Dylan Walsh who actually did a good job with what he was given, that goes around trying to make the best family by weaseling his way into being a stepfather, but when his attempt to make the perfect family fails.
I read here that its a remake, well I haven't seen the original movie and now I'm starting to feel that maybe that is why I liked it a lot!
Dylan Walsh plays a pretty good psychopathic serial killer.I recommend this to anyone who wants to watch a thriller and doesn't mind clichéd plots.. |
tt0758774 | Body of Lies | Towards the start of the movie Ed Hoffman (Russell Crowe), speaks to his CIA superiors. He explains to them how terrorists are turning their back on technology by throwing away their phones and computers and using old methods of communicating face-to-face and with written messages. This terrorist retreat into the stone age paradoxically makes the strengths Hoffman has to deploy worthless and increases his dependence on Ferris and his human intelligence.Roger Ferris (DiCaprio) is a CIA paramilitary operations officer. He is in Iraq trying to track down a terrorist called Al-Saleem. While following a lead, Ferris's asset (with whom he has become good friends) is killed during a car chase involving terrorists, rocket-propelled grenades and two missile-firing U.S. helicopters. Ferris recovers from his injuries at a U.S. facility in Qatar before he is sent to Jordan to run down some intelligence he recovered in Iraq. Meanwhile, unknown terrorists plan to follow up an offscreen series of bus bombings in Sheffield, with more attacks in Manchester but blow themselves up when the police find their cell.Ferris and his handler Hoffman are strongly contrasting characters: Ferris acts on the human scale, relying heavily on trust and human intelligence. Hoffman is more Machiavellian, and keeps tabs on Ferris via a Sikorsky Cypher UAV.In Jordan, Ferris tosses the ineffectual Station Chief out of his office before meeting Hani Salaam (Mark Strong), head of the Jordanian General Intelligence Department (GID). Salaam and Ferris form a fragile and complex bond. Salaam is deeply aware that whatever he thinks of Ferris, his duty is to his country, while Ferris acts for the CIA, whose interests cannot intersect with those of Jordan. Salaam demands one thing of Ferris -- never lie to him.Hoffman finds an Al-Saleem safehouse in Jordan and orders Ferris to conduct a surveillance operation on it covertly. Simultaneously, he organises another operative Skip (Vince Colosimo) to conduct an operation without Ferris's consent. Skip botches the operation, blowing his cover by divulging compromising information to a terrorist from the safehouse. As the terrorist takes off, running, and intent on releasing the information that the safehouse has been compromised, Ferris makes chase: bitten by dogs in the run, Ferris ultimately kills the runner. Hani covers up the killing by passing it off as a robbery and Ferris accuses Hoffman of running "side operations", telling Hoffman to lay off. Tending his wounds in hospital, Ferris meets a nurse named Aisha (Golshifteh Farahani). Around them, the swirl of terror animating the action continues as cell phone-triggered bombing in an Amsterdam flower market that kills at least 75 people.Having recognised one of the men living in the safehouse as well-known suspect Mustapha Karami (Kais Nashif), Hani takes Karami out into the desert and coerces him into working for Jordanian intelligence, threatening to set him up as a collaborator if he does not cooperate (he has been sending money to Karami's mother and making it appear as if it came from her reformed and successful son, so she doesn't know Karami is still a thief and now an aspiring Al Qaeda terrorist, and he is shamed and surprised when Hani does not kill him but lets him ride away on his bicycle). Hoffman asks Hani to hand Karami over to the CIA, most likely to interrogate him but Hani refuses, having earlier told Ferris he does not believe in torture. Unknown to Ferris and Hani, Hoffman tells Ferris's CIA subordinate to follow Karami and kidnap him. Karami gets away and notifies the terrorists in the safehouse that it is being watched, resulting in the safehouse being lit on fire and abandoned. Ferris's partner is caught and Hani professes his belief that Ferris had knowledge of the move on Karami and therefore blames his lack of honesty with Hani for the destruction of the safehouse. Hani gives Ferris 12 hours to leave Jordan.Ferris comes back to the States for a while and argues with Hoffman, whom he derides as power-hungry and fat. He then comes up with a plan to make contact with the terrorist Al-Saleem by staging a significant terrorist attack, the logic being that Al-Saleem will hear about this attack and try to make contact with the terrorist group who committed it. With the help of one of Hoffman's CIA friends, Ferris is able to frame a Jordanian architect named Omar Sadiki by posing as a financier contracting a bank's construction in the UAE, making him look like the head of a terrorist cell.The "terrorist attack" is staged at the Incirlik Air Base in Turkey. A bomb is exploded in the base and Ferris uses unclaimed local bodies dressed as soldiers to make it seem that soldiers were killed in the attack. Al-Saleem (Alon Abutbul) sees the report of the attack on television and tries to make contact with Sadiki.Hani tells Ferris to come back to Jordan because he knows that he needs Ferris. Hani then talks to Ferris about his suspicions that Omar Sadiki is a terrorist. Ferris hides that this is not the case, and acts as if he doesn't know anything concerning Hani's suspicions. Ferris later tries to save Sadiki from being kidnapped by Al-Saleem's henchmen but fails and sees another CIA agent nearly killed in the subsequent car crash. Sadiki informs Al-Saleem that Ferris made it seem he committed the terrorist attack. Sadiki is killed. Ferris goes back to his apartment and finds out that Aisha, in whom Ferris is romantically interested, has been kidnapped. He then desperately asks Hani for his help, explaining to Hani that he made up Omar Sadiki's terrorist cell and the terrorist attack supposedly committed by Sadiki was faked. However, Hani refuses to help Ferris because Ferris lied to him.Ferris gets a call from the kidnappers and is told to wait for a van. The van picks him up and drops him in the desert. Meanwhile back in CIA headquarters, Hoffman is watching everything via an unmanned aerial vehicle. Ferris is then picked up by a group of men in SUVs and the vehicles create a massive cloud of dust before splitting up. Hoffman is unable to follow Ferris because he has no idea which car he is in.Ferris is taken to be interrogated by Al-Saleem, just across the border in Syria. When Ferris asks Al-Saleem about Aisha, Al-Saleem tells Ferris that someone has lied to him and he has been double-crossed. Ferris tells Al-Saleem that there is an infiltrator (Karami) in his organization who works for Ferris, and that, by association, Al-Saleem works for Ferris. Al-Saleem smashes two of Ferris's fingers with a hammer before turning on a video camera and ordering Ferris to be killed. Al-Saleem then leaves. Ferris is prepared by Al-Saleem's men to be executed on video. As Ferris is about to be executed, Hani and his team of Jordanian SF burst into the room, killing all of the terrorists. Al-Saleem is seen leaving the building and unwittingly getting into a car driven by Hani's men who arrest him.While in the hospital, Ferris is visited by Hani who reveals to him that it was his men who kidnapped Aisha, using blood she donated regularly at work to make it appear she'd been killed or wounded. He then brokered a deal with Al-Saleem (using Karami): he would deliver CIA agent Ferris to him for money. It was one of Hani's men who rang Ferris and dropped him in the desert. Since Karami was Hani's man inside Al-Saleem's organization, he was able to locate Ferris and Al-Saleem in time to save Ferris and arrest Al-Saleem. Aisha has been released unharmed but does not know what role her kidnapping played.In the end Hoffman offers Ferris a job in his office, but Ferris declines and tells Hoffman that he is quitting the CIA. Hoffman prepares to leave Jordan and resigns himself to Ferris not changing his mind. At the movie's end, Ferris seemingly decides to not contact Aisha, therein refuting what Hoffman had repeated numerous times through the movie: no one is innocent. Hoffman is shown speaking with CIA operatives watching Ferris in the market buying pastries, in a box similar to that which he had taken to Aisha's. Hoffman declares that Ferris is no longer an asset. It is left to the viewer to decide whether Ferris leaves Aisha to live her life or becomes involved with her once again. | violence, intrigue, murder, flashback | train | imdb | null |
tt0060196 | Il buono, il brutto, il cattivo | The film tells the story of three men who pursue, often at the expense of others, information about the location of a buried treasure of coins. The first character introduced in the movie is Tuco Benedicto Pacifico Juan Maria Ramirez (the Ugly) - called Tuco - (Eli Wallach), who has a bounty on his head for numerous crimes. Tuco has a partnership with Blondie (The Good, played by Clint Eastwood) in which the latter turns him in for the reward money which the two then split after Blondie saves Tuco from hanging at the last moment. Meanwhile, a third character called Angel Eyes (Lee Van Cleef, playing the Bad) has learned of a hidden trunk of gold owned by a Confederate soldier named Bill Carson. He sets off to find the gold.Soon, Blondie grows tired of his relationship with Tuco, and leaves Tuco in the desert with no water. Tuco survives and is intent on exacting revenge on his former partner. He finds Blondie, and turns the tables by planning to abandon him in the desert. However, before Tuco can complete his torture in the New Mexico desert, a runaway stagecoach full of dead and dying Confederate soldiers appears. Bill Carson, the man with knowledge of the whereabouts of the gold, dying from thirst, persuades Tuco to get him a drink by disclosing the name of the graveyard where the loot is located. As Tuco goes for the water, Carson dies, but not before revealing the name on the grave to Blondie.Dressed in the uniforms of the dead soldiers, Tuco takes Blondie, near death, to a local Catholic mission run by his brother, a priest. While Blondie recovers, Tuco and his brother (Luigi Pistilli) confront each other about the mistakes each has made in life. After leaving the mission, the two, still impersonating Confederate soldiers are captured and taken to a Union prison camp. Angel Eyes has followed the trail of Bill Carson to the prison camp and is posing as a Union Sergeant.Angel Eyes and his colleague Wallace beat and torture Tuco until he reveals the location of the cemetery. When Angel Eyes learns that only Blondie knows the name, he changes tactics. He proposes a partnership, and accompanied by five or six other killers, they leave to find the coins. Tuco escapes while being transported from the camp by train, in the process killing Wallace. At the nearest town, Tuco encounters a bounty hunter (Al Mulock) he had wounded at the beginning of the film, who seeks his revenge. As Tuco shoots the bounty hunter, Blondie, who is in the same town with Angel Eyes, recognizes the sound of Tuco's gun, seeks him out, and he and Tuco resume their old partnership. Together they kill Angel Eyes' gunmen along the main street, but Angel Eyes himself escapes.Tuco and Blondie stumble on a battle between the Union and the Confederates, fighting for a bridge of questionable strategic value. Since the cemetery is on the other side of the bridge, they decide to destroy it and force the soldiers go somewhere else to fight. While they are setting up the dynamite, Tuco reveals that the cemetery is called Sad Hill and Blondie reveals that the coins are buried in a grave marked by the name of Arch Stanton (Adam S. Gottbetter).On the other side of the river Tuco deserts Blondie by horseback and finally enters the nearby graveyard.Tuco frantically searches around the graveyard for the grave of Arch Stanton. Eventually Tuco finds it, but before he can begin digging he's held at gunpoint by Blondie, who in turn is held at gunpoint by Angel Eyes, who has finally caught up to both of them. However, Blondie reveals that Arch Stanton's grave contains only a decomposing corpse.Blondie then leads the three of them into an empty patch of land in the middle of the cemetery. He writes the name of the real grave under a stone which he places in the center.At the conclusion of a three-way shootout, Blondie shoots Angel Eyes and Tuco finds his gun empty, having been unloaded the previous night by Blondie. Blondie then reveals that the real location of the coins is a grave marked "Unknown" right next to Arch Stanton. Tuco digs up the loot from the grave only to find himself once again staring down the barrel of Blondie's gun, who now holds a noose in his hand. After placing Tuco into the noose, fastening it to a nearby tree and making Tuco stand on the unstable wooden cross of one of the graves, Blondie takes half the coins and rides away while Tuco cries for help. In a dramatic twist, Blondie turns around to shoot the rope above Tuco's head, as he used to do in their times of partnership, freeing him one last time before riding off as Tuco screams in rage. | murder, western, thought-provoking, violence, cult, atmospheric, good versus evil, psychedelic, humor, suspenseful, historical | train | imdb | A sprawling Western epic that follows the adventures of three gunfighters looking for $200,000 in stolen gold, Sergio Leone's `The Good, the Bad, and the Ugly' is a masterpiece, one that continues to get better and better with each viewing.
(Watch the scene when he gives a dying Confederate soldier a puff of his cigar - powerful, and it sums up everything that the Man With No Name is all about, without saying a single word.) Eli Wallach (`The Ugly') is Tuco, and he's easily the most complex - if not the best - character in the film.
All impulse and rage, Tuco spins wildly throughout the movie, stealing, lying, pretending to be Clint Eastwood's best friend in one scene, trying to kill him in another - Tuco truly represents `the ugly' side of people.The movie is long, but there's not a wasted scene in the film.
I wasn't sure if I was going to comment on this film because everything has already been said by the hundreds of other people who have posted their thoughts, but I decided that I should really put my two cents in since this is my favorite movie.This film, in my opinion, is not only the greatest spaghetti western of all time.
The movie is long, but Leone's direction is so good that you will love the fact that you can enjoy this movie for three hours.Lee Van Cleef is my favorite spaghetti western actor, and he is incredible as "Angel Eyes." It is the part he was born to play.
As I write this, I wish I had my own copy of the film, just so I could see this scene again.Not just a great western, but easily one of the best movies of *any* kind ever made..
It is the tacit amicability between Blondie and Tuco and their mutual hostility towards the evil Angel Eyes owing to the vestiges of virtue present in them, redolent of their moribund morality, which gives the story, the impetus and the characters, a screen presence that is not only awe inspiring but also unparalleled.Sergio Leone's magnificent and ingenious direction in synergy with Ennio Morricone's surreal music, Tonino Delli Colli's breathtaking cinematography and Joe D'Augustine's punctilious editing makes the movie, a treat to watch and ineffably unforgettable.
The career-making performances by Eli Wallach (hilarious), Lee Van Cleef (chilling) and Clint Eastwood (cool) are nothing short of iconic, and the film's finale is so good it will send shivers of cinematic joy down your spine.
And hey, there's even a huge Civil War battle to provide a change of pace from all the small-scale action.Ultimately, "The Good, the Bad and the Ugly" is probably just a potboiler of a film, without too much to say about, for example, the human condition.
Eli Wallach's performance, Leone's direction and Morricone's music alone are enough to elevate it to classic status - and the fact that everything else in the movie is great, too, helps elevate it to the level of perhaps the greatest action film ever made.And to think, I missed all that the first time through....
Of course we have the Bad who is a ruthless killer who also wants in on the doe.The Good, The Bad, and The Ugly is a terrific film and I thank all the IMDb users for their useful comments and that pushed me to finally rent this western classic.
With the Good, the Bad and the Ugly he continued his upward trajectory and rounded off his dollars trilogy in style.This picture was Leone's most stylised and grandiose to date, and brought all the themes and styles he had been developing in his earliest films to perfection.
It's not until we have seen him betray and abandon Tuco that we get his freeze-frame and title "the good" obviously a fairly ironic label given the way he has just acted.Leone's trademark long drawn out face-offs exaggerated versions of the shootouts of John Ford westerns and the sword duels of Kurosawa's samurai films are also brought to a peak here.
The good guy Van Cleef obviously proved more popular, as in the dozen or so other spaghetti westerns he made for other directors he was invariably cast as the hero.Just time for a final word on the recent (2003) restored edition.
Now in the far future (2016) I watch QT do his knock-offs, and the young audiences (who have never seen the originals) think his are the originals, and everything else the knockoffs.(Reminds me of the Old King Cole nursery rhyme -- "pulled out a plum and said What a Good Boy Am I" -- another reference lost on those living the age of portable devices.) For those who actually care about the history of film: * Leone invented a brand new genre called the Italian western.
His first, Fistful of Dollars, recycled a Japanese story (Yojimbo), recycled an American ex-pat whose Hollywood career was officially over (Eastwood) and introduced one of the greatest music composers of the modern film era, Ennio Morricone.* next came For a Few Dollars More, an original story, which locked into film history Leone's trademark use of closeups and sound editing, and brought out of mothballs Lee Van Cleef, one of the greatest "faces" in the history of the western.
Most people choose 'The Good, The Bad and The Ugly' as the best of Sergio Leone's superb spaghetti western "trilogy" (I'm putting trilogy in inverted commas because the three movies actually have no connection to each other, and Clint Eastwood, despite the "Man With No Name" tag, plays a different character in each).
The Good, the Bad and the Ugly isn't one of those films that is thought provoking, but it is one of the best simply because for 3 hours it is very entertaining, and a thing of beauty..
Clint Eastwood is at his best as the 'Good' (even though he's not strictly a good guy but more a bad guy with an honor code), Lee van Cleef is so truly evil that you'll long for his downfall with a passion, and Eli Wallach steals the show as the 'Ugly', turning him into a character that you'll root for even though he's quite clearly the least trustworthy character you'll ever meet.These wonderful characters engage in a quite complex plot full of twists and turns, as they are constantly trying to outwit and outshoot each other.
Lee Van Cleef seems as deadly as the great Eastwood himself as "The Bad" guy.Cinematography - not as continuous as one would like - but manages to convey the tension in the dueling scenes very effectively.Also, the music - Ennio Morricone at his best!
The film takes part of ¨the man without name¨ trilogy united to ¨For a fistful dollars¨, and ¨ A few dollars more¨.The movie centers about the ugly (Eli Wallach) , the bad (Lee Van Cleef) and the good (Clint Eastwood) in search for a Confederate treasure buried on a cemetery whose tracks have got the three enemies and is set during American Civil War.It's too much violent but is neither tiring, nor boring, but entertaining.
Shot in the deserts and landscapes of Spain : Burgos and Almeria , with 1,500 Spanish soldiers as extras .Eli Wallach is very well , as he steals the show , he interprets a humorous and greedy murderous thief , Lee Van Cleef plays a villain and ominous killer and Clint Eastwood makes a dirty and wry 'man without name'.This quintaessential 'Spaguetti' originated great influence of wide range in Western .
Well suddenly I'm having an Eastwood movement and sinking myself into Westerns for the first time in my life and it only made sense that I start with what some critics and fans call "The Greatest Western ever made." In some respects I agree with that because it embodies everything that the Western is...even if you have never seen a Western you know the way they are supposed to go and The Good, The Bad, and The Ugly encompasses every aspect of the stereotypical Western.
The whole film must be watched for Wallach's Tuco alone.This is my first taste but not my last of Eastwood Westerns and Sergio Leone who apparently is the be all and end all of Action western directors.
With a volatile mix of myth and realism The Good The Bad And The Ugly is the best of the spaghetti westerns and the greatest western ever made.This is Clint Eastwood's 2nd best movie (the best is UNFORGIVEN) Elli Wallach was excellent as Tuco, he is the real star of the movie, he had the best lines .
Lee Van Cleef plays the bad guy to perfection.Sergio Leone is at his very best here.And Ennio Morricone's music is outstanding like always.
A pure western.Will always be remembered for its great music and the personality of Clint Eastwood.In fact this was the film in which Clint Eastwood made his name.Both Lee Van Cleef & Eli Wallach put in sterling performances.The direction is exceptional The real merit of this movie is that it brings to light the exact situation in the USA around the period 1864-65 when the confederates were losing the war.There was confusion & chaos all around & no real authority.Hence the proliferation of a number of bandits and outlaws.The photography and direction are breathtaking and there is areal attempt to bring out the characters of those who dominated the period.Life could be extinguished at any moment & a man had to live by his wits and by his guns.Women were fair game to any outlaw.Hanging and capital punishment were routineThis was the real United States of that period and they could practice this culture in isolation,as the communication & technologies of the period were highly limited compared to today..
Please watch this classic before you die.R.I.P Leone and thank you for blessing your fellow humans such a great gift.P.S: Eli Wallach + Lee Van Cleef + Clint Eastwood = the most bad-ass narrow- eyes gang in Hollywood..
Sergio Leone's 1966 Western The Good, the Bad and the Ugly unfolds under this hostile, violent and hate filled umbrella of Civil War America; a fitting backdrop of ongoing warfare and hostilities to which two American men and a Mexican bandit strive to find a large box full of valuable coins buried out in the big country somewhere behind Confederate Army lines.
His ability to essentially construct a number of small, minute set-pieces amidst this wide-open and dusty, hostile setting is immaculate; but the change of tact he applies later on towards the end of the film in capturing a Civil War battle between the North and South is just as impressive; portraying a larger fight sequence as the inevitable showdown between the film's three main players draws nearer and that sense their showdown will be of a similarly epic proportion, despite it being just another gunfight and despite the fact all of those thus far have been between grossly outmatched participants.Leone is all for spectacle and action to propel the plot, but his ability to capture the little things; the terrain and just the sounds that it omits is wonderful.
The good The bad and The ugly ticks all the boxes when it comes to doing things right, directors from today need to remember how geniuses like Sergio Leone crafted pieces of art like the good the bad and the ugly, with an fantastic story, brilliant actors, incredible script, suspenseful action scenes, beautiful cinematography and one of the finest soundtrack of all time, not only is 'the good the bad and the ugly' the greatest western of all time...
The man behind that was Tonino Delli Colli, the cinematographer for some other of director Sergio Leone's legendary movies beyond this one: Once Upon a Time in the West, and Once Upon a Time in America (and well as the astonishing Life is Beautiful.) But overall, for its content, its plot, its message (if that matters), is TGTBTU a great film, a masterpiece?Well, the movie is smart.
Whatever his aura over time, Clint Eastwood is no great actor, not in my book, and here he is easily out shined by Eli Wallach, who plays a less attractive type, and by Lee Van Cleef, who plays a more attractive one.
In the end all this adds up to make The Good the Bad and the Ugly in my opinion one of the greatest films of all time..
The performances are all iconic with scene-stealer Eli Wallach the standout.The earlier films in the trilogy don't have the same tremendous sweep and scope.The dry and dark humor also elevates this classic to greater heights.Although I'm always somewhat annoyed by the acting of the Italian supporting cast, with their excessive macho laughing and some assorted weird characters,it doesn't detract from the enjoyment of these movies."The Good,the Bad and the Ugly" is in my opinion one of the best westerns ever made..
The classic 'Good Versus Evil' situation that is such a frequent theme in film (And coincidentally, more often in westerns) is slightly blurred in The Good, The Bad and The Ugly and I personally think there is no definite and it is left up to the viewer to decide.This movie is simply essential viewing, an all-time classic and much deeper than would first appear.
Its a tense and edge of seat classic The music is nothing short of perfect, this is by far Ennio Morricone's best work and the music creates the films now clichéd stereotype which was such (and still is) a success in the 60's when it came out.In Conclusion, Don't be scared off by this movie because of its genre, I've never liked westerns but this was thoroughly entertaining a must see 8.9/10.
Then came these movies, with THE GOOD, THE BAD AND THE UGLY being the last and the greatest of the three Dollar films.
And finally, on adding this film's perfection in other filmmaking aspects like cinematography, editing, set pieces, every minute detailing & the final showdown, we have a cinema that's simply the best.Immortal for its contribution to western genre, The Good, the Bad & the Ugly is a stunning work of expert filmmaking whose significance to art, culture & cinema will never be forgotten.
Sure the music helps a lot, but it's the directing by Sergio Leone that really makes this scene so intense."The Good, the Bad, and the Ugly" is most definitely one of the most important films of all time and it certainly has earned its immortality in the realm of the cinema.
'The Good', Eastwood's character, begins the film by double crossing his partner (Eli Wallach's conflicted Tuco, 'The Ugly') and leaving him in the desert.
He creates a feeling of both intensity and humor by portraying the three key characters with one trait only; The Good (Clint Eastwood), The Bad (Lee Van Cleef), and The Ugly (Eli Wallach).
Wallach, a western veteran, plays Tuco with great viciousness and humor, making him likable and unlikeable at the same time; he truly is "ugly." Leone and his cinematographer Tonino Delli Colli pack the film with great shots of the west, from the tired sands of the desert, to the endless graves of a cemetery (which was actually located in Spain).
'Buono, il brutto, il cattivo, Il' was at its release in 1966 a very unconventional Western epic that follows the travails of three gunfighters looking for $200,000 in stolen Confederate gold.Also known as 'The Good, the Bad and the Ugly', it was Italian-born (Rome, 3 January 1929) Sergio Leone's third so-called spaghetti Western after 'Per un pugno di dollari', aka 'For a Fistful of Dollars' (1964) and 'Per qualche dollaro in più', aka 'For a Few Dollars More' (1965).It is generally considered one of the best films of its kind ever made, a masterpiece, one that almost inexplicably continues to get better with each viewing.
Eastwood dedicated this movie to Sergio Leone who died 30 April 1989 in Rome, and who had believed in him early in his career.Call it 'Buono, il brutto, il cattivo, Il' or call it 'The Good, the Bad and the Ugly', but after seeing it you'll call this movie absolutely brilliant at MANY levels, including the one mentioned above by Kitchener.It is a classic like no other, and is easily one of the best Westerns and films of its kind ever made..
After Blondie and Tuco chance upon a dying Confederate soldier who reveals to them the whereabouts of a fortune in gold, the pair come to the attention of Angel Eyes, who will do anything to lay his hands on the treasure.The Good, The Bad and The Ugly, the third film in Sergio Leone's Dollars trilogy, is an epic spaghetti western that benefits from iconic central characters, an undeniable sense of cool, and, of course, that classic Ennio Morricone soundtrack (Waaawawah, waa waa waa!).
The Good, the Bad, and the Ugly (Sergio Leone, 1967)There are a number of great things about this movie.
The only aspect that I still have a high regard for in here in the music, now considered probably one of the "classic" soundtracks.However, the three main characters - the men who dominate this film - played by Clint Eastwood, Eli Wallach and Lee Van Cleef - are really nothing but overly crude and excessively violent morons.
THE GOOD, THE BAD AND THE UGLY (1966) **** Clint Eastwood, Eli Wallach, Lee Van Cleef.
THE GOOD, THE BAD AND THE UGLY (1966) **** Clint Eastwood, Eli Wallach, Lee Van Cleef.
It runs for just under three hours, the pace of the film is quite good for a very long film, as Leone's direction is really top-notch that it just doesn't seem to matter as this film is really compelling and dense that you could watch it over and over again and it would still seem fresh.The performances are excellent, Clint Eastwood as the quietly spoken Blondie (the good), Eli Wallach as the humorous Tuco (the ugly) and Lee Van Cleef as the menacing Angel Eyes (the bad). |
tt0338564 | Mou gaan dou | Infernal Affairs focuses on a police officer named Chen Wing-Yan (Tony Leung Chiu-Wai), who goes deep undercover into the Triad society, and Triad member Lau Kin-Ming (Andy Lau Tak-Wah), who infiltrates the police department. Each mole was planted by the rival organization to gain an advantage in intelligence over the other side. The more the moles become involved in their undercover lives, the more issues they have to cope with.The Prologue opens with the introduction of Hon Sam (Eric Tsang Chi-Wai), a Triad boss and the primary antagonist of the film. Sam is sending a number of young, green gangsters to the police academy as molesamongst them is one called Lau Kin-Ming (whose younger version is portrayed by Edison Chen Koon-Hei). At the same time another person named Chen Wing-Yan (whose younger version is portrayed by Shawn Yue Man-Lok) is shown joining the police force. Although he manages to impress the Superintendent Wong Chi-Shing (Anthony Wong Chau-Sang) and the police academy principal Yip, Yan is expelled from the academy. In reality Yan becomes an undercover reporting directly to only Wong and Yip. Yan's undercover job becomes stressful while Ming quickly climbs the ladder in the police department.The film begins after Yan and Ming converse at a hi-fi store where Yan works, neither of them knowing who the other is. Soon after, Yan attends a funeral. It is revealed that Yip has recently died and that Superintendent Wong remains as the only person who could identify Yan as a cop. Later a deal between Hon Sam and a Thai cocaine dealer is interrupted by Superintendent Wong and his team due to Yan's tip-off using Morse Code. However, Ming alerted Sam of the bust with enough time for Sam to order his minions Tsui Wai-Keung (Chapman To Man-Chat) and Del Piero (Dion Lam Dik-On) to dispose of the cocaine so the police would not have any real evidence on the drug deal. Now, both Wong and Sam realize that they each have a mole within their respective organizations, putting them in a race against time to root out the other mole.Later, Sam converses with Ming at a cinema with Yan watching. As Sam and Ming leave, Yan tries to follow Ming. At the crucial moment, Yan's phone rings and he is forced to back off, thus losing his chance to capture Ming.At the same time, Yan and Ming are both struggling with their double identities. Yan is starting to lose faith in himself as a cop after being a gangster for ten years; while Ming, on the other hand, becomes more and more used to the life of a righteous police officer and wants to erase his criminal background.Yan meets SP Wong a second time on the same rooftop unaware that Ming has his subordinate, CIB Inspector B (Gordon Lam Ka-Tung) and his team tracking him down. Sam, after getting intel from Ming, sends Keung, Del Piero and a gang of henchmen to confront them. Inspector B informs Ming and he sends an OCTB squad to attempt to save Wong. Yan eventually escapes the building by taking the crane but Wong is caught by Del Piero and is thrown off the roof. As Yan is about to escape, he witnesses Wong's fall to death, and is stunned. As the police close in, a shootout between the police and Triads breaks out, resulting in the death of 3 Triads, one of whom is Del Piero. In the aftermath of the gunfight, the OCTB squad arrives with Ming and Wong's second-in-command Inspector Cheung (Berg Ng Ting-Yip) on the scene, but they are too late to save Wong. Yan and Keung manage to escape from the gunfight. As Keung drives away with Yan, he crashes the car, and finding that he is wounded from the gun battle, Keung dies in Yan's arms.Eventually, Ming retrieves Wong's old cellphone and makes contact with Yan. They reach a deal to foil another one of Sam's drug deals. Inspector Cheung does not want to cooperate with the operation at first because of Wong's death, but he is later convinced by Ming to go ahead with the operation. With Yan's help, Sam's drug deal is interrupted and Sam is killed by Ming. Many of Sam's other gangsters are arrested. Everything seems to work according to the plan: Yan could now return to his true identity as a police officer and Ming has successfully erased his criminal connections by eradicating Sam and his gangs. However, back at the police station, Yan discovers Ming was the mole, and leaves immediately. Ming realizes what has happened, and erases Yan's identity from the police computer records. Yan spends an evening with his therapist Lee (Kelly Chen), whom he was falling in love with, and sends a compact disc to Ming which is inadvertently intercepted by his wife Mary (Sammi Cheng Sau-Man) with a recording that Sam kept between himself and Ming. The two agree to meet on the rooftop of the building where Wong was murdered earlier. Yan disarms Ming without resistance. Yan holds a gun to Ming's head as rebuke and as reply to Ming's plea for forgiveness to remain a policeman. Inspector B arrives on the scene shortly afterwards and commands Yan to release his boss.The film ends with Yan entering a lift backwards with Ming hostage, when he is suddenly shot in the head and killed by Inspector B as he moved his head from behind Ming. Inspector B reveals that he was also a mole for Sam. He asks Ming to watch out for him, since their boss is already dead. As he and Ming enter the lift going down to the lobby, Ming shoots Inspector B dead, likely out of his desire to eradicate traces of his past and become a "good guy" police officer.The original ending climaxes with Ming identifying himself to the police as an officer, and paying homage to Yan at his funeral, where he is buried next to Superintendent Wong. Inspector Cheung and Dr Lee are present as well. A flashback reaffirms the point that Ming wished he had taken a different route in his life.Alternate EndingThe alternate ending has Ming exit the lift to be informed by Inspector Cheung that the police force have found evidence that he was a mole. He hands them his badge and is arrested without protest. | mystery, realism, violence, flashback, inspiring, suspenseful | train | imdb | - and music to the graceful ying-yang undertones (mirror-images are a key theme), the film's most heroic achievement lies in its leads and in the bold ending.Hearing that this is being considered for a remake stateside comes as no big surprise, but how Matt Damon and Leonardo DiCaprio could possibly compete against Andy Lau and Tony Leung evokes cynicism at best.
As a minimum, I hope the great director Scorcese will make good use of the major plot line and generate a haute thriller and with the excellent cast, develop some in-depth characterization.
The plot may well have the occasional hole and have unnecessary personal details (Lau's girlfriend and Chan's ex weren't really needed) but the central story is well written and told with such urgency that it is hard not to be totally engaged.The film doesn't have many massive shoot outs or action scenes but it has a pretty consistent sense of tension that is enjoyable right up to a typical but impacting ending.
It may owe more to American cinema than that of the Orient but it is still a very good film and I hope the inevitable remake will be as good.The cast don't need to do that much apart from look intense and portray the tension of the story in a realistic fashion - something that they do well.
Chen and Cheng may not have a great deal to do apart from slowing the film but they both look good doing it.Overall this is a solidly enjoyable cop thriller, regardless of what country it comes from.
So I am putting in my piece.Hong Kong movies have changed a lot in the last decade and when Infernal Affairs came out it was a real change.
After I enjoyed Martin Scorcese's "The Departed, I decided to watch the film that inspired the celebrated director to re-make it and move the action from Hong Kong to Boston, MA, USA.
I must say that I liked the original movie better: 50 minutes shorter than Scorcese's magnificent remake, "Infernal Affairs" is tighter, faster, more compelling and tells the same story better.
It does not have a grand acting Jack Nicholson who basically plays Daryl Van Horne with the attitude and "Infernal Affairs" characters don't talk and don't curse as much as they do in "The Departed" but the Hong Kong's movie only benefits from it.
I'm late in discovering the Hong Kong crime thriller genre so I can only compare "Infernal Affairs (Mou gaan dou))" to its Hollywood compatriots.
Infernal Affairs: 9/10A brilliant cop movie out of Hong Kong, with a sublime plot and great acting by the two leads Andy Lau and Tony Leung (an indescribably great actor).
None of them bothered to discover that "The Departed" was a remake of this movie.Happily, some of the classic lines such as chopping one up and feeding him to the poor survived the Hollywood chopping block, but the fabulous method of communicating secretly via Morse Code did not make the transition from Hong Kong to Hollywood.My suggestion: if you loved this original, then do not disappoint yourself watching the Hollywood remake..
Eric Tsang and Anthony Wong both turn in performances that buttress the theme of dichotomy as two weathered veterans, engaged in a human chess match with the lives of their protégées at stake.The story revolves around a would-be officer, played by Leung, a former academy standout, hand-picked to infiltrate the Triads for an indefinite amount of time.
Probably the main thing that kept me glued to the screen was the performances of the two leads, especially Andy Lau, I am not too familiar with his work, you know I have just recently been introduced to Asian films(thanks to Ain't It Cool News for pointing this one out along with Sympathy For Mr. Vengeance) he is amazing, his face alone can hold a scene.
Andy Lau, Tony Leung, Anthony Wong and Eric Tsang all give excellent performances with Tony Leung's tortured undercover cop character completely owning the film.
However, one hopes that with Scorsese at the helm the film can only get better (even though 'Gangs of New York' was horrible).This movie is a must watch for people who've followed triad movies in Hong Kong, and is at least worth a rental.
Every shot of this movie is well done, every actor does know to play (Oh my God, putting Andy Lau, Anthony Wong, Eric Tsang, Edison Chen, Shawn Yue & Tony Leung is just making the DREAM TEAM !).
However, I couldn't do so until I had seen the 2002 Hong Kong film upon which it was based, 'Mou gaan dou {Infernal Affairs},' directed by Wai-keung Lau and Siu Fai Mak. Fortunately, not too long ago, my local movie rental store was having a sale on their superfluous VHS tapes, at a price of $2.00 apiece.
'Infernal Affairs' combines an irresistible story of intrigue, loyalty and betrayal with some extremely slick editing and camera-work; it's no surprise that the film has acquired an impressive following in the West.Tony Leung plays Chan Wing Yan, an overwrought undercover cop who has spent the last ten years infiltrating numerous dangerous gangs and exposing their criminal dealings.
There are certainly countless parallels to be drawn between the characters, but what struck me most were the contrasts between the two: Ming is a cold, devoted and ruthlessly efficient, whilst Yan has been reduced to a tired and neurotic wreck after a decade of living in fear.The plot of 'Infernal Affairs' moves forward at a ripper pace, probably owing more to Western action cinema than that from its own region.
Renowned directors Andrew Lau and Alan Mak delivered a visionary art form of action and suspense in the Hong Kong award-winning masterpiece, INFERNAL AFFAIRS that takes you into the world of organized crime and police corruption.A Superintendent (Anthony Wong- John Woo's HARD BOILED, BLACK MASK and THE MEDALLION) recruits a rookie cop ("Tony" Leung Chui-Wai- Jet Li's HERO) as an undercover operative to work his way into the triad ring and help bring down the leader (Eric Tsang- THE ACCIDENTAL SPY and Jet Li's CONTRACT KILLER).
What the two are unaware of is that the leader has a mole (Andy Lau- HOUSE OF FLYING DAGGERS and Jackie Chan's LEGEND OF DRUNKEN MASTER) who works in the police department.The story in INFERNAL AFFAIRS will appeal to movie lovers of TRAINING DAY, DARK BLUE, RESERVOIR DOGS, and CITY ON FIRE.Andy Lau plays Lau Kin-Ming who grew up around the life of crime headlined by triad boss Hon Sam (Eric Tsang).
Both bosses eventually learn that the other has a mole working for them and loyalty turns into betrayal, then things begin to unfold.Renowned action choreographer Dion Lam (THE PROMISE, EXIT WOUNDS, SPIDER-MAN 2, and DOOM) also stepped in to take part in the film as one of the triad members who takes down an important character in the movie.The movie featured masterful cinematography, nice action sequences, suspense, and a strong cast to help pull the strings and earn it Best Picture at the 2002 Hong Kong Film Awards.
This tells you that if it was not for INFERNAL AFFAIRS, THE DEPARTED would have never came into existence, which is more evident that the movie was a crime-thrilling phenomenon and a highly recommended film for American audiences.This movie is a phenomenal classic due to its excellent story, a supporting cast, and a nice twist, which makes it an enjoyable cop movie and a masterpiece in cinematic excellence for years to come.
I would've liked to watch this on the big screen.The acting - save Tony Leung - could be a little better (are you reading this, Andy Lau?), but overall the movie is excellent.
Kelly Chen and Sammi Cheng don't have much to do in terms but they look good.I had seen the Hollywood remake, 'The Departed' before and it does not come close to this movie in terms of quality.
I thoroughly enjoyed this film no end, mainly because of the fantastic acting performances from two of my favourite actors Andy Lau and Tony Leung Chiu Wai.What made this film the box office smash that it was,was the intensity of the two actors in there pursuit of founding out about each other.The stylish camera work and the lush scenery were nothing short of breath taking.Not all HK films need the bullet ballets of John Woo to make a great film as Infernal Affairs shows!.
if you like creative story-telling, interesting characters, great acting and camera, this is for you.the best way to describe it is simply "cool".
It's a smart, expertly made film, which succeeds in telling a good story without relying on slo-mo shots or hyperbolic shootouts.The Hong Kong-based film revolves around two men working on opposite sides of the law: Yan (Tony Leung) is a talented cop who's been doing undercover jobs in the Triads for ten years, Lau (Andy Lau) is a mole placed by gangsters inside the police.
The plot is brilliantly constructed, with believable characters (most notably Yan, given tragic intensity by Leung) and remarkable, intelligent twists, mixing genre archetypes with Shakespearean sadness and grandiosity.In short, one of the best Asian movies of recent years, and a great appetizer to enjoy before watching Martin Scorsese's The Departed, a remake that, for once, manages to be as good as the original, if not better..
Infernal affairs is definitely one of the better triad films to emerge from Hong Kong.Staring Andy Lau, and the incomparable Leung Chiu Wai, the aptly named Infernal Affairs concerns two men.
Lau is a triad plant in the Hong Kong Police force working for your typical big-boss-bad-guy (Eric Tsang).
If you want a gripping, tortuously plotted gangster movie with some amazing, stylised, set piece action you're going to score this as an 8 or 9 at least.As a genuine exploration of character (which it promises to deliver all through the film) it will score less well.
Infernal Affairs is proof that to find increasingly good films we are all looking abroad to places like Hong Kong and Japan.
This film has an excellent "New Wave" HK Director, a first-rate cast, great script, good production values and an overall rich and elegant style which defines it as being one of the best HK films in the last few years.The film is a cat and mouse tale of two undercover agents, operating on different sides of the law, working to bring down each other's organization and expose each other's true identity.
Chan Wing Yan (Tony Leung) is a Hong Kong Police officer undercover within the HK Triads; led by the intense and unpredictable Sam (Eric Tsang).
On the opposite side of the scale is Inspector Lau (Andy Lau), a Triad working for Sam who is climbing the ranks of the Hong Kong Police Department in an attempt to restrict their monitoring of the Triads' activities.Needless to say, the film goes into far more detail than that, emphasizing strong character development, personal relationships, and issues surrounding honour, love and sacrifice.
Anthony Wong gets a rare opportunity to play a good guy, and seems to adopt naturalism and non-theatrical conviction, reminiscent in performances such as that in "Hard Boiled".The film is a powerful reminder of how fantastic a movie can be when all the necessary elements come together.
I had not regained hope in Hong Kong films until I recently watched this movie.In the final segment of the director's commentary on the DVD version, the director says that, aside from all the beautiful cinematography, sophisticated plots, superb acting from the cast, he wants the audience to be thinking about this movie after they exit the theatre.
Or is he just a bad guy who has relapses of good conscience?Wu jian dao is one of those movies I can watch over and over again just to re-live the excitement and analyze its complexities and I think the world-wide audience shouldn't be missing out on this great masterpiece from Hong Kong.10 out of 10.
The film manages to combine unbearable tension with raw human emotion demonstrated with excellent performances from the cast, each of which has their part to play as their characters career towards the final face off between Tony Leung and Andy Lau on the rooftops.
Also worth mentioning is the inspired music; ranging from tension building opera, pounding techno and the ambient notes of the rooftop scenes.In some ways it can be seen as similar to John Woo's classic heroic bloodshed film 'Hard Boiled'in that there is the idea of the undercover policeman in the Triads (and Tony Leung does play this character in both).
Hong Kong is a beautiful city and they took advantage of that - especially in the climactic showdown near the end.Only one thing kept me from giving this a 10 and that's the use of 2 other actors to portray Andy Lau and Tony Leung as younger versions of themselves.
I was really sad when his character died in the movie in the end but overall, the movie was no doubt one of the best shows I had seen in year 2002.I think that this is a better movie about police and triad moles than the 1990 Hollywood movie Internal Affairs starring Richard Gere and Andy Garcia.
There were some similarities but overall, the HK movie was a better one.Infernal Affairs II was a good effort by the HK film makers too.
Maybe in original movie they overplayed with some scenes which kinda looked a bit cheeze and not so "in your face" style like in Martin Scorsese movie, but overall you should definitely see "Infernal Affairs" even if you have seen it USA version.
Andy Lau as the mole and Tony Leung as the undercover cop are easily the best, but the supporting cast is also strong, though not quite all of them receive the screen time they perhaps would have deserved.
So not really a flaw, but something to keep in mind.Overall Infernal Affairs is a great crime film and I can see why they wanted to make The Departed after seeing it.
The reason for that is that without the remake I would probably not even have heard of "Infernal Affairs", yet and if I did, I probably wouldn't have understood it.Whereas "The Departed" took its time to develop the background story of the characters, "Infernal Affairs" rushes straight to the first big coke deal - a real Edge-Of-Your-Seat moment in Scorsese's movie.
We don't feel any real emotional connection to the heroes and villains at all in "Infernal Affairs".I know it's not fair to compare the Hong Kong original to the American version scene by scene, but you just can't help doing it when you've seen "The Departed" first and enjoyed it as much as I did.
Apparently, Scorsese has never seen the original before he made his movie, which would explain why he made his version so differently.Lau's character was arguably more interesting in "Infernal Affairs".
Infernal Affairs (2002) *** 1/2 (out of 4) Since I consider Martin Scorsese's The Departed to be one of the best movies I've seen in a very long time, it was finally time to catch up with this, the original version.
Maybe because I didn't try to, but any way to me the movie is watch able with a solid story line and acting than most other Hong Kong movie.I don't know, I think they try too hard to make the movie very complicated looking with different tricks and situations.Anyway the movie is somewhat watch able and is recommended by most people, but to me it only worth one to two watch, but at least i think it would be better than the US remake.Rating: 7/10 (Grade: B-).
"Infernal Affairs" is the Hong-Kong based crime movie that eventually led to the birth of the "The Departed" by Martin Scorsese.
Like me many people that have watched 'The Departed' may not know that the original plot of the film came from this masterpiece.
You would think how can such a simple plot be so good however great direction, cinematography and acting has made this film a joy to watch.
The Departed was a good film, Infernal Affairs is a better one.
The Hong Kong crime thriller Infernal Affairs about two moles - in the Police Dept and the Triads - was made four years ago.
The use of music is sparse but appropriate.Not the usual violence galore we see in a lot of Asian films, Infernal Affairs is a relevant and intelligent story about the fate of persons who set out from the same starting point but follow different paths in life and end up on opposing teams in a complex web of lies and deceit.
Yan's interest with Dr Lee is unnecessary and the music for the scenes were cringey a.f. Yan's relationship with May was also completely unnecessary here and out of place with the May's daughter being the "is she or isn't she" makes no sense within the context of the movie.But overall, this is the best Hong Kong film that came out in the 21st Century, and it is conclusively better than Scorsese's The Departed..
super movie..the first time i actually enjoyed a hong Kong made film that much...
Whatever the reason, I thought this a greatly inferior film.The central premise is very strong; Andy Lau is brilliant and creates a deeper, more conflicted and sympathetic character than Matt Damon; Eric Tsang creates a bizarre, but riveting, version of barely restrained insanity and violence; Hong Kong looks great.However, the story is so rushed, so full of blink-and-you-miss-it plot turns, that it becomes extremely confusing.
Set in Hong Kong, it's the story of two cops, one good and one bad and both on the wrong side of the fence, but I guess if you're familiar with The Departed then you'll already know that. |
tt0086154 | Psycho II | Norman Bates (Anthony Perkins) is released from a mental institution after being pronounced of sound mind by his psychiatrist, Dr. Bill Raymond (Robert Loggia) after 22 years. At the hearing preceding Norman's release, Lila Loomis (Vera Miles) shows up to protest, producing a petition that she's been circulating with signatures of 743 people who do not want to see Norman return to society. Lila is the sister of Marion Crane, one of Norman's victims (from the first film), and the widow of Sam Loomis, who was Marion's boyfriend at the time of her death. When the judge refuses to acknowledge Lila's petition, she vows to see Norman returned to the institution to pay for his crimes.Dr. Raymond takes Norman back to his old home, the gloomy mansion on the hill behind the Bates Motel. A car is parked by the motel, which belongs to Warren Toomey (Dennis Franz)--the current owner of the motel. Dr. Raymond offers to introduce Norman to him, but Norman says it can wait until later. Walking up the steps to the house, Norman thinks he sees someone in his mother's bedroom window. Dr. Raymond says there hasn't been a tenant in the house for years. Norman admits he is just nervous about being back after such a long time away.Inside the house, all the furniture is covered up with sheets. Dr. Raymond asks Norman if he wants to stay somewhere else, but Norman insists on being back at home. Dr. Raymond reminds Norman that, with him living back at home, the memories from his past are likely to reoccur, but he is confident that Norman can handle it now. Dr. Raymond regrets that there won't be a trained social worker to check in on Norman occasionally, due to budget cutbacks, however Norman says that at least Dr. Raymond will come by from time to time to see him. Dr. Raymond informs Norman that the telephone has been reconnected, and that he is to report to work at noon for a pre-arranged job as a short-order cook and dishwasher at a diner down the road from the motel.After Dr. Raymond leaves, Norman takes his suitcase upstairs, and picks up the phone receiver and hears the dial tone. He sees a piece of paper under the phone, and picks it up. It is a note from Mother. It says, "Norman, I'll be home late. Fix your own dinner. Love, M." Suddenly, Norman is startled when he hears Mother's voice calling to him from her room. Norman then has a memory from his childhood. He sees his adolescent self reflected on the doorknob. Mother says, "Norman! What did you put in my tea? (sounds of a glass breaking) I'm gonna get you for this, Norman. I'll show you what happens to bad little boys who poison their mothers--I'm gonna kill you! Her door slowly opens, and then a hand falls to the floor, writhes for a few seconds, and then lays still. Her door slams shut and Norman lets go of his suitcase, which tumbles down the stairs, his clothes spilling out.Norman arrives at the diner, and introduces himself to a kindly old woman named Emma Spool (Claudia Bryar) who works as a hostess, waitress and cashier. She takes him back to the kitchen to meet Ralph Statler (Robert Alan Browne), the owner and short-order cook. Norman's other co-workers include a grouchy waitress named Myrna (Lee Garlington), and Mary Samuels (Meg Tilly), a young waitress who is less than stellar at her job, only having worked there for the past four days. Emma Spool gets Norman an apron and tells him to take the meal orders while dishwashing and helping Ralph around the stove. When Mary accidentally knocks a pie plate off a table, sending a piece of pie and a large knife to the floor. Ralph angrily asks her what happened. Norman covers for Mary and says that he did it. Ralph lets Norman off the hook and gets him started with some duties, including reading off orders that the waitresses bring back.Later that night, Norman leaves the diner and starts to head back home, when he hears Mary shouting on a payphone, arguing with her boyfriend. She hangs up the phone, and when Norman asks what happened, Mary claims she has been thrown out of her boyfriend's place and needs a temporary place to stay. Norman offers to let her stay at the motel for free. They start walking just as a thunderstorm is forming in the sky. They get back to the motel just as the rain starts pouring down. Norman goes into the office and reaches for the key to cabin #1, but he grabs a different key instead. He tells her to wait there while he checks the bed linen in the cabin. Then, Warren Toomey enters, startling Mary. He asks her if she wants to rent a room, but she says that Norman is taking care of it. Norman comes back, and tells Mary to go up to the house and wait for him. She leaves, and Norman puts a handful of drug paraphernalia down on the desk and questions Warren about it. Norman discovers the motel is now a sleazy hookup location run by the equally sleazy Mr. Toomey. Norman fires Toomey and tells him to be gone by the next night.Back in the house, Norman makes a sandwich for Mary. She finds a knife in a drawer and asks him to cut it for her, and he is very nervous about holding a knife again. He reluctantly cuts the sandwich, but Norman's odd behavior is creeping out Mary. She initially decides against staying with him, but Norman convinces her to stay by telling her that this is the first night back in the house after being institutionalized for so long, and is scared to be alone by himself. Norman takes her upstairs and gets some bedding for her to use. Mary goes into Norman's mother's room, but Norman suggests she sleep in his room. Norman is apprehensive about going into his mother's room, because he tells her that is where some of his "troubles" happened. Mary coaxes Norman into the room by reassuring him there are no ghosts in there. The room is mostly bare, except for some of the furniture which is all covered up with more sheets. The bed mattress is rolled up as well. Norman goes into his room and tosses the bedding on top of his bed and closes the door so she can get settled in for the night. Norman says goodnight, turns the lights off, and sleeps on the couch downstairs. Mary jams the door shut from the inside by putting a chair underneath the doorknob.The next morning, Norman is at the diner chopping lettuce when Mary comes in. She tells him she has decided to stay with a friend in town, rather than with Norman. Just then, a drunk Warren Toomey walks in, and goes to the kitchen window and talks to Ralph and mockingly inquires about Norman's job performance and then he sits down in a booth. Norman is reading off more orders that are placed on a wheel, while Ralph prepares the food. Mary starts to take Warren's order. Instead, Toomey insults her and suggests that she and Norman had slept together the previous night. Norman is slowly becoming angry at Warren's remarks, but tries to maintain his composure. Norman grabs an order off the wheel, but instead it is a note from Mother! It says "Don't let that whore in my house again!" Norman is shocked by this, and bumps into the french fry fryer, spraying hot oil on Ralph's arm.Enraged, Norman confronts Toomey, and Toomey picks a fight with Norman in front of the customers. Norman sees a knife laying nearby and Warren goads Norman into picking it up and using it. Norman doesn't pick it up, and Warren calls him a "chicken," and then leaves. Norman is so traumatized by seeing the note, that he quits his job.Later that night, Mary comes back to the house and tells Norman she has reconsidered and would like to stay with him. She was very impressed with how he handled Toomey earlier. Mary goes upstairs to take a shower. Afterward, she has a funny feeling that she is being watched. In fact, there is a small peephole cut into the wall opposite the shower, and someone's eye is seen looking through the hole at her.Norman is playing the piano in the living room and is startled to hear a loud car horn blaring below. Warren Toomey is outside and he is very drunk, and he is honking the horn to get Norman's attention. He shouts that he is packing his things and moving out. Then the phone rings. Norman answers it, and after a pause, he says angrily, "What? Who is this? My mother is dead! Mr. Toomey, if this is you, you're sicker than I ever was!" Norman hangs up and looks out the front window. The lights to the office are still on, and Norman is convinced it was Toomey who called. Just then, a figure in a black dress comes into the office and murders Toomey by stabbing him as he packs to leave the motel. The murder goes unnoticed, as "Mother" spends all night in the motel parlor cleaning up the evidence of her crime.The next day, Norman's doctor, Dr. Raymond, pays a visit asking Norman why he quit his job at the diner and Norman tells Dr. Raymond that he has decided to dedicate himself to fixing up his motel to make it a legimate business. Norman also tells Dr. Raymond that he has been receiving notes as well as annymous phone calls from someone claiming to be his late mother. Dr. Raymond agrees to look into it.Up in the house, Mary is putting on makeup when she sees a flicker of light relfected in the bathroom mirror and realizes that there is a small hole in the wall leading to Mother's bedroom. Worried, Mary runs out of the house and down the hill where she meets with Norman still talking with Dr. Raymond. She casualy introduces herself to Norman's doctor and explains that she used to work at the diner as well and is now staying on the property to help Norman fix up his motel. Dr. Raymond thanks Norman for his time and drives away.Dr. Raymond goes to the police station in nearby Fairview where he meets Sheriff John Hunt (Hugh Gillin) and tells him about Norman telling him about receiving prank phone calls from someone claiming to be his mother and wants a tap put on Norman's phone, but the sheriff refuses because there are no grounds for that nor has there been any evidence of a crime being committed as of yet. Dr. Raymond leaves and says that he will get to the bottom of what is going on at the Bates Motel.Later that day, while painting part of the motel building, Norman begins to doubt his sanity when he sees a figure standing in the window of this mother's old bedroom. He walks up to the house, where he enters his mother's old bedroom to find it looks exactly as it did 22 years ago. A sound lures him into the attic, where he is locked in by an unseen person.While he is up there, another murder happens in the basement of the house: two teenagers sneak into the basement to smoke pot and make out, but suddenly the figure in the black dress appears and knifes the boy to death. The girl escapes and later returns with the sheriff. In the meantime, Mary finds Norman sleeping in the attic, but the door is unlocked.The sheriff and his deputy arrive at the Bates house where they ring the doorbell and they question Norman and Mary (both of them clearly acting very tense) about the alleged murder. The sheriff investigates the fruit cellar where the killing took place hours earlier, but finds it suspiciously neat and orderly. Norman is confused and wants to admit that something strange is going on, but Mary interjects and claims that she has cleaned up the basement herself. Mary also give Norman an alibi by saying that she was with him all afternoon and they both were not in the house when the alleged murder took place. After the sheriff and deputy leave, Norman is aghast. "Why did you lie to the sheriff like that?" he asks. Mary says, "I had to say something, they were going to arrest you!"All the evidence suggests that Norman is back to his old ways, but Mary is insistent. "It couldn't have been you, you're not like that anymore." Later that evening, Mary is startled when she discovers someone looking at her through the peephole in the bathroom wall. She calls out to Norman, but Norman is downstairs and out of reach... so it can't be him. Mary draws a gun and starts checking the house, but the gun saddens Norman. "That's because of me, isn't it?" he says. They are horrified to find a bloody rag that someone has stuffed down the bathroom toilet. Norman is despondent, convinced that his blackouts are re-ocurring and that he is responsible for the bloody rag, and whatever crime it is connected with.Mary says she's going down to check the motel, and one of the film's many plot twists occurs. In the parlor of the motel is Lila Loomis--Mary's mother. She's the one who has been calling Norman saying she's his mother, even going so far as to dress up as her and allowing him to see her in the window, before disappearing and adding to his frail mental state. Mary has been helping her, and was responsible for restoring Mother's room at the house and locking Norman in the attic as well as leaving all of the notes from Mother for Norman to find at the house and at the diner, but Mary's growing feelings for Norman have been causing her to reconsider her actions. It also explains how she knows Norman could not have been responsible for the murder of any young boy in the basement of the house because he was locked in the attic during that time. However, Lila sees the murder as a happy coincidence, not caring if Norman would be re-committed over a murder that wasn't his crime.The next day, Dr. Raymond discovers Mary's true identity and informs Norman exactly who has been living with him. He also orders Norma Bates' body to be exhumed, just to prove to Norman that she can't be the one haunting him.Back at the house, when Norman confront's Mary, she admits to Norman that she has been part of Lila's ruse, but that Lila won't stop. "Why did you stop?" Norman asks. Just then the phone rings, and Norman angrily answers it right away, saying "Hello, Mrs. Loomis?" Suddenly Norman's tone changes and he says "I'm sorry... Mother." Mary gets angry and picks up an extension to confront Lila, but there's nobody on the line with Norman as whoever was on the other line hangs up when Mary speaks into the phone.Mary goes to Lila's hotel and they have a big fight that's overheard by a hotel bartender. Mary tells Lila that she wants her to stop bothering Norman, and Lila accuses her of being in love with a psychopath. Lila, convinced that she's winning the "good" fight, hurries over to the house for one final push over the edge for Norman. She is being followed by Dr. Raymond.Lila sneaks into the cellar and removes her "Mother" costume from under a loose stone in the floor. However, she is confronted by another "Mother" figure in a black dress and is killed with a butcher knife through the mouth. Dr. Raymond enters the house looking around, and sees the cellar door wide open. He enters the cellar, but no one is in sight (implying that "Mother" may have hid the body and slipped away through the cellar exit which is never locked). Norman enters the cellar and asks Dr. Raymond what is he doing there. The doctor tells Norman that he has been following Lila Loomis, but Norman seems oddly disinterested, making Dr. Raymond leave.Meanwhile, Mary discovers that Mr. Toomey's car has been retrieved from the swamp, with Toomey's body in the trunk. Sheriff Hunt questions Mary about being the daughter of Lila Loomis and that Dr. Raymond had visited him to inform him about his suspicions about her. When Mary overhears the sheriff talking to his deputies about bringing Norman in for questioning she slips away.Mary returns to the house and tries to get Norman to escape with her. "They'll lock you up again!" she pleads. Norman refuses to run, and instead tries to get Mary to admit to what she's been doing to him. The phone rings at the house and Norman answers and starts to speak to his "Mother". But it is Dr. Raymond on the other line calling from the motel parlor who tells Norman that he contacted the local phone company and they had traced the phone calls to the house from the parlor phone at the motel. Once again, Mary listens in and discovers that nobody is on the line with Norman (Dr. Raymond hangs up). But then, Norman begins talking about Mary to the voice on the phone and says "Oh no, Mother. You can't make me... KILL her..."Terrified, Mary goes down to the cellar and dresses up as Mother, complete with a large butcher knife, and goes to confront Norman in the outfit. It is at this point that things rapidly spiral out of control. Norman refuses to acknowledge Mary standing in front of him in the costume, so Mary instead goes upstairs to the extension phone and tries to talk Norman into hanging up. But she hears on the other end that Norman is only talking to a dial tone... for there is no one on the other line. Mary realizes that Norman has turned completely insane again due to her and Lila's manipulation of events.Losing sight of Norman, Mary is startled when someone grabs her from behind, and she plunges the butcher knife into Dr. Raymond, who has sneaked back into the house to expose Norman's tormentors. Stabbed, Raymond's body falls over the balcony and lands in the foyer. Mary runs downstairs and is confronted by a now deranged Norman, who swears to cover up for "Mother." "Norman, I am not your mother, I am Mary!" she frantically tells him. Norman tries to reach for the knife, but Mary stabs him in the chest. Norman backs Mary down the steps into the basement, and Mary keeps stabbing Norman, once in the palm of each hand. Norman grabs the knife blade firmly with both hands, with Mary still holding onto the other end, which severely cuts Norman's palms even further and a lot of blood pours out. Norman is weak from blood loss and stumbles on a pile of coal, knocking it loose and revealing Lila's body. Mary, distraught at seeing her mother's dead body, attacks him and is killed when the police enter and shoot her dead.At the police station that evening, the sheriff puts together a fairly inaccurate account of the what we know has happened, identifying Mary as the murderer of the teenage boy as well as Toomey, and that she may have killed Lila as well. Having received medical treatment for his wounds, Norman is sitting a short distance away in a daze and goes along with the story... and the movie goes on to its final twist.Norman returns to the Bates house where he shovels coal into the house furnace as well as wanders aimlessly around the house, now alone. A little later, Norman makes a sandwich for himself when a woman walks up the steps. Norman has boiled water and set a place for a meal when there is a knock at the back door; he answers the door to find Emma Spool, from the diner. Ms. Spool sits at the table and Norman gives her a cup of poison tea. Out of the blue, Norman asks her, "Are you really my mother?" She tells him that she is his real mother and that Norma Bates was her sister and his aunt. "I was too young to have a baby, besides I had problems of my own," she tells him, alluding to the fact that she as well was institutionalized. "You had already been put away by the time I got out. So I decided to wait for you." She reveals that she's the one who has been killing anybody who would make trouble for her son. As she sips the poison tea, she begins to gag.Norman suddenly kills her with a blow to the head with the coal shovel. Emma's chair collapses underneath her and she tumbles onto the floor. As she lies dying, Norman closes the curtains to the kitchen and then picks up her body and carries her upstairs to his mother's room. The audience hears the familiar voice of Mother, warning Norman not to go messing with "filthy girls" again. The final shots show Norman (murderously psychotic once again) reopening the Bates Motel and standing in front of the house... waiting. | insanity, revenge, cult, murder, flashback | train | imdb | Anthony Perkins, Vera Miles, Robert Loggia and Meg Tilly are all great and turn in very good performances.
What a pleasure it is to see good old Norman in this rather decent sequel to the acclaimed the movie 'Psycho' - Anthony Perkins' role in this film is one fantastic, also an interesting and unpredictable plot buffers up the quality of this film, a great film, and a hidden gem....RECOMMENDED.
Psycho II is a fine follow up to Hitchcock's original, Anthony Perkins returns as Norman Bates After twenty-two years of psychiatric care he returns to the Bates motel the scene of his previous crimes.
PSYCHO II has everything to succeed: good acting (Anthony Perkins is great!, Meg Tilly delivers and does it right), mystery, gore, a terrific script by Tom Holland (the master behind Fright Night and Child's Play), and a shocking ending.
This film delivers expectations and I'm proud to say that it's one of the best horror movies from the 80's, the decade when horror was at it's peek.Now in color Norman Bates manages to convince everyone that he is normal and ready for a normal life which is highly doubted by police and townspeople that still remember the events in 1960 when Bates started a murder spree.
It was an interesting plot and made the story work, I'm not going to say that it was un-necessary, yeah, Psycho did not need a sequel, but it wasn't a bad movie to watch.
But Anthony Perkins performs well and makes Psycho 2 worth the watch.Norman Bates is back in business, he is released from the mental institution, but when Lila Loomis finds out about this, she freaks out and sends her daughter, Mary into undercover duty to try to get Norman back where he belongs.
Even though he's back, he is still haunted by his mom's voice and has a second job as a cook at a diner, he's gotten strange phone calls and notes by something trying to play "Mother" so he or she can drive Norman back to his original state of insanity.Very good sequel to Alfred Hitchcock's masterpiece of horror has good acting and has Perkins reprising his role as everyone's favorite loony with Meg Tilly, Vera Mills ( from the original) Robert Loggia and Dennis Franz co-star.
Jerry Goldsmith's score is half as good as the original's music score and there's plenty of good scares to make one hell of a sequel to an all-time masterpiece, there's a nice twist in the end to the film.For anyone who loved the original classic, i suggest you try this one you might like it..
PSYCHO II (1983)directed by: Richard Franklinstarring: Anthony Perkins, Vera Miles, Meg Tilly, and Robert Loggiaplot: Twenty-two years after the ordeal in the first film, Norman (Anthony Perkins) is finally released from the mental hospital while Lila (Vera Miles) protests over this.
This coincides with someone leaving notes and making calls claiming to be Norman's mother and a series of murders at the motel again.my thoughts: This sequel is, in my opinion, almost just as great as the original.Everything that makes a great sequel is here: having the surviving characters return and go through new changes; having new, interesting characters brought in; returning the story from the original and exploring new revelations or answering unanswered questions; and not totally copying the original.Norman is put through so much more in this film as he tries to redeem himself, but when someone else is stalking around, busting chops and Lila is trying to drive him over the edge, he begins to question his sanity again and even thinks he may still be doing the killings.
Meg Tilly as the sympathetic young woman with her own secrets, Robert Loggia as the caring doctor, and Dennis Franz as the sleaze ball also do a lot for this film.Richard Franklin also does a good job directing.
Anthony Perkins reportedly felt threatened as an actor playing opposite Meg Tilly (portraying a slightly-dazed cupcake who befriends Norman Bates, just out of the asylum); if true, he had good reason, for Tilly is very appealing in her role and this sequel to Alfred Hitchcock's classic screamer gains a spirit of its own--away from its predecessor--every time she's on-screen.
With the gory slasher craze in full swing, it's not all that surprising that the early 1980s saw the return of Norman Bates, the granddaddy of all knife wielding psychos; what is surprising is how good this belated sequel turns out to be.Rather than simply mimicking the dumb 'teenagers in peril' format so popular at the time, Psycho II actually proves to be an intelligent sequel worthy of the original, benefiting from a smart script by Tom 'Fright Night' Holland that introduces clever twists and turns aplenty, excellent direction from Richard Franklin, who respectfully pays homage to Hitchcock's genius while adding in some nifty tricks of his own, and terrific performances, with cutie Meg Tilly impressing as 'girl in peril' Mary, and Perkins putting in a wonderfully twitchy central turn as neurotic nut-job Norm.It was always going to be a very tall order for the film to measure up to the original classic, but this is an extremely good effort, providing atmosphere, thrills, a couple of inventive kills, some dark humour, and one hell of a memorable ending.
Richard Franklin directs this belated sequel to the late Alfred Hitchcock classic that sees Anthony Perkins return as Norman Bates, released from a mental asylum after 22 years, seemingly rehabilitated and repentant, but that doesn't satisfy Lila Crane(returning Vera Miles) who is outraged at this, and still(understandably) hates Norman, who returns to his home, and reopens the motel, with the help of old family friend Mrs. Spool.
He gets a job as a dishwasher in a local diner, where he meets a beautiful young woman(played by Meg Tilly) who befriends him, but strange events start to happen, and new murders occur, making it obvious that Norman has reverted to his old ways, or has he?
22 years after the murderous and maniacal events at Bates Motel, Norman Bates, freshly released from a mental institution, is back home; and the spectre of "Mother" is waiting to greet him.We could say it was a cynical attempt at latching onto the coat tails of the 1980s slasher boom, but in spite of having the unenviable task of being a sequel to a masterpiece, Psycho II is a rather nifty sequel.Director Richard Franklin is helped by having Anthony Perkins and Vera Miles heading up the cast list, this gives the film instant credibility, and while the mighty spectre of Hitchcock looms large, Franklin doesn't copy the maestro and brings his own visual smarts to the piece.Tom Holland's screenplay doesn't mimic either, expanding the Bates story with a series of quality twists whilst keeping the mystery element strong and the gripping factor on the high heat.
The surprise is that it turns out to be a decent little film in itself, purely because it isn't a slavish copy but instead a stand-alone psychological thriller that takes its plot in a different direction to most.Instead of emulating the then-popular slasher craze of the 1980s, PSYCHO II plays out as a whodunit for the most part.
Slowly Norman is going crazy again but it seems that, there is mysterious strangers are playing with his life.Directed by the late Richard Franklin (F/X 2:The Art of Illusions, Clock and Dagger, Link) made an surprisingly good sequel with some terrific suspenseful sequences and dark humour.
The original "Psycho", directed by Alfred Hitchcock, is one of the seminal horror films of all-time.
Jerry Goldsmith excellent score captures the Psycho-esque feel of Bernard Herrmann's original.Writer Tom Holland's offering plays out as an interesting mystery (with moments of 80's slasher) and while the passage of time that Norman has been away isn't fully taken advantage of there's enough to peak attention especially as Norman is haunted by the events as depicted in Psycho (1960) and the murders resume.Put Alfred Hitchcock's classic at the back of your mind as there will never be another movie like it, but in colour and by default brought up to date, Psycho II is probably one of the truest horror sequels.
While it does not match up to the sheer brilliance of Alfred Hitchcock's original , this is a very good movie and a more than acceptable sequel.Set 20 years after the infamous Bates Motel murders, Norman Bates has been released from the institution and must attempt to get his life back together again.I strongly urge you to watch this sequel and I can assure that you will not be disappointed..
I love this film.Plot: Taking place over 20 years after the events of Alfred Hitchcock's Psycho it follows Norman Bates who has served his sentence.
The story evolves well, and the antagonist Norman Bates (Perkins) who we saw in a mental cell with his face blurred as a skeleton skull in the final scene of the original, is here presented as someone who's trying to earn himself a place back in society, and as someone the viewer really feels sympathy for.
The first time I've seen "Psycho II" ,I did not like it at all.The timing was not good,as five Hitchcock which had not been available for years ("Vertigo" " The Man Who Knew To Much" "Rope" "Trouble with Harry" and "Rear Window") were again in the movie theaters in the early eighties .And this sequel paled into insignificance next to those masterpieces.I saw it again yesterday and that time,I found it quite entertaining.In fact,taken in isolation from "Psycho I" -in spite of the prologue which is by far the best moment in the movie and for good reasons- ,succeeds measurably well.The screenplays borrows a lot from Robert Bloch's story but at least it's not a rehash like Gus Van Sant's photocopy.Perkins and Vera Miles are the only stars of the 1960 work.Oddly Lila married Sam Loomis who was actually her sister Marion's fiancé,but after all why not?Anyway he's dead.The story is far-fetched and its ending is a barrel of laughs but it's well acted and it's not that much bad compared to the adolescent movies of that time..
Anthony Perkins returns as Norman Bates and has just been released from prison.But now the killings have started again, and if Norman is not doing them who is??A great movie and is almost better than the original but just isn`t as good.The basement scene is almost as good as the shower scene from the original, but just doesn`t have the tension.A well deserved 7 out of 10.
Vera Miles, also reprising her role from the original, turns in a first-rate performance -- like Perkins, she delivers the extension of the character that you'd expect to see 22 years later.
Favorite Norman Bates quote - "You're sicker than I ever was!" You know, you'd honestly think that after waiting 22 long years to make a sequel to the original Psycho (1960), this film's producers (who had a sizable budget) would've seriously made an effort to put together a horror picture that was at least on par and somewhat respectful of its predecessor.
No. Not even that unlovable, little loony, Norman Bates.What also lost Psycho 2 some serious points was the completely unwelcome, in-your-face product placement of both Lipton Tea and Pepsi Cola.All-in-all - This was certainly one movie sequel that was not worth waiting 22 years for.
I got chance to watch this movie yesterday.Though i am very choosy in watching thriller movie and since this movie was made in 1983 i had a very little hope on this movie but to may surprise this movie was actually very good then what i expected.This movie's story took place 22 years after the first part psycho.the story is very spellbinding and there are many unexpected twists in this movie.The ending will make the viewer shocked.The acting by all artist are good and by anthony perkin very best.I recommend this movie to viewers who like watching thriller movies.This is a great homage to the legendary movie psycho.For me this is a sequel which one expect and should be.This movie is far far better then the remake of psycho by gus van sant..
But this film is legitimately good and respectful to the original Psycho, and it makes a wonderful double feature when both are watched back-to-back.The acting from the whole cast is marvelous, while the directing and lighting is very interesting.
Anthony Perkins and Meg Tilly deliver excellent performances that really sell the movie and the plot.I highly recommend this film, watch it by itself or right after the original for that wonderful double feature effect..
After 22 years at an asylum, Norman Bates (Anthony Hopkins) is declared sane and released, which is radically opposed by Lila Loomis, AKA Lila Crane from the original movie (Vera Miles).
Unfortunately, some unforgiving locals won't let him live in peace.The first half of "Psycho II" (1983) is a compelling continuation of the classic 1960 film whereupon there's an unexpected plot development around the mid-point (which is great, by the way).From there, the events tend to bog down inside the creepy house with somewhat contrived twists & turns as the creators try to keep you confused as to who's killing who.
Not just cashing in, they were labours of love, and homages to the original.Anthony Perkins played Norman Bates again and directed "Psycho III".
Some think it's the best, but I feel "Psycho II" directed by Aussie Richard Franklin probably faced the biggest challenge in being the first to dust off the Bates Motel register.Apparently the cast and crew enjoyed the experience of working with Tony Perkins except Meg Tilly; it seems they didn't get on although it may have been more him than her.
I think audience anticipation added to that effect; we wait for the equivalents of the surprises in the original: the peephole; Marion in the shower; Martin Balsam on the stairs; Mother in the rocker.There are a number of inventive deaths in all the sequels and Norman is just about the only character left standing in "Psycho II".
I honestly wasn't expecting to like this movie, I thought it was gonna be an OK sequel to a great classic, but it turned out to be as good, if not better, than the original film.I will say that a sequel to Psycho its not something I would say its necessary, but god damn this was a great movie.
Instead, Psycho II shows us the story of a more sympathetic Norman Bates, struggling to return to his old home without being bothered by the people who cant forgive him, we know he's guilty of all those murders but we also know that his mental health isn't exactly the best, abused all throughout his life Norman is not like any other normal person, not even if he tries to be.
That said, and when looked at as a stand-alone effort, what director Richard Franklin ('Patrick' / 'Cloak & Dagger'), writer Tom Holland ('Child's Play' as director/ 'Fright Night'), and cinematographer Dean Cundey ('Halloween' / 'Jurassic Park') – and let's not forget Jerry Goldsmith – accomplished is an meticulous thriller/slasher cross-over with a dark sense of humor and one of the creepiest movie performances of all time in spotlight.The tag-line alone is enough to make you shudder ('It's 22 Years Later, and Norman Bates is Coming Home') and the film starts with Norman (who else but Anthony Perkins) being released from prison, judged to have been restored to sanity and ready to integrate back into society.
After 22 years Norman Bates (Anthony Perkins) is released from a mental institution and attempts to return to a life of solitude in his old Victorian mansion, but the specters of his crimes and his mother continue to haunt him, just as Marion Crane's sister Lila Loomis (Vera Miles) protests his release and sees to it that he would not harm again.It is an OK sequel to the original Psycho, one that plays your mind with its twisted plot and surprising story elements, with a story that moves quickly with horror scenes in abundance.
Though, practically nothing will live up to the genius of Alfred Hitchcock's masterpiece, Psycho, it's sequel is actually very satisfying and a bloody good time, even if it isn't "scary".
Besides Norman Bates, the other returning character from the original is Marion Crane's sister, Lila Loomis, played with great intensity by Vera Miles .
Picking up 22 or 23 years after the the first movie left off, Anthony Perkins once again plays Norman Bates, who returns to his old motel as a changed man.
It was never going to be as good as the original film, but this is none-the-less a well-plotted and tightly structured sequel with solid direction by Richard Franklyn, not to mention a haunting score by Jerry Goldsmith.Nobody but the late, great Tony Perkins could have played Norman - here in all his twitchy, wry-humoured glory.
Anthony Perkins, Meg Tilly, and the returned from the original Vera Miles were all great, and I think I heard one of them won an Oscar or was nominated or something.
"Psycho II" doesn't rehash the plot of "Psycho", but rather expands on it, creating a new plot with a new twist while using the same styles and techniques that Hitchcock used so many years before.Twenty-two years after the original murders, Norman Bates (Anthony Perkins) is judged sane and is released from the mental institution even though Lila Loomis (Vera Miles), sister of Marion Crane who was murdered in the shower, strongly protests it.
The story takes place 22 years after the original, with Norman Bates returning home.
The end was probably one of the best parts of the film, that's the scene where the big mystery unravels.What I also liked about this sequel was that both Anthony Perkins and Vera Miles reprised their original roles. |
tt0220514 | Hey, Happy! | Society as we know it may have been lost, but sex and dancing are still in style in this outrageous post-apocalyptic satire. In a not-so-distant future where a variety of environmental disasters have led to the final collapse of Western civilization, sexually ambiguous hipster Ricky G. (Johnny Simone) leads an encampment of rave kids who have created a makeshift city on the outskirts of Winnipeg. One of the community's leading citizens is porn-merchant and disc jockey Sabu (Jeremie Yuen), whose inexhaustible sexual appetite has led him on a mission to seduce 2,000 men before a looming flood destroys the village. Sabu is close enough to hitting the magic number to have chosen the special man he wants to be Mister 2K -- Happy (Craig Sftanas), an attractive if socially inept science buff who is able to communicate with alien life forms. However, Sabu has a rival for Happy's affections -- body-modification advocate and hair stylist Spanky (Clayton Godson), who tries to foil Sabu's plans by abducting Happy. Hey, Happy! was the first dramatic feature from Canadian independent filmmaker Noam Gonick. ~ Mark Deming, RoviThe film's action takes place on the desolate outskirts of Winnipeg, on the eve of what could well be the Apocalypse. Pot-smoking, amyl nitrate-sniffing DJ Sabu (Jeremie Yuen) works at an open-air porn emporium, mixing beats and the moans and groans of smut-movie soundtracks with random radio transmissions warning of the second coming of the Great Flood. Apocalypse or no apocalypse, DJ Sabu is on a personal mission: He's determined to sleep with 2,000 guys, and he's just one fling away from reaching his goal. That fling, Sabu has decided, will be Happy (Craig Aftanas), Winnipeg's version of the village idiot, who finds numerological patterns in men's room graffiti and receives communiques from other astral planes. Or maybe it's just the side effects of the toxic waste Happy slurps and sniffs. Sabu propositions Happy at that night's rave on Garbage Hill, and Happy, once he overcomes his virginal shyness, is eager to oblige; the alien voices tell him they can't make physical contact until he has sex with Sabu. So the stage is set for something like romance, until Sabu's nemesis, the evil-genius hairdresser Spanky O'Niel (Clayton Godson), and his goon squad of chubby beauticians nab Happy and force him into love slavery. This ready-made midnight movie probably won't stand the cold light of day, but under the right conditions, it's goofy (if not entirely wholesome) fun. It's the kind of shock flick that revels in its own offensiveness and even goes so far as to reenact one of the more disgusting moments from John Water's seminal PINK FLAMINGOS (don't worry, it's not that one). Gonick transfigures Winnipeg into an industrial junkyard filled with colorful freaks and transsexual disco superstars, a place where everyone seems to be at least one of several shades of gay. Clearly, it's not for everyone. Extra points for a great electronic soundtrack, striking widescreen cinematography and an unapologetically freaky attitude. leave a comment --Ken Fox | psychedelic | train | imdb | null |
tt1603257 | ATM | The film opens with an unknown man drawing and organizing diagrams to the song Silent Night. He picks up his parka coat and leaves.While attending an office Christmas party, David Hargrove (Brian Geraghty) offers to drive his co-worker, Emily Brandt (Alice Eve), home. Reluctantly, he allows his slacker friend Corey Thompson (Josh Peck) to accompany them. On the car ride, Corey asks David to pull up at a 24-hour ATM kiosk. Corey and David enter the ATM to withdraw money, and shortly after, Emily joins them. She tells David the clicker for the car lock isn't working. When the three are about to leave, they turn to see a hooded figure lurking outside who is only known as THE MAN (Mike O'Brian). While Corey suggests they return to the car, Emily and David are reluctant, believing the figure to be a robber. A guy walking his dog, Robert (Robert Huculak), comes into the parking lot walking his dog. The Man walks up to Robert and violently beats him to death like it's nothing. The three watch in horror. They want to call the police, but Corey lost his phone at the party, Davids phone battery is dead, and Emily's phone is in her purse in the car. They try to set off an alarm by banging on the ATM, but nothing happens. While the three are panicking inside, The Man sees them gesturing towards the car. He goes to the car, opens the door, pops the trunk, and removes a few items; a folding lawn chair, a tire iron, and a toolbox. He takes the toolbox and walks around to the back of the kiosk. He cuts off the heat and lights.David decides to reason with The Man. He walks out and attempts to give him an envelope with 500 dollars and other valuables in return for their safety. While giving the money to the hooded figure, he runs back to the car, he grabs Emily's purse, pulls out her phone, and starts dialing 911 when The Man punches through the passenger side window with his gloved hand. He drags David out of the car and is about to kill him when Corey screams from the kiosk. This distracts The Man long enough for David to get up and run back. He drops Emily's phone that has 911 on the screen and just needs the send pressed. He turns back to get it, but The Man is gaining on him and he abandons the phone. David leaps back inside with Emily's purse. The Man stops about ten feet from the door then then walks over and picks up the envelope and Emily's cell phone. He tosses them into Davids trunk. Emily uses her lipstick to write "HELP" on the ATM's window.As the three begin to freeze, a Security Guard (Ernesto Griffith) comes to investigate. He parks his car a few dozen feet from the ATM and gets out. The three yell at him, but he can't hear them over the howling wind. He sees Robert's body and starts to call for help on his radio, but is beaten to death by The Man with the tire iron. The three are left hopeless. Emily starts becoming disoriented from the hypothermia.A few minutes later, a guy with a similar coat to The Man enters the kiosk. Corey and David manage to kill him by strangling him with a pen on a wire. They look outside and see the real Man standing there. They find out the man they killed was named Harold (Glen Thompson) and he stopped in on his way to work. They search him for a phone, but don't find one. Corey grows angry and tired. He takes Harold's coat and runs. He's tripped up by a wire The Man strung across between the car and the pole of an overhead light to create a perimeter. The Man stabs Corey with a screwdriver. He walks back around the kiosk and continues with his project when he spots a fire hose.More hours go by and the temperature continues to fall. David and Emily see that Corey is still alive. They run and grab him. Corey's leg is broken, but they all manage to return to the kiosk before The Man gets to them. Desperate, David tries again to set off an alarm and breaks the ATM camera. While David and Emily attempt to stop Corey's bleeding, The Man pushes David's car up to the door and blocks it from opening. The ATM kiosk begins to fill with cold water through the heating vents. Corey eventually dies of blood loss and hypothermia. David finds a lighter in one of Harold's pockets. He tosses paper into a wastebasket and starts a fire. Emily climbs on David's shoulders and manages to get the flame close enough to the fire alarm to trigger a loud alarm. David slips and Emily falls, smashing her head on a shelf and dies. The security guards car rams into David's car, which crashes through the wall.Angered, David uses Corey's bottle of tequila to create a Molotov Cocktail. He throws it at a hooded man sitting in the lawn chair, only to realize that its the dead Security Guard. The Man has disappeared. The cops come and arrest David. They find five bodies, the bank envelope full of money and valuables in the car trunk, and Emily's phone with 911 on the screen. They review the ATM video tape, but there's no sound and it looks as if David, Corey, and Emily were robbing the ATM and murdering witnesses. The Man is not seen on the footage. (The killer was very clever enough to not approach to within 25 feet of the ATM booth to avoid being seen on the booth's single security camera).In the final scene of the film, the hooded parka figure, his face still unseen, returns to his lair (a locker within a storage facility) where he presumably plans more ATM attacks by showing dozens of maps, blueprints, expert drawings of security camera at ATM booths and surrounding buildings, as well as their ranges and power outlets. It is strongly implied that this unknown and highly intelligent serial killer has been targeting innocent people who happened by ATM booths during late hours to terrorize, and eventually kill, them for months or possibly years now but leaving one survivor to take all the blame for his actions, in which Corey and Emily and all the passerbys that he killed that night were just his latest victims among so many, and David was just his latest fall guy. | murder | train | imdb | we all know from watching horror films, that there's at least one moment where the hero knocks the evil killer to the floor then just runs off, allowing him to get back up and chase them down all over again.
And in movies like this, it is often frustrating to watch when you know what is going to happen anyway.While the plot does not have serious errors, the story is an overall unsatisfactory work.
You can really tell that this movie had some good ideas in it but things aren't really thought out well enough and the movie is incredibly flawed, mostly due to its story.These sort of thrillers/horror movies set mostly at one location, are somewhat popular now days and this movie obviously tried to have a go at it as well and ride on the success of the genre.
Everything the ATM "stalker villain" does makes sense, because the 3 captives simply have zero.Watch this flick if you're a fan of "b" movies, or simply bored and want to pick it apart and cringe and a very bad script.
It stars annoying Josh Peck, good looking Brain Geragthy and a different kind of bombshell Alice Eve. ATM is about three co-workers (Eve, Peck and Geragthy) stop off at an ATM late one night and soon find themselves confined to an enclosed area made up of an ATM booth and car park by an unknown hooded killer lurking outside.
It wasn't the best, the acting was good, I enjoyed the plot, it wasn't as predictable as you'd think, the ending could of been done differently but if you enjoy 'edge of your seat' movies and have some free time I'd recommend giving it a watch!
The number of lame decisions and non-decisions by the 3 main characters manage to make most of the dumb ideas in horror/thriller movies you may have seen appear insignificant.
With your time, money and the inevitable headache you will feel the next day after beating your head against a hard surface for having sat through this mess.I've seen a lot of disappointing films but this is one of the very few that made me really, really angry for devoting a couple of hours of my time to watching it.Avoid.Oh, and to the people who are saying "Not as bad as the reviews would lead to to believe": I need to meet your dealer.
The premise is gimmicky no doubt, but Sparling had managed to turn a similar high-concept into a surprisingly tense and thrilling experience the last time round, so it isn't unreasonable to think that he could do the same with this movie.Alas, 'ATM' is not even half as smart as his previous 'Buried', with its three characters behaving so ridiculously that you end up rooting for their demise instead.
All three- David (Brian Geraghty), Emily (Alice Eve) and Corey (Josh Peck)- happen to be colleagues at the same investment bank on their way home from their company's annual Christmas party.
Following some narrative contrivance involving David's faulty card, all three co-workers end up in the ATM booth- trapped inside by said masked figure whom they watch stabbing a passerby to prove to them as well as the audience that he is no Santa Claus.
Sparling offers no clue, choosing instead to divulge a little more of his villain's methodical planning for a next ATM, hinting at the dreaded possibility of a sequel.To his credit, Brooks tries his best to maintain a tense atmosphere throughout, and there are a few effective thrilling moments in the film.
Nonetheless, both Brooks and the cast are let down by the loophole-ridden script that demands its audience throw all semblance of logic out the window.Like its confined setting, such a premise requires tight plotting- and given that Sparling knew as much in 'Buried', the flaws in 'ATM' could only be due to sloppiness.
How else would you explain why none of his characters thought to park their car right outside the ATM, instead of 100m away in the freezing cold weather?www.moviexclusive.com.
Some of the little intricacies/subplots of the first 90 minutes are absolutely squandered.Glad this was a 4rth redbox rental at only $1.13, or I would be upset.You'd be better off trying these first(low-budget horror of the last 5 years that are better than ATM): Frozen, The Collector, Some Guy Who Kills People, Eden Lake, Pontypool, Troll Hunter, Hatchet, Hatchet 2, Timber Falls, Behind the Mask, Marytrs, Tucker n Dale Vs. Evil, Trick Or Treat('07), or The House of The DevilNot that all those are great, but they're definitely better than this..
acting: very good, the people involved in this movie really made me believe they were scared out of their minds and desperately trying to find a way out of the situation.
4. the maniac: and last but not least, he did a good job, I liked his performance, only thing that was rather disappointing is the end, where...well...better if you check it out for yourself.So, now, dunno why all the hate, I for one am a HUGE horror fan, so I would hate to see this little gem of suspense and horror being left out of one's collection, trust me and the other guy, this movie kicks ass!
If you didn't know bad things were going to happen to these two (and a third friend), you probably wouldn't last past the first 15 minutes.But they end up at the ATM, and the film proper begins.
It has the usual horror movie head-scratchers -- nobody has a working cell phone, there is no emergency phone in the ATM, the killer can do things no human should be able to do, wild coincidences occur -- but what's good is that the three of them act like real people would act.
well, real.But the film drags a little -- it's pretty much a one-trick pony, and the director has a serious misstep by making the leads have a "romantic flirt" moment in the middle of the carnage which seems hopelessly and desperately out of place (luckily, it is very short-lived).But I liked the ending -- no silly twists or "big shocking surprises," just a real, legitimate ending to the movie that was definitely a little unexpected and works.So a mixed bag, but more good than bad, and worth checking out..
It's like they tried to improvise some events leading up to the fact that they are going to be trapped in an ATM, hoping that this will help us to get the know the characters, but as they are pretty much average stereotype males and females, I think that this was redundant.
As far as the plot is concerned, a lot of the reviewers complained about the plausibility of it and the decisions that have been made by prisoners of the ATM, you have to remember that this is a movie and something has to drive it forward, and everything can be easily explained with enough thinking.David, Corey and Emily are three coworkers having a good time at their company's party.
Once they enter it, their carefree night will turn into a fight for their lives, as a crazed murder places the chair in front of the ATM room and decides that no one is leaving it, alive...Check out my review site Rabbit-Reviews.com for movies that are worth watching, Rabbit out....
And when the three stop at an ATM booth, a serial killer sees the chance to strike.When I rented this at Redbox, the disc had the option of watching the theatrical version or Director's Cut, I choose the latter and noted that it was a bit shorter than the regular version (haven't seen both versions, I wager that it was to tighten up the film but I don't know)Be that as it may, I found the film to be tense enough, even if ridiculous.
I allowed my suspension of disbelief to run rampant and enjoyed the movie in return (up to a point) however the main characters simply would not doing dumb things which was a bit grating..
I was screaming out a lot of things before they even did them, but I feel like it would not be a bad movie to watch with kids or a date.
its funny how one mans poison is another mans pleasure, the first review of this film was terrible thats the guy from Brazil who thought the killer was going to drown them out, if you had listened carefully he was trying to freeze them out, yes i thought some of it could have been thought out better but i also thought it was a nail-biting and well acted film (apart from the friend who could have done with a course at acting school) besides that i enjoyed it very much, compared to a lot of dribble we have out there now its very watchable and atmospheric, i didn't really get the end part but a worthwhile effort all the same :)).
LOL!) has got to be one of the most contrived horror thrillers I have ever seen in my life.Travelling home from an office party, co-workers David Hargrove (Brian Geraghty), Emily Brandt (Alice Eve) and Corey Thompson (Josh Peck) stop off at an isolated ATM in the middle of an empty car park, only to be trapped in the glass booth when they are threatened by a violent stranger.
Having unconvincingly explained away the absence of working cellphones and given a pathetic reason for the trio parking the car so far away from the booth, writer Chris Sparling proceeds to have his characters act like complete morons for the next few hours, taking stupid risks, failing to apply logic to their situation, and in the film's most ridiculous scene, even killing a complete stranger in the mistaken belief that he is their attacker.Towards the end of the film, I was actually cheering the killer on, hoping that he would get to his victims and put an end to this garbage as soon as possible..
Yes, there are times where the situation does feel hokey but often more than not, I felt like I was trapped in this ATM with his characters which added to the suspense.
However, he is cold and calculative to the very end where you really feel the cruelness and awfulness of his actions.This is a flawed movie with a pretty basic plot and characters.
Just imagine a phone booth that is wider and is able to house two ATM machines and three people.Though Corey needs the money and goes in by himself in the beginning, the other two follow him in to see what is taking so long.
These questions can pretty much all be answered, with the exception of number three, with "there would be no movie." It's clear that Chris Sparling, the writer of another claustrophobic thriller, Buried, desperately wanted to make the premise and the idea work, but logic has to sort of take part in a late arrival so the film can work and last eighty-one minutes.
The film, also, ends about ten minutes shorter than it states, so stay put during the credits so you can watch more scenes of attempted backstory and try to decipher what the film wants to say.ATM has a fine script, a well utilized atmosphere, likable characters, but a questionable plot, hokey backstory, and a mild sense of logic.
So the concept of the movie is that 3 people visit an ATM (a US ATM thats more like a small shop rather than a hole in the wall) late at night - I must admit to feeling that I was headed towards another cliché horror/thriller when the 3 decide to go via the ATM thats miles away from civilisation but ATM was a not too shabby movie which did make me think about what I would do if in a similar situation but more importantly how would others I am with react.
He holds them hostage for the remainder of the film, dispatching anyone who might come to their aid and implying he will do it to them if they try to escape.Overall, while this wasn't a "classic," I think this was decently executed, had reasonably good suspense, and was worth the rental.
So, by staying out of the field of view, he would not have any eye witnesses, just like in the first murder, in the beginning of the movie.There is no video of the two cars being driven into the front of the booth, because as we saw, the video feed stopped recording when David went crazy and started beating up the machine with the trash can.The ending was quite nice.
That is the most basic thing ever, if someone is going kill you get away from them everyone in the world knows that except these moron retard characters and the moron retard producer and director, I must emphasize and reiterate that the people involved in this movie must all have low IQ and be blind.
I like Josh Peck from Drake and Josh, he was funny at the start of the movie, his acting was okay but I thought Alice Eve had the best performance.
Don't run to the car so we can escape because he's killing the dog guy, let's stand here and yell at the killer.And who parks 12 million miles away from an ATM when the parking lot is vacant and parking at the door makes more sense?
At a company function, David gets a final chance to hit on resigning colleague Emily (Alice Eve) and gets an opportunity in sending her back, but not without Corey in tow and request to stop by an ATM to obtain money for a pizza supper.And then the madness begins, with The Man (hooded at all times save for his eyes) playing psychological mind games with the trio, who have so far conveniently left their warmer clothes, communication devices and parked their car a distance away from the ATM booth rather than to drive up right beside it.
If the acting was sub-par, I would have stopped watching, instead of building up my hope that the ending would be good enough to somewhat excuse all the exceedingly dumb plot holes and the utter stupidity of the characters.
I really did try to find some excuse to like this movie, but it wouldn't let me.There are plenty of reviews here that can give you 1,000 reasons not to watch ATM, but I'm here to tell the people like me who love the old masked slashers and are hoping to find some glimmer of suspense or character development, don't.
The ending sucked, plus of course the parts where the characters did stupid stuff like parking the car a long ways away from the ATM and not running away when they had the chance.
As I said before, it's 'hit and miss'.The plot also carries this lack of solidity; at times, original ideas are introduced and the movie seems like it may become engrossing, however at other points the amount of flaws in storytelling and issues in characterisation lower the standard of viewing.Overall, there is little I can really say about "ATM", other than it is a disappointing movie that, although is flawed and far from great, does have some good moments and is a fairly enjoyable movie throughout the majority of its duration.
Awesome & Innovative...and I tend to NOT watch horror, with that stated it is unlike anything I've seen before & despite some bad reviews from folks whom probably think Chucky part 12 is a thriller or horror...it takes a lot of imagination to pull this film off...and those involve did!
I'll give you some examples:-parking your car fifty yards from an ATM in sub-zero weather, even though you could have parked right in front, is completely unrealistic; -spending five hours in -5 Fahrenheit wearing only a shirt will either kill you or render you completely immobile and unintelligible with pneumonia, hypothermia, frostbite, etc; -filling a room with water makes little sense when one can just OPEN THE DOOR A BIT; -a security guard asking "are you okay?" twenty times, even though the occupants have clearly and visibly written "HELP" on the window is beyond ridiculous; -the police arrest the blonde guy, but who cares?
Maybe..for a start...Anyway, the film is boring and predictable (except that you're hoping for some sort of brilliant twist or SOMETHING worth your time at the end), a modest 3M$ budget can't excuse a horrible script, with horrible contrived plot manipulation ( the one character randomly slips when he tries to run to get help?
Yes, they are that stupid)***Apart from that the acting is OK and the ending is not THAT bad but that's about it.Like I said, if you've seen the trailer, you know most of the movie.
well as i said everything happens inside an ATM cabin, the only thing i would correct to this movie is that they could develop some kind of history of the killer, but the plot is quite exiting i think, and josh peck does a pretty nice role of desperate boy in a death or alive situation, the other bad thing is the annoying girl they could make a lot more interesting her role..
This comment contains spoiler so please don't read it before watching the movie.The reason I gave 5 points was the very few but quite good ideas of this film, e.g. the ATM scene and the bad guy going for creating the "perfect crime" just for the hell of it, I guess (we will not learn about his motivation, but this one came to my mind at the end of the movie).
Parka's are a very 90's sort of thing, in regard to horror movies.This guy is relentless, he keeps 3 people trapped in an ATM kiosk for HOURS and ultimately tries to drown them all. |
tt0361748 | Inglourious Basterds | Chapter One: "Once Upon a Time..... in Nazi-Occupied France"The film opens in 1941 with Colonel Hans Landa (Christoph Waltz), a detective of the Waffen-SS, proudly known as the "Jew Hunter," visiting French dairy farmer Perrier LaPadite (Denis Ménochet). After making casual conversation in French and taking a glass of LaPadite's delicious milk, Landa claims to have exhausted his French and asks to switch to English.In English, Landa then notes that his papers state that all of the Jewish families around LaPadite's region have been accounted for, except the Dreyfuses, who have vanished completely in the past year. Landa believes that someone is hiding them very well. After rambling on a bit about the logic he uses to hunt Jews, he admits that he is required to conduct a thorough search of LaPadite's house.By dropping a subtle hint about whether or not to leave LaPadite's family alone in the future, Landa manages to coerce LaPadite and get him to confess that he is hiding the Dreyfuses under the floorboards. LaPadite points out the approximate location of the hidden Dreyfuses. Landa understands that the Dreyfuses don't speak English, and tells LaPadite that he will be switching back to French. In French, he thanks LaPadite for the milk and hospitality, then opens the door, seemingly calling out to LaPadite's family, but in actuality to booted Wehrmacht soldiers, who come inside and take up positions. On Landa's orders, the soldiers fire their guns into the floorboards, killing the Dreyfuses. However, Landa hears a noise, and sees the teenage Shosanna (Mélanie Laurent) running away into the hills. Landa considers shooting her with his pistol but decides against it, yelling after her, "Au revoir, Shosanna!"Chapter Two: "Inglourious Basterds"The second chapter takes place three years later in 1944, just prior to the Allied invasion of France. We see redneck Lt. Aldo Raine (Brad Pitt) addressing in formation his newly formed eight-man Jewish-American commando unit. He proceeds to explain to them, in drill sergeant style, that they will be dropped behind enemy lines to cause havoc to all Nazi soldiers they come across with the goal of bringing fear into the heart of the enemy. He further explains to them that the normal standards of military conduct will not apply because the Nazis themselves have no humanity and are not deserving of any humanity in return. He mentions that he has Apache blood running through his veins and that each and every one of the men in his command owes him a debt of 100 Nazi scalps.We next cut to a scene showing us the terrible-tempered Adolf Hitler (Martin Wuttke), angrily ridiculing two of his military command for not being able to deal with the Basterds, as their activities are demoralizing to his fighting men. Hitler then interviews Private Butz (Sönke Möhring), whose entire patrol was recently ambushed and killed by the Basterds, and he was the only survivor. When Hitler asks Butz if they marked him like they did the other survivors, Butz shows him the swastika carved into his forehead.Butz's story is told in flashback: all of the soldiers have already been killed except for three: Butz, Sgt. Werner Rachtman (Richard Sammel), and a third soldier. Raine has Rachtman come forward, and threatens to have him killed if he does not disclose the whereabouts and information on a nearby Nazi patrol. Rachtman is adamant that he will not provide information that could possibly harm other German soldiers and Raine calls for Sgt. Donny Donowitz (Eli Roth), known to German soldiers as the "Bear Jew" to beat Rachtman to death with a baseball bat, which he proceeds to do, which very much delights all of the Basterds. The second survivor is also shot dead in a moment of excitement.Raine then interrogates the non-English speaking Private Butz. Cpl. Willem Wicki (Gedeon Burkhard) acts as their interpreter. Utterly demoralized by the beating to death of his sergeant, Private Butz quickly provides the Basterds with all they need to know after which Lt. Raine lets Private Butz go - but not before carving a swastika into Butz's forehead with his own customized Bowie knife - as a branding (swastika carving is Lt. Raine's trademark). The scene ends with Donowitz commenting to Raine that he is becoming quite good at carving swastikas. Lt. Raine responds: "You know how you get to Carnegie Hall don't ya? Practice."Chapter Three: "German Night in Paris"June 1, 1944: Shosanna has assumed the identity of "Emmanuelle Mimieux." How she manages to do so is not revealed. She has also become the proprietress of a cinema in downtown Paris, which is chosen by Fredrick Zoller (Daniel Brühl), a spotlight-hungry sniper-turned-actor whose exploits are being celebrated in the Nazi propaganda film Stolz der Nation (Nation's Pride), as the setting for the film premiere. He is infatuated with Shosanna and convinces Joseph Goebbels (Sylvester Groth) to hold the premiere in her cinema. Shosanna, however, does not reciprocate Zoller's feelings.Shosanna realizes that the presence of so many high ranking Nazi officials and officers provides an excellent opportunity for revenge. She resolves to burn down the cinema using the massive quantities of flammable nitrate film she holds in storage during the premiere (because nitrate film burns three times faster than paper, and is cheaper than buying lots of explosives; the English narrator (Samuel L. Jackson) tells us that the flammability of nitrate film was such so that you couldn't even take a reel on a bus), and she and her lover/assistant Marcel re-edit the fourth reel of "Stolz der Nation."Chapter Four: "Operation Kino"In the meantime, the British have also learned of the Nazi leadership's plan to attend the premiere and dispatch a British officer, Lt. Archie Hicox (Michael Fassbender), to Paris to lead Operation Kino, an attack on the cinema with the aid of the Basterds and a German double agent, an actress by the name of Bridget von Hammersmark (Diane Kruger). Hicox meets with General Ed Fenech (Mike Myers) and Winston Churchill (Rod Taylor) and is chosen for the mission based on his expertise of German filmmakers.Bridget Von Hammersmark arranges to meet Hicox and two of the Basterds, Wicki and the psychotic Hugo Stiglitz (Til Schweiger) (who defected from the Germans after killing thirteen Gestapo in violent ways {some of which can be viewed in Chapter 2}) in the basement of a French tavern to arrange their plans. The only problem is that the night of the rendezvous is also the occasion of a German staff sergeant named Wilhelm (Alexander Fehling) celebrating the birth of his son with his soldier comrades. One of the German soldiers present strikes up a conversation with Hicox and notices that his accent is "odd." An SS Major, Dieter Hellstrom (August Diehl) (whom we met earlier during Chapter 3), who is in the tavern as well also notices the odd accent (although Hicox is fluent in German, he is using his British accent). Hellstrom joins Hicox and von Hammersmark and plays one round of a guessing game with them (with Hellstrom's card, King Kong). He offers to buy the table a round of drinks. Unfortunately, Hicox betrays himself when he gives the wrong three-fingered order for whiskey (holding up his ring, middle, and pointer fingers instead of his thumb, pointer finger, and middle finger), and the SS officer recognizes their deception.Hicox, Wicki, Stiglitz, and all of the Germans, as well as the French tavern owner, subsequently kill each other in the resulting 15 second shootout: Stiglitz starts things off by telling Hellstrom to say "auf Wiedersehen" to his Nazi balls, then shoots him in his groin. Hellstrom then shoots Hicox in turn and hits Bridget in her right leg, who falls backward in her chair, while Hicox falls backward and returns fire at Hellstrom. Stiglitz then stands up and repeatedly stabs Hellstrom in the back of the head, pinning his head to the table. Wicki stands up and shoots Winnetou in the back at least twice. Beethoven shoots Stiglitz in the back. Mata Hari shoots Wicki in the stomach. Stiglitz turns and shoots Beethoven four times in the torso and then also shoots Edgar Wallace in the heart, killing them both. Wicki shoots Mata Hari in the heart. Then, Eric shoots Stiglitz with a double-barreled shotgun, killing him. Wicki shoots Eric in the head. Wilhelm blindly guns down Wicki and Mathilda with his MP40 submachine gun. Just then, Raine and several of the Basterds arrive (having waited outside the tavern and now alerted by the shooting), and a standoff ensures between them and Wilhelm. After Wilhelm agrees to surrender to the Basterds, Bridget retrieves Hicox's pistol and fires four shots at Wilhelm, killing him, because Wilhelm had learned that Bridget was working for the enemy. The wounded Bridget allows herself to be captured by Raine and the Basterds.A little later, Raine angrily interrogates Bridget at a local animal clinic where he takes her for medical treatment for her bullet wound. He pokes a finger into the wound to make her explain the debacle in the tavern, and then tell him about Operation Kino. Raine decides to continue the operation against the cinema. Raine picks two of his best men, Donowitz and Omar Ulmer (Omar Doom), to make use of suicide bombs and the three of them will pose as Italian filmmakers escorting Bridget to the event. To explain the cast on her leg, Bridget will claim to have broken it in a mountain-climbing accident.Colonel Landa, who is now an SD officer, investigates the carnage at the French pub and finds one of Bridget von Hammersmark's shoes left behind and also an autographed napkin which Bridget had signed for Wilhelm's son, realizing that she was there and may have been wounded. He also identifies the bodies of the two German-born Basterds, noting their reputation to disguise themselves as German soldiers to ambush squads.Chapter Five: "Revenge of the Giant Face"The following evening, Landa approaches Bridget and Raine in the cinema lobby and is able to easily see through their disguises, as Raine, Donowitz, and Ulmer cannot speak fluent Italian or German (Raine is most obvious since he is speaking it with a thick Southern accent). He questions Bridget alone and makes her try on the shoe he had retrieved from the tavern. It is a perfect fit. He strangles and kills her as a traitor, and orders the arrest of Raine. As Raine is driven off in a truck, he discovers one of his men, Private Utivich (B.J. Novak), has also been captured and is in the truck with him.Landa reveals himself to be a turncoat. While speaking with Raine and Utivich in the privacy of a closed restaurant, he tells them that four major Nazi leaders must all be killed to end the terrible war immediately. They are all attending Nation's Pride, and he is prepared to let the assassination continue... for a price. He has no intention of helping end the war only to be tried by a Jewish tribunal for war crimes and end up facing execution. In order to help end the war, he wants to make a deal; one Raine cannot authorize, but his commanding officer (voice of Harvey Keitel) can. Landa has his radio operator help Raine reach his general, where Landa states the terms of his deal: he wants full military pension and benefits under his current rank, the Congressional Medal of Honor for everyone involved in the operation, American citizenship and a home on Nantucket Island. He also reveals that he had planted Raine's explosives in Hitler's box at the cinema (which is shown in flashback), indicating that there are now three attempts against Hitler's life (Donowitz and Omar in the main theater, the explosives in Hitler's box, and Shoshanna's plot). Raine is placed on the radio and his general tells him that Landa and his radio operator will drive him and Utivich in a truck to American lines, then surrender to them, whereupon Raine will drive the truck the rest of the way to base and bring Landa and the operator to him for debriefing.Meanwhile, during the showing of Nation's Pride, Shosanna and her assistant (and lover) Marcel (Jacky Ido) are manning the projection booth when he tells her it is time. It is revealed in a flashback to a few days ago which shows Marcel filming a close-up of Shosanna's face making a speech in English. They then force a local camera shop owner to develop the film by threatening to kill him and his family if he doesn't, and Shosanna edits the complete film on the fourth and final film reel of the movie and leaves them in the projection booth for them to run when the time is right.Flashing back to the present, Marcel tells Shosanna that he needs to lock the auditorium and go behind the screen. As Marcel makes his way toward the auditorium, the two Basterds that have been left behind, Donowitz and Omar Ulmer, leave their seats and exit the auditorium heading upstairs to the balcony level... determined to kill Hitler by themselves (neither of them are aware of Raine's capture or of Shosanna's plan to burn down the cinema with all of them inside). Donowitz carefully spies on the two guards watching the entrance to Hitler's opera box from the nearest restroom.Shosanna loads the doctored fourth reel of Nation's Pride onto the projector camera as Marcel locks the auditorium doors, sliding the safety locks at the tops and bottoms of the doors into place, and then slides a heavy iron crowbar through the door handles, further barring them. He steps behind the screen where Shosanna had placed her entire stack of flammable nitrate film. Shosanna pulls a lever to switch the projector to the doctored reel on a cue symbol in the film. Watching from behind the screen, Marcel lights up a cigarette and waits.Meanwhile, Zoller, who is uncomfortable with the way he is portrayed killing Americans in the film, leaves the cinema auditorium and makes his way to the projectionist's room to flirt with Shosanna. She is deeply concerned at his intrusion and tells him to leave. However, the spurned Zoller pushes his way into the room and angrily confronts Shosanna about her treatment of him, warning her that she's no longer in a position to disrespect him. Needing to get Zoller out of the way, she asks him to lock the door, dropping a subtle hint: "we don't have much time." Soon as Zoller's back is turned to her, she pulls out a small gun from her purse and shoots him in the back, mortally wounding him. Quickly she glances into the auditorium to make sure she wasn't heard. Suddenly, she hears Zoller groan and realizes he's still alive. In an apparent moment of pity, she turns him over, and he shoots her to death before he succumbs to his wounds.At the same time, Donowitz and Ulmer are preparing their ambush to take out the opera box guards. Donowitz disguises himself as a waiter delivering a glass of champagne. The ambush goes off without a hitch and they kill both guards and then steal their machine guns.Meanwhile, we see Hitler greatly enjoying the battle scene in the movie, where Zoller is taking out numerous American soldiers by himself. But his joy comes to a quick end when Zoller's challenge in the movie ("Who wants to send a message to Germany?") is answered with the changes Shosanna made to the fourth reel. The large image of Shosanna's face appears on the screen and she tells the audience (speaking in heavily accented English for the first and only time in the movie) that they're all going to die, and she is a Jew ready to take revenge. On her cue, Marcel flicks his cigarette into the pile of nitrate film behind the screen, igniting it. The fire bursts through the screen, causing pandemonium in the auditorium. Just then, Donowitz and Ulmer burst into Hitler's box and gun down Hitler, Goebbels, Goebbels's secretary and French translator Francesca Mondino (Julie Dreyfus) and the other Nazi leaders. As the cinema is engulfed in flames, Donowitz and Ulmer fire randomly into the crowd below them, who are attempting to flee, but escape is impossible, as the auditorium doors are now locked and barred. Finally, the dynamite that Landa had planted in Hitler's box, as well as the dynamite strapped to the Basterds' legs, now goes off. The cinema is destroyed in the subsequent inferno, killing everybody inside.The next day, Landa and his radio operator set off with Raine and Utivich towards the American lines in Normandy, as part of the deal he had made with Raine's commanding officer. At the American lines, he surrenders to Raine and hands over his gun and sword. Raine orders Utivich to handcuff Landa, and suddenly shoots the driver dead, ordering Utivich to scalp him over Landa's outraged protest. Raine reveals that while he appreciates Landa's underhanded deal and all the perks he's secured for himself, he is incensed that on arriving in America, Landa intended to take off his SS uniform and blend in to the American populace, with nobody remembering all the heinous deeds he committed as a Nazi officer. Raine plans to remedy that. The film ends with Raine carving a swastika into Landa's forehead and declaring to Utivich that it may just be his "masterpiece." | comedy, boring, suspenseful, murder, cult, violence, historical fiction, flashback, action, satire, humor, romantic, revenge, alternate history, sadist | train | imdb | Having seen the trailers i had high hopes but had doubts due to a string of self indulgent films (c'mon lets be honest, self indulgence is his tarantinos middle name)I was surprised to find though that he had pulled the cat out of the bag with this one.
Diane Kruger makes a credible Barbara Bouchet (one of Tarantino's muses from trash action Italian movies from the 70's) and the rest of the cast has some exquisite touches like Rod Taylor as Winston Churchill.
I love Reservoir Dogs, admire Pulp Fiction and think that Jackie Brown is Tarantino's most mature piece of film-making - technically his most superior - including the last great performance elicited from Robert De Niro.
I figured it would be worth enduring to hear him in Q&A as i know from interviews how entertaining he can be in person.So little was i prepared for the sheer exuberant fun and brilliance of Inglourious Basterds.Easily Mr Tarantino's best work since Jackie Brown it is a triumph.Yes the references are there but they do not interfere with the story, they are not the driving force.
While i admired Mr Tarantino for using stuntwoman Zoe Bell as herself in Death Proof in order to amp-up the exhilaration of the major stunt scene her lack of any acting ability in a key role was a problem for the film.
He is Mifune's blustering samurai in Yojimbo, he is Robards Cheyenne from Once Upon a Time in the West, there is a very James Coburn vibe to him, and of course a suitably Lee Marvin edge.Christoph Waltz (who i did not previously known) and Melanie Laurent (who i first noticed in a brilliant French-language British short film by Sean Ellis) are sensational and i expect to see both used a lot more in the future.
Only Mike Myers comes close to tipping the wink and pushing it too far but his scene is reigned in just enough - with the help of a fantastic Michael Fassbender who seems pulled directly from the mold of Attenborough's Great Escape leader.All the actors shine and Tarantino throws in wonderful flourishes, but ones that work with the story.
After a sensational slow-burn opening and a glorious intro to those inglourious Basterds the pace never lets up and over two and half hours flies by.It also looks beautiful, marking this as a return to real film-making rather than just self-indulgent silliness.
But, if I'm mentioning this instead of talking about all the great things I could be saying about his movie is because there is a strange force trying to brain wash me into believing that Tarantino is the most important influence in movies since time immemorial.
Outside a brilliant sun is shining, but in the one room of the house, everything is bathed in shadows and black.It is a brilliant setting for an interrogation by Waltz, as the "Jew Hunter" of the SS, who dangles his host French farmer over the precipice of revealing what he cannot reveal numerous times, then pulls him back with obsequious lines of friendship and understanding.A second sadistic German, well-played by August Diehl, later functions as important actor in the final plot twist.
Diehl's Nazi Major, who has an ear for German accents, is almost as good as Waltz....almost.Film classes will study much from this movie.
Tarantino knows just how long to draw out a scene, building suspense in the manner of Hitchcock, then at just the breaking point, suddenly coming to a resolution.For color, look for a final shot at a French Theater, where its secretly Jewish proprietor is staging a surprise for the upper reaches of Nazi leadership.We see her, played by Melanie Laurent, awaiting the hated German dignataries who will arrive for a film preview of the latest Deutsch film masterpiece, a propaganda piece about a German hero and his dubious accomplishments.Laurent is framed on a balcony, reflected in the glass mirrors of the gorgeous theater, her red lips and low cut dress reflecting everywhere the intensity of her designs on her guests.
You'll have a great time with Brad Pitt and an incredible Christoph Waltz as the ultimate Nazi villain but don't expect a masterpiece as declared by some critics.
Even more rarely do I clap at the end of a movie, this I and everyone else in the theater did.I have to say I am a little biased towards Quentin, I grew up with "Pulp Fiction." I watched it when I was 12 and it is still my favorite and most influential film.However, since then Quentin has not really lived up to his billing.
That is until "Inglorious Basterds." What Quentin did was exactly what was needed for the war genre, a spaghetti western feel that could only be done by Tarantino or Sergio Leone, but seeing how Leone is dead, Tarantino's the self appointed guy on this masterpiece.So let's look at the movie which I won't give away.
Not to mention this movie was set up in the classic Tarantino mold, great scenes of rich meaningful dialog and sudden shocking action.The acting was superb!!
Usually Tarantino makes not too bad movies with ridiculous violence scenes - but now?
The whole movie looks like a dumb army propaganda video.Every normal human should see, that the actions of the "heroes" are in no way better then those of the "enemies".
Revenge and justice seem to be the main themes, From the start of the movie one feels compassion towards the victims of the Nazis, and is placed in Tarantino's fictional dimension of the WW2 historical context.
But the movie is so good, that during the North American Inglorious Basterds premiere at the Fantasia Festival in Montreal, i had to pee, but refused to go so as to not miss one single scene.
Here, however, the legions of the good are apparently headed by a fellow playing a Cherokee descended country bumpkin who wants nothing more than to kill Nazis and who has, as a right hand man, a deranged Bostonian Jew who beats people to death while babbling about the Red Sox, for reasons I was never clear about.
The Nazis were not Neanderthals who dined on the blood of babies every evening, they were among the most civilized people that the world had to offer at the time.The lunatics in this film are, in large part, Americans and, in particular, Jewish Americans.
The scene where his bluff of being an Italian should have been called, but for some weird reason is not, is absolutely laughable, but nevertheless not funny.We were a bunch of guys watching that movie and none, seriously none liked it.
When I wasn't rolling my eyes at the ridiculous scenes of violence, I was yawning at the drawn out conversations, and the obvious efforts that went into 'building tension.' I cannot believe that so many people have raved on about how great this film is, when it is one of the worst films ever made.
This movie was so bad that after years of using IMDb, I finally registered purely to write this comment.Crap doesn't begin to describe it.The most compelling evidence yet as to why Hollywood should be banned from making war movies.French and German are used as if trying to give some vague impression that Tarantino isn't completely full of "unchecked ego" - I would think that paying more attention to the plot and actual history would have been wise if I'd wanted to retain some semblance of accuracy - otherwise, sod it - why not have all characters speak English for the US audience (let's face it, no one else will be watching this)?
I'm not even that bothered by Hollywood's usual bending/rewriting/falsification of history for it's own ends - we all expect that - American hero, European baddies (at best numpties) - but this wasn't just unresearched childish adventure rubbish, but also cinematically juvenile - no subtlety, no nuance, just clumsy - like someone handed a 12 year old a camera and said, "Make a film about WWII - let you imagination run wild".What is cinema coming to when people rate this rubbish?.
There are a myriad of films that portray World War II in a fanciful light, but "Inglorious Basterds" is one of the few that I can recall that uses the extermination of the Jews as a launching pad for an outlandish Sam Peckenpaugh -inspired cartoon which depicts historical figures like Adolph Hitler and Joseph Goebbels - monsters who were responsible for the murder of millions of people - on the same level as Lex Luthor or The Joker.Brad Pitt and his crew of seemingly invincible marauders cut through the German lines with such ease that it's a wonder that the war lasted as long as it did, and with such a sadistic bloodthirstiness that they seemed likely subjects for a war crimes trial at the conflict's end.
Tarantino crudely and artlessly tries to take the narrative between their bloody and far-fetched "heroics" and more genuine atrocities suffered by victims of the Nazis, so the line between Tarantino's outlandish fairy tale and the real-life horrors of the Holocaust are blurred to a degree that made me feel like the director was exploiting the brutal death of six million people in order to splash a lot of cool, fake blood on a movie set.
In the same film he can introduce a character by throwing a title onto the screen as if this member of the "Basterds" was cool enough to have his own movie, or play a 1980's David Bowie song while a woman prepares to do battle in her own way while Nazi flags hang outside the window.The movie takes place in an alternate universe that could either be a dream or the unreality of the grind-house era Tarantino has celebrated in Kill Bill and, well, Grindhouse.
The sex scene in the middle of the film is a perfect gauge of how demented, perverted, and gross Tarintino is.I enjoyed "Pulp Fiction", I even thought "Jackie Brown" was mildly entertaining - but just to create a pathetic movie, slap your so-called artistic genius on it, with an "A" list actor, does not make a movie Oscar worthy.This movie is like Mexican food.
If he wants to make some sort of what if historic film better do it with something that wasn't so dramatic and involved so many suffering and death.A film where people laugh at every shot like if they were a moronic audience in the US in the present??.An African as a projectionist in Paris under Nazi rule (???).He probably arrived Paris after Senegal independence.
The only thing that made the two and a half hours viewing bearable was the amount of wine i was drinking.If Tarantino has to resort to parodies, homages, ripping off old theme music ( did anyone else remember the music from "Kelly's Heroes" used in the cinema scene near the end ?) and boring us all S***less with pointless dialogues in foreign languages that neither enhance the characters or stories, I suggest he quits now.There is little character development, totally over the top violence (meaningless), a preposterous story, wooden acting (pitt in particular), Continuity errors a-plenty and holes in the script that you could drive a Nazi staff car through.When is he going to get it through his head that he doesn't have Carte Blanche to do what ever the hell he wants with a new offering just because "Reservoir Dogs" and "Pulp Fiction" broke new ground in the early 90's ?
If a film isn't credible or entertaining then the audience is being conned, pure and simple.Having watched Quentin Tarantino descend from the most original film maker around to someone who churns out crap like "death Proof" and "Inglorious Basterds" I can honestly say that I'm not going to give him another chance with my viewing money.I suggest he takes his head out of his posterior and remembers that the viewing public will one day bury him if this shameless self indulgence continues..
And like with Death Proof, there is far too little pay off to warrant stealing people's time and attention over these all-heard-before and talky routines.Through most of the duration of the film I contemplated suggesting to my friend, who was clearly not being entertained either, to leave, but I decided to see it through till the end.
Of course not it focused 100% on jews and they are the one and only we must feel sorry for, once again as all you can expect from American films.This has been called a "Jewish revenge movie".
So rather than this ("yeah jews torture and murder those Germans yeah thats what they deserve!") how about a movie like Schindlers list but instead set in occupied Palestine and showing the suffering of the people there today?!
Well what a crap movie.I liked Pulp Fiction, but Tarantino is nothing more that a pretentious penis head, and in my opinion, quite talentless.I cant believe the majority of the movie consists of mind numbing, pointless, extended dialog......yawn.Brad Pitt was terrible, absolutely terrible.The whole story was laughable, and was Hitler supposed to be funny?
Tarantinos only good film was Pulp Fiction.I hated Inglorious Basterds..
After finally getting round to seeing the movie I can put my hand on my heart and say I didn't miss all that much It's interesting that so many professional critics agreed that the best thing about the film was Christoph Waltz performance * and that this was qualified by the critics saying stuff along the lines of " I found my interest waning when Waltz wasn't on screen " .
There's certainly very little action to the movie and most of the film is composed of characters sitting down and talking in German or French or English .
Little of importance happens in the narrative except to illustrate the film's own underserved self importance * Strangely enough when DJANGO UNCHAINED was released the critics once again praised Waltz as being the best thing about the movie .
Let me just say, I am a fan of Tarantino but this film is making me wonder if that will continue.Reservoir Dogs and Pulp Fiction had humour, style and shock.
"Inglorious Basterds" is INDEED inglorious and reflects the shame of a nation.If you want to see a well written, sophisticated, thinking, well acted, uplifting movie about World War 2, go back to "Casablanca" which was actually created during a generation that actually FOUGHT a war against the Nazis - and won - instead of creating sadistic fantasies about it.
It has a laundry list of stuff it did wrong; The suspense scenes went on way to long, there was usually no point to all the violence, it made me feel bad for the nazi's (thats a first), Diane Kruger in 2 scenes then gets killed, shitty ending, stupid plot line with the nazi guy and the french theatre owner, terrible accents, and Brad Pitt doing nothing and saying nothing importent for 2 hours.
Even though the first scene had some perverse interest, after that I skipped thru it to the end, but still couldn't avoid 1.) Brad Pitt doing one of the worst performances of all time; 2) a whole lot of scalping by the US team, filmed with obvious relish and disgusting detail by the psychopathic director; and 3)a total and extremely boring and unfunny rewrite of history.
Tarantino has never made a movie as good as Pulp Fiction, which I think is genius.
Tarantino has never made a movie as good as Pulp Fiction, which I think is genius.
Actually I'm going to stop there.Im giving this 2 stars - I'd like to give it more because Waltz really was inspiring as the SS officer - I'd even go as far as to say he's almost deserving of an Oscar nomination for best supporting actor if you assume Pitt is the lead.This is a bad film.
"Inglourious Basterds," a title which is stolen from a superior Italian trash flick by Enzo Castellari, is pure pretentious drivel.The opening scene of the movie is the only one which can compare to films from the glory days of Quentin Tarantino.
But, it should then occur to the viewer that the movie we have just watched, Inglorious Basterds, is itself just one of these pointless, war-mongering films with all of the above listed elements.Never have I seen such callous disrespect of a filmmaker for his own audience.
I really wonder what the point of this movie would be if the members of the "Basterds" were not Jew. It is obvious that most of the voters are citizens of the USA and they like to see the USA in the first place all the time and because the directors know this and they want to earn more money they use similar items with similar subjects.
"Saving Private Ryan" would come into that category, not this dreadful mess of a movie.It looks and feels like the writer/director so called has made it up as he goes along as the whole thing is uneven and drifts from drama to farce and various other genres.It is part parody, part fantasy, part black comedy(without being funny)and proved to be a total waste of my time and goodness knows why I did not bother to turn it off sooner.
After seeing many Tarantino films and understanding and enjoying much of his darker humour and intellect, I was hugely disappointed in this movie and the way it was presented.
he first thing you see on the screen in Quentin Tarantino's Inglourious Basterds is a title card that says, "Once upon a time in Nazi- occupied France".
The end of the movie was absolutely terrible as it turned into a complete joke.This film is an abomination for spoiling the history and making a mockery out of people who truly fought to save the world.
This movie is not worth a descend review, it just made me decide that I am not going to go see the next Tarantino film. |
tt1570728 | Crazy, Stupid, Love. | Cal Weaver (Steve Carell) is a middle-aged man who learns that his wife Emily (Julianne Moore) has cheated on him with a co-worker, David Lindhagen (Kevin Bacon), and that she wants a divorce. After moving into his own apartment, Cal goes to a bar night after night, talking loudly about his divorce, until he attracts the attention of a young man named Jacob Palmer (Ryan Gosling), a womanizer who beds women each night, although a young woman named Hannah (Emma Stone) recently had rejected his advances. Jacob takes pity on Cal, and offers to teach him how to pick up women. Using Jacob's teachings, Cal seduces Kate (Marisa Tomei) at the bar. After this encounter, Cal manages to successfully seduce other women in the bar. He sees Emily again at their son Robbie's (Jonah Bobo) parent-teacher conference. The interaction goes well until they discover that Robbie's teacher is Kate, who reveals to Emily that she and Cal have slept together. Cal then confesses to sleeping with nine women. Emily leaves in disgust and begins actively dating David. Meanwhile, Hannah, a recent law school graduate, is expecting her boyfriend, Richard (Josh Groban) to propose marriage while they celebrate her passing the bar exam, but he does not, instead, offering her a position at his law firm. Offended and hurt, Hannah returns to the bar where she originally rejected Jacob's advances and kisses Jacob passionately. The two return to Jacob's home to have sex, but end up talking to each other all night and making a connection. Jacob starts a relationship with Hannah, and he becomes distant from Cal.
At the same time, Robbie makes numerous grand gestures to try to win the heart of his 17-year-old babysitter, Jessica Riley (Analeigh Tipton), who actually has a crush on Cal. On the advice of her classmate Madison (Julianna Guill), she takes naked photos of herself to send to Cal and tucks them away in an envelope inside her dresser drawer. Later, when Emily calls Cal under the guise of needing help with the house's pilot light, Cal decides to try and win her back. Meanwhile, Jacob returns Cal's calls and asks for advice about starting a real relationship and meeting his girlfriend's parents. Jessica's mother, Claire (Beth Littleford), who dislikes Cal, discovers Jessica's naked photos in the dresser drawer and shows them to Jessica's father, Bernie (John Carroll Lynch). Bernie was Cal's best friend before Claire made him end their friendship in the aftermath of the breakup. Bernie rushes to the Weaver residence to confront him about the photos, with Jessica in pursuit. Cal and his kids create a makeshift mini golf set in their backyard to remind Emily of their first date. During the gathering, Jacob and Hannah show up at the house, and Hannah is revealed to be Cal and Emily's first daughter. Cal is appalled that Jacob is dating his daughter, and forbids her to see him. At that moment, Bernie shows up and attacks Cal. Jessica arrives and tells her father that Cal knew nothing of the pictures. Then David arrives on the scene to return Emily's sweater from a previous date. Jacob asks David if his name is Lindhagen and when David replies "yes," Jacob punches him in the face for the pain he caused Cal. Cal, Jacob, David, and Bernie then get into a scuffle which is soon broken up by the police. Cal starts spending time at the bar again and receives a visit from Jacob, who confesses that he is in love with Hannah. Cal replies that he is happy that Jacob is a changed man but does not approve of Jacob and Hannah's relationship, having seen Jacob's former lifestyle. Jacob does not harbor any ill feelings; rather, he respects Cal and praises him for being a great father.
At Robbie's eighth grade graduation, Robbie is the salutatorian and gives a pessimistic speech about how he no longer believes in true love and soul-mates. Cal stops him and instead begins to recount his courtship with Emily to the audience, saying that, while he does not know if things will work out, he will never give up on Emily. With renewed faith, Robbie reaffirms his love for Jessica, to the audience's applause. After the ceremony, Cal gives Jacob and Hannah his blessing. Jessica gives Robbie an envelope containing the nude photos of herself that were originally intended for Cal to "get him through high school." Cal and Emily have a laugh talking about the events that have transpired the past year, hinting that they might get back together. | comedy, boring, realism, dramatic, cute, plot twist, romantic, entertaining, sentimental | train | wikipedia | But instead of tripe, I got one of the most unexpected surprises I have seen all year.Cal (Steve Carell) and Emily (Julianne Moore) have hit a rough patch in their long-time marriage, and Emily inadvertently announces to an entire restaurant that she wants a divorce.
Jacob (Ryan Gosling), a professional bachelor, takes notice and makes it his personal mission to help Cal get over his wife, and become a new man in the process.But this is just the main plot thread of the movie.
It also follows Jacob's relationship with the absolutely stunning Hannah (Emma Stone), throws in a bit of curveball with Emily being romanced by David (Kevin Bacon), and even has a bit of a focus on Cal's son Robbie (Jonah Bobo) pining over his older babysitter Jessica (Analeigh Tipton).
What's more, it achieves the remarkable and all-too-rare feat of actually moving the audience to care about the central characters, to cheer when they come out on top and sympathize when they don't.Using a witty, compassionate and ever-so-slightly subversive script from Dan Fogelman, directors Glenn Ficarra and John Requa, who are best known for writing the pitch-black comedy/satire Bad Santa and only have one other directorial effort under their belts (last year's I Love You, Philip Morris), guide the production along with subtle ease.
As the unquestionable lead of the film, Steve Carell displays a tenderness and dramatic depth he'd only hinted at in previous works like the unexpectedly moving The 40-Year-Old Virgin and occasional episodes of The Office, while Ryan Gosling, all immaculate grooming, sly grins and twinkling eyes, is perfectly cast as his foil, Jacob, a suave ladies' man who's really using all that money and swagger to disguise the emptiness he feels inside.
It celebrates movies like Say Anything
or Jerry Maguire where sentimental wasn't a bad word and love meant more than sex, diamond earrings and expensive, candlelit dinners, where those small, precious moments of quiet intimacy – a shared look, a simple but honest conversation, a laugh, a smile, buying a mint chocolate chip ice cream cone, a spontaneous phone call – speak as loudly as the grandest, most dramatic, craziest gestures.In short, Crazy, Stupid, Love does what the best romantic comedies do: it gives us a glimpse into the raw, human moments that collectively build to bring two people together – or, at times, tear them apart; we fall in love with them just as they fall in – or, out of – love with each other.
Surprisingly the film was written by Dan Fogelman, who is known for his script writing on the animated Cars movies.No question women will enjoy the film, but the surprise is, many men will relate to what's going on with the Steve Carell and Ryan Gosling characters.
While he has occasionally been a decent funnyman, I hadn't seen him in a role where he was remotely interesting and believable.Yesterday, I was at the movies, pretty much the whole day, and decided to check out "Crazy Stupid Love", because it had decent critical and audience reactions, better than I expected for a romantic comedy, and it had some of my favorite people in it, including Julianne Moore, Emma Stone and Ryan Gosling.
He seems to be the superficial funnyman at first, and, like the rest of the cast in this terrific film, opens up, and surprises the audience.While Julianne Moore is always great, her character and Carrell's character mesh in a way that makes you believe that their marriage lasted 20+ years.
It looked to me like a smart romantic comedy for adults with a bit of an edge, which is exactly what it is, the story is fresh and appeals to a broad age range, the Steve Carrell/Julianne Moore storyline appeals to the older married demographic and the Ryan Gosling/ Emma Stone storyline appeals to the younger hipper generation.Steve Carrell gives a terrific performance as the poor guy whose life just seems to go from bad to worse, I think he will be nominated for a golden globe or something like that, he is a very funny guy to watch no matter what role he is in, the rest of the cast is fine also, Miss Moore once again proves she us an actress with a spectacular, Ryan Gosling and Emma Stone have excellent chemistry together which makes them entirely believable as lovers, however one person steals the show and that is Marisa Tomei in all her nutty glory, her scenes are exceptionally funny but they are too few and far between.This movie does have it's flaws, the end twist is too far fetched and unbelievable, I think it would have been better if they gave you some clues as to how the story all comes together in the end, the Gosling/Stone relationship isn't given enough time to make you really care, and also it's a tad too long.
The women basically play straight men to the male characters, with Marisa Tomei shining in the laughs department despite her short role.While I liked the surprises in the climax and the touching scene at Robbie's graduation, the rest of the film did not really appeal to me too much.
All these threads eventually tie together in what (at times) appears like a French farce, but which does ultimately have a very valid point.All the performances were very good with Steve Carell, Ryan Gosling and Julianne Moore taking centre stage.
the positives are the way they have treated this story line, the cast, their acting -steve carell keep this movie going and Ryan gosling looks really stunning with his perfect abs..but the screenplay cud have been bit better..most of the scenes takes place in the bar..those thing make the movie go slower..and also the same old clichés like mom cheating over dad, and dad getting back to the family in a thought provoking, eye opening speech in the end are bit dramatic...but whatever said, if only the pace of the movie was good then this movie could have become one of the best movies in this genre.
About 3/4 of the way through there's a scene which lasts about 2 minutes that's actually funny and I think the audience laughed for the first time.The film up to that point plods it's way here, with a creepy sad plot and long, long silences to make this moment.The last 1/4 of the film is totally and utterly pointless and simply attempts to resolve the story in a totally embarrassing and non-humorous way.Honestly the people who wrote this film have no clue about what love is - it certainly isn't endlessly pursuing and stalking someone who says no repeatedly..
I don't think it was supposed to be that way, based on other people's reviews, but that's how it hit me.I guess Carell fans love anything he does; gasp with amazement any time he manages to cry or to read a line without making a funny face or a funny noise, and tell themselves what a great dramatic actor he is in addition to being the funniest man in the world; and they probably don't care or even notice how anybody else comes across.
Crazy, Stupid, Love fortunately breaks that model and is actually funny, as well as dramatic.Cal and Emily Weaver (Steve Carell and Julianne Moore) are a married couple who have two young children and Emily ask Cal for a divorce after she admits she had slept with co-worker.
Crazy, Stupid, Love has sometimes been classified as a romantic-comedy, if that is the case it is a great example of a film that avoids clichés and is a film that people who do not like the genre can enjoy.
Writer Dan Fogelman (Cars, Cars 2, Tangled, Bolt, Fred Claus, etc) may be taking a step up form his previous work and that is a good sign, but when directors Glenn Ficarra and John Requa have shown their sensitivity in the much maligned if not sadly ignored treasure 'I Love You, Philip Morris' it feels odd they should go for this script.Difficult to classify as a Romance or Comedy or Drama the film falls into the familiar category of a RomCom. Opening a film with an embarrassingly public announcement of a marriage dissolution over a wife's infidelity and dissatisfaction with her nerdy but good father/provider husband this story embraces about every situation about falling in and out of 'love' imaginable.
The stories surround us in everyday life: the film merely magnifies them.It is always amazing when the marquee boasts the names of some of our more interesting actors as being involved: Julianne Moore, Ryan Gosling, Marisa Tomei, Kevin Bacon, et al deliver what they can.
Being released two years apart, their movie direction definitely improved.On to the movie review itself.Crazy, Stupid, Love begins with the divorce dinner of two of the main characters, Steve Carell's Cal and Julianne Moore's Emily.
I was pleasantly surprised, and really enjoyed seeing this movie at a premiere this week.I wasn't sure what to expect, so it took me a bit by surprise that it was so funny and touching in a lot of ways.It seemed to try to demonstrate that every person in this world has unique, loving, characteristics and that they might not be readily apparent on the surface.It reminded me a lot of "Playing by Heart", and in some ways the less enjoyable "Love, Actually".Those two movies had similar characteristics but weren't as funny as Crazy, Stupid, Love.The comedic aspects of this movie will appeal to the guys in the audience that don't normally like sappy love stories, so overall this is a movie that has something for everyone.Highly recommended, and I give it a 10/10 even though its not perfect (but what movie is?)..
-Zero-to-pick-up-artist romantic lead (40 Year Old Virgin - same actor and everything!) Rich-but-doesn't-work-super-sexy-womaniser (think Barney Stinson without a shade of originality by the filmmakers) Reformed playaa (Wedding Crashers) Super attractive female lead who we know won't end up with current boyfriend because he's played by a no-name actor and the male lead has already appeared in the same scene as her (there's too many to list, but lets just use Spider-Man) Crazy one-night stand personality and the awkwardness that ensues (Wedding Crashers) Boorish and cringeworthy kid love story (ripped straight out of Love Actually, but a lot less cute) Teenage girl obsessed with older man (think American Beauty) Everyone gets closure and lives happily ever after (Love Actually)OK maybe my list of examples is limited, but I'm sure once you've seen one you've seen them all (certainly true of McConaughey and I'm starting to suspect of Gosling too) By the end I was wincing in pain.
In a world where Hollywood repeatedly churns out 'comedies' which are about as amusing as bowel cancer, it does seem that Steve Carell is actually becoming as sure fire bet as you can get in the movie industry to be actually funny every time.Okay, so Crazy, Stupid, Love is not a laugh-a-minute fest, but, right from the start, it raises a fair few chuckles.
His son Robbie (13) is infatuated by his babysitter Jessica (17) who in-turn has feelings for Cal. Emily is reluctantly seeing her colleague David (Kevin Bacon) while Cal meets a mysterious young womanizer in a bar Jacob (Ryan Gosling) who teaches him how to loosen up and get score girls, Cal makes decent use of it.
Crazy, Stupid, Love is a rom-com that gathers all the codes, clichés and stereotypes of the genre.Yet, the acting is perfect, there is a good chemistry between Gosling and Carell, and one can easily empathize or sympathize with one of the characters.
Crazy,Stupid,Love is an excellent,hilarious,underrated Romantic Comedy-Drama that combines solid direction,a wonderful cast,terrific laughs,a great script and a memorable score.
All of those elements make Crazy,Stupid,Love a fantastic and entertaining Comedy-Drama that is worth the time.Set in Los Angeles,California,Crazy,Stupid,Love tells the story of Cal(Steve Carell),a man who's wife and High School sweetheart Emily(Julianne Moore)wants a divorce.
Heartbroken and emotionally scarred,Cal receives advice from Jacob(Ryan Gosling),a smooth talking ladies man who that not only becomes Cal's friend but also teaches Cal to and to pick up woman at the clubs and bars and become a new Cal that is more confident and self-assured.Most would agree that Romantic Comedies,while successful at the Box Office are predictable,sentimental and sappy but every once in a while there is a gem or a diamond in the rough to be found in the Romantic Comedy genre that stands out from the crowd and gives viewers a fresh take on the genre and one of those gems and diamonds in the rough is Crazy,Stupid,Love,a wonderful,hilarious and truly bittersweet Romantic Comedy-Drama that was a Box Office success but was overlooked because most people thought is was going to be another Romantic Comedy but the film is very underrated and is one of the best and better films of the Romantic Comedy genre.
The movie not only gives viewers the main plot involving Cal and Jacob but subplots involving other characters a subplot involving Jacob falling for working girl Hanna(Emma Stone)and another subplot about Cal's young son Robbie(Jonah Bobo)who's in love with his babysitter Jessica(Analeigh Tipton)who in turn has a crush on Cal. The many story lines and plots all mesh together well in CSL and there is not a wasted scene in the entire film.
For reasons unknown to anyone but the scriptwriter Jacob pities the older lion and he promises to 'reawaken the man in you', cue the lengthy montage where he does just that, and Cal is systematically reinvented from the New Balance sneakers on up.Now normally that would set the scene in a typical rom-com, with the ingredients in the bowl it would simply be a case of playing out time in the unnecessarily complicated dance of inevitability, with whichever couple is deemed worthy of enjoying the purest form of bliss smoocherooing for the final few seconds before the credits roll.But Crazy, Stupid Love is a deal more complicated than even that.
But this film calls for far more than mere coincidence, the karma forces at play here are so very strong that I would suggest the chances of actual occurrence would be the equivalent of winning the national lottery three weeks in a row.But ultimately this is neither rom nor com, Crazy, Stupid Love has its share of romance (I guess) and is generally amusing without moving too far into either twee or gross-out territory – a line that seems to be getting harder to navigate – and although there are precious few laugh out loud moments on the plus side I never hated myself for sitting there, predominantly due to the strength of the leads, Steve Carrell and Julianne Moore are so likable that it seems a shame that their fake movie marriage ended, Emma Stone is rapidly making her name as the down to earth chick that threatens neither male nor female and it would be hard to resent Kevin Bacon even if it was your wife he was hunting.Which brings me to Ryan Gosling, the current dreamboat for thirty-some women everywhere, nice and non-threatening enough to introduce him to the folks yet ripped enough to leave them weak at the knees.I actually like the guy, but I don't really understand the allure of a softly spoken man who constantly slurs his speech like Gosling does, regardless of how hot the boy is.
Well, you get the idea: this film sweetly shows the fortitude needed to play the game, right to the end.Cal (Steve Carell) is being divorced by Emily (Julianne Moore) after 25 years of soul mating.
The ensemble cast makes it a bonus to sit through with its star power on display, with a good mix of veterans and the Hollywood youths stamping their mark to make this a lot more memorable than your typical, formulaic romance.With multiple threads running, we have Steve Carell and Julianne Moore as husband and wife Cal and Emily, who begin the film with an announcement that their marriage is doomed, setting off a catalyst of events and series of stories involving their son Robbie (Jonah Bobo) being infatuated with the family babysitter Jessica (Analeigh Tipton), the latter's own infatuation for Cal, Emily and her romantic dalliance with office colleague David Lindhagen (Kevin Bacon) being the root cause, and Cal being helped by the suave womanizing player Jacob (Ryan Gosling) who falls hard for Hannah (Emma Stone) a lawyer who had spurned his advances, which has so far snagged him all his targets, and is now imparting his technique and knowledge to Cal to help him move on.
Marisa Tomei and Kevin Bacon add wonderful supporting screen time and star-studdedness to the ensemble.With some incredibly witty lines that do make you want to sit up and note that real people rarely talk like they do, scripted in a certain way and delivered with impeccable, deliberate timing, Crazy, Stupid, Love.
He's not the only reason to see the film though, like those earlier noted films, this is an ensemble piece made up of a lot of great talented actors such as Ryan Gosling, Julianne Moore, Emma Stone and Marisa Tomei.
The two bond during their experiment but things become complicated when Emily begins to show feelings for Cal again and Jacob falls for a young lovely woman (Stone).The film is grade A material and production values all around; the cast is outstanding (especially Carell and Gosling, two of my favorite actors), the directing is decent, the film looks great and the script is smart and fun.
Cal (Steve Carell) gets very upset because his wife Emily (Julianne Moore) asks for the divorce and he is later helped by Jacob (Ryan Gosling) to rediscover his manhood so he can feel well again.
The film features an ensemble cast comprising of immensely talented actors like Steve Carell, Julianne Moore, Emma Stone, Ryan Gosling and a few others. |
tt0109456 | Color of Night | Bill Capa (Bruce Willis) is psychoanalyst to the rich and unhinged in New York City. One day, Michelle (Kathleen Wilhoite), one of his most disturbed patients, arrives to her therapy session in a particularly fragile state of mind. Bill seems to make light of her problems, and when he flippantly tells her to "look in the mirror," and starts making a phone call in the middle of their session, she reacts by jumping out of the window of his office and falling to her death.The sight of Michelle's blood pooling, dark red around her bright green dress, causes Capa to suffer from stress-induced color blindness. He loses the ability to see the color red. The title of the film refers to the fact that, instead of red, he sees only shades of gray. His friend and mentor, Dr. Larry Ashland (Jeff Corey), urges Bill to forgive himself for his patient's death. Bill tells Larry that he's going to take some time off to visit an old college buddy in California and see if that helps give him a fresh start.Upon arriving in Los Angeles, Bill's friend, fellow therapist and best-selling author Dr. Bob Moore (Scott Bakula) invites him to join his Monday evening group therapy session. A bit reluctantly, Bill accepts, and meets the members of the group.Clark (Brad Dourif) suffers from obsessive compulsive disorder and insists on cleanliness and counting things. Sondra (Lesley Ann Warren) is a nymphomaniac and a kleptomaniac with a habit of marrying wealthy older men who die. Buck (Lance Henriksen) is a salty ex-cop who suffers from post-traumatic stress disorder after surviving the brutal murder of his wife and daughter. Casey (Kevin J. O'Connor) is a sado-masochist whose wealthy, abusive father subsidizes his artistic lifestyle on condition that he remain in therapy. Richie Dexter is a sixteen-year-old boy with a stutter and a gender identity problem, who has had run-ins with the law for drugs. The patients tease each other playfully, exhibiting an easy rapport, and yet the tension generated by some of their interactions hints at a dark side in each of them.After the session, Bob drives Bill to his luxurious Malibu home in his Mercedes convertible. The house is heavily protected by all sorts of electronic devices, because Bob has had some anonymous death threats, which he believes come from someone in the Monday group Bill just met. Bob quizzes Bill about his impressions of his patients-- he had hoped Bill could use his "tuning fork," a special intuitive sense he has for diagnosing mental illness, to determine which of them might be capable of murder. Bill wonders what Buck might be hiding and singles out Richie as a "genuine nut-case," but didn't detect a murderous vibe emanating from anyone.A couple of days later, Moore is stabbed to death in his office by a masked figure in black. Police Detective Lieutenant Hector Martinez (Rubén Blades) suspects one of the patients of the Monday group to be the killer and he asks Capa to inform the group of Moore's death. Capa doesn't want to get involved but agrees to break the news because he can do it with more sensitivity and tact than Martinez would use.The next day, as Bill is driving Moore's car, he gets rear-ended by a pretty young girl in a jeep. She introduces herself as Rose (Jane March). As Rose has no driver's insurance, Bill gives her his phone number and address so they can settle the matter later.Next Monday evening, Bill tells the group about Bob's death. They're shocked and devastated, and ask Bill if he'd be willing to take over the Monday evening sessions because they feel comfortable with him, especially after he shares his own recent, tragic experience.Martinez debriefs Capa about the last Monday night session. Since no one confessed to Bob's murder, Martinez orders Capa to shut the group down. Capa refuses, as he's just made both a personal and professional commitment to lead the group. Martinez rages at Capa but can't persuade him to abandon the group. He then reveals that he wired Bob's office and listened in on the last session. Capa returns to Bob's place to find that someone has broken in and left a hose running inside of the house, flooding the grounds.A couple of days later, Rose comes to Moore's house and, feeling a budding attraction, Capa takes her to a restaurant. After dinner, on the sidewalk near the restaurant, they kiss, but Rose leaves abruptly in a taxi, without even giving her phone number to Capa.Dale Dexter (Andrew Lowery), Richie's older brother and legal guardian, asks Bill for permission to take Richie out of therapy. Bill reminds Dale that, psychological issues aside, Richie was sentenced by the court to mandatory treatment-- Bill says that he will need to study Richie's file and deal with legal red tape before he can make that kind of decision.One morning while he is out jogging, Bill finds a live rattlesnake in his mailbox. Fortunately for him, he gets rid of it without being bitten. Martinez comes by and demands more answers, insinuating that Bill is now a suspect. Rose shows up shortly afterwards and since it's their second date, they immediately have sex, first in the swimming-pool, and then in Moore's fancy bedroom (and a few more places in the director's cut).Bill inquires within the social welfare system about Richie, and discovers that, when Richie was twelve, he was treated by a psychiatrist named Dr. Niedelmeyer.Meanwhile, we see Sondra return home after a shopping spree with her girlfriend Bonnie. Bonnie, who speaks with an english accent and flirts aggressively with Sondra, turns out to be Rose, Capa's lover, in a red wig and heavy make-up. Bonnie / Rose pitches a fit when Sondra tells her that Capa's on his way, then kisses Sondra on the mouth and rushes past Capa to make a quick exit. Sondra reveals to Capa that Richie was molested as a child but becomes incensed when he asks her if Richie might be violent. She screams that Clark is the one Capa should investigate. After Capa leaves, Sondra has sex with her personal trainer, a beautiful young male.Bill goes to Dale's workshop. Dale is a successful sculptor and furniture designer. The workshop itself is an old, disused iron factory that boasts a tower several storeys high. Bill tells Dale that he thinks it is a bit premature to take Richie out of therapy, which clearly doesn't sit well with Dale.Bill pays a visit to Edith Niedelmeyer (Shirley Knight), Dr. Niedelmeyer's widow, but, when he mentions Richie, she slams her door in his face.Another Monday rolls around. Bill asks the group about their current intimate relationships. Sondra tells the group about Bonnie, whom she wishes "was a guy," Casey mentions his beautiful new model, Buck describes the sweet and innocent young woman he has met. Richie says that he only has his brother. Clark, baited by Sondra, has a meltdown in group during which he admits that he, too, has a new "somebody" in his life.Bill checks on Clark who tells him more about this perfect new girlfriend of his. Bill guesses that Clark has been seeing Sondra, and Clark goes on to say that Sondra was so jealous of his girlfriend that she attacked Clark with a butcher knife and then came back the next day and hacked his girlfriend's dress to ribbons. Clark states that Sondra is dangerous. After leaving Clark, Bill is driving around Los Angeles when a mysterious red Camaro with tinted windows gives chase. After his car gets hit several times by the red car, he finally manages to lose it at a railroad crossing.Bill visits Martinez at his birthday party. Martinez informs Bill that Sondra stabbed her father with a knife and fork, Casey set his father's house on fire, Clark beat his wife so badly she wound up in intensive care and Richie has a history of drug abuse. Martinez claims that he couldn't find anything on Buck, so Bill swings by Buck's place after the party and discovers that his wife and small daughter died in a car-jacking, which Buck believes might've been "payback for something."When Bill gets back to Bob's house, he's frightened to see that someone's broken in again. He creeps around cautiously until he encounters Rose in the kitchen. She explains that she stole one of the house keys last time she was there. Bill yells at Rose that she doesn't seem to appreciate the gravity of the situation, but feels bad when she breaks down in tears. They eat and then have sex again.The next morning, Bill learns from Detective Anderson (Eriq La Salle), one of Martinez's deputies, that Buck discovered that his wife was cheating on him with Martinez two days before she died; that as veteran narcotics agents, both men had a lot of enemies on the street, and that anyone could have ordered a hit on Buck's wife, including Martinez or Buck himself.Bill has an appointment to meet Casey at his loft, but just before Bill arrives, Casey is strangled and bled to death. Bill breaks into Casey's loft when no one answers the bell. He finds the corpse and also some paintings burning in the fireplace. A face on one of the half-burnt paintings looks a bit like Bonnie. Bill belatedly notices that the puddle of grey paint soaking his jeans is actually Casey's blood.Meanwhile, Rose (in her Bonnie persona) is out for the evening with Sondra. At Sondra's house, they dance to some music and then spy Sondra's neighbors having sex. This excites the two women and they undress and make out with each other. But Rose / Bonnie stops before it goes any further, sobbing to Sondra that she's "jinxed." Sondra comforts Rose / Bonnie and tells her that she finds her beautiful without the red wig, which she removes.On another Monday afternoon, Rose appears at Bob's place. She and Bill start looking at Bob's photo albums. Rose abruptly decides that she doesn't want to see any more photos and lures Bill outside to sunbathe in the garden. Later, thinking Bill's in the shower, Rose hurries to remove some pictures from the photo album, but Bill sees her. She runs out of the house and drives away in her car. Bill drives after her, but loses her.Later that evening, it's time for the Monday group session. Clark, performing his usual counting ritual, notices that one book, which was missing a week before, is now back in place. Bill guesses that kleptomaniac Sondra stole it, and asks her to show him the book. Actually it is Moore's diary hidden inside an art book cover. In the diary, Bill finds a photo Bob snapped of Rose naked. Everyone in the group recognizes the woman in the photo as being his or her own girlfriend. Richie looks at the picture and leaves the room. Martinez arrives and berates everyone in the group for being idiots.Bill gives Detective Anderson the license number of Rose's car and asks him to find the owner of the car. Detective Anderson gives the name of the owner of Rose's car to his boss, Lieutenant Martinez. As Bill walks near a parking structure, the red car with the tinted windows pushes another car from the top of the structure, and the falling car misses Bill by a few inches.Bill consults once more with his friend Larry, who questions the wisdom of pursuing a serious relationship with a woman who at best suffers from a multiple personality disorder and could also quite possibly have killed his good friend (and her former lover) Bob Moore, as well as Casey. Bill maintains that he wants to continue to see young Rose.Bill knocks on Mrs. Niedelmeyer's door again and this time when she slams it in his face, he busts it down, demanding answers. Mrs. Niedelmeyer reluctantly tells Bill that Richie Dexter killed himself four years ago, because her husband, Richie's psychiatrist, molested him.Bill rushes to Dale's workshop, where he finds Richie sitting in a chair, bloodied and agitated. He takes off Richie's wig and glasses, and (as everyone expected) is it Rose. She explains that after Richie's suicide, her brother Dale forced her to dress and act like Richie, and if she resisted, he would beat and molest her. After "Richie" developed a bad drug problem that got him busted, s/he had to go to the therapy group. She started to feel she wanted to be a girl again, but she didn't dare, at first, to be Rose, so she was Bonnie. She started to be Rose again when she fell in love with Bill.When Bill tries to get Rose to leave with him, he discovers that her hands have been nailed to the arm-rests of the chair by Dale. He pries the nails up and frees Rose, but Dale comes back and starts shooting at them with his nail-gun. He nails Bill's arm to the wall and is about to kill him when Lt. Martinez appears and points his gun at him. Dale is faster than Martinez and while Martinez is bragging about his detective skills, he nails both of Martinez's hands to the wall. Bill and Rose run away, but Dale, using a forklift, dumps a cabinet on Bill, who pushes Rose out of the way. Rose escapes, but Dale catches Bill and ties him inside a metal cage.Bill touches a nerve in Dale when he uses his "tuning fork" to figure out that Dale's obsession with turning Rose into Richie must stem from his guilt over having allowed Niedelmeyer to treat Richie, knowing that Niedelmeyer was a sexual predator due to the fact that Niedelmeyer had previously molested Dale himself.Dale explains to the captive Bill that he killed Moore because Moore was beginning to understand who Richie really was. And he killed Casey because Casey, with his painter's eyes, would eventually perceive that "Bonnie" and "Richie" were the same person. Dale announces his plan to cut Bill into little pieces, but Rose aims the nail-gun at him and kills him with a nail to the head.Stricken with grief after killing her brother, Rose aims the nail gun at her own head and pulls the trigger-- fortunately, it's out of nails. She runs up the tower in the pouring rain, Bill clambering up after her. When she reaches the platform at the top, she wants to throw herself from it, but Bill catches her and puts her back on the platform, where they start kissing passionately. There is a red beacon flashing in the background and suddenly, Bill can see the real red color of the beacon: he has been cured of his color-blindness by love!In the final shot, Bill and Rose continue to kiss on the platform in the pouring rain while Martinez's voice manages to reach them loud and clear despite the fact that they're five storeys up in a torrential rainstorm-- he pleads for them to come back downstairs and "Get me out of heeeeeeerrrrre!!!" | insanity, violence, psychological, neo noir, murder | train | imdb | null |
tt1629376 | 7 Khoon Maaf | The film tells the story of a beautiful Anglo-Indian woman Susanna Anna-Marie Johannes (Priyanka Chopra) who goes on to kill all her husbands.[8] Susanna tries to find love but six of her seven husbands have a fatal flaw so she kills them. These killings and her yearning for love is explained by the fact that she had lost her mother at very young age. The story is narrated by a young forensic doctor Arun (Vivaan Shah) to his wife (Konkona Sen Sharma). Arun has observed Susanna since his childhood and has nurtured a secret crush on her. The boy owes his whole life to Susanna as she funded his education and made him what he is today. He starts off by declaring to his wife that Susanna has committed suicide leaving him a note congratulating him for his marriage. The doctor is now in charge of confirming whether the body found is Susanna's. Unable to overcome the grief of her death he lets out his feelings to his wife who listens to him patiently.
Susanna's first husband Edwin Rodrigues (Neil Nitin Mukesh), an Army Major, whose fatal flaw is that he is overbearing, jealous and possessive. He is crippled and unable to digest the fact that a beautiful women such as Susanna would actually be faithful to him and would be able to love him. There comes a point when he even starts to doubt his ability to father a child and takes out his anger on his wife. Though she bears the mental torture he subjects her to day after day she could not forgive him for blinding her faithful horse keeper in a fight. He is disposed off, during a panther hunting trip with the help of her faithful maid, her butler and a blind horse keeper . Susanna's second husband Jimmy Stetson (John Abraham) is a singer whose flaw is pride. The marriage starts off well but Jimmy being an aspiring singer starts gaining fame and misusing his new found fame. He starts stealing songs and spending time with other women and becomes dependent on drugs. Susanna wants to be lucky in love the second time and tries her level best to get him out of his addiction but in vain as he gets hooked on to his addiction again secretly. At last she gives up on him and disposes him off through a Heroin overdose. The police find foot prints near his body which indicate that someone with six toes has committed the murder.
Susanna's third husband Wasiullah Khan (Irrfan Khan) is a soft and thoughtful poet by day, a sado-masochist by night. Susanna tries to cover the bruises he gives at night with make-up. Her faithful servant cannot bear to see her depressed and beaten up and advise her to get rid of him which she eventually agrees to. He is buried in a snowy grave in Kashmir. Her fourth husband, Nicolai Vronsky (Aleksandr Dyachenko) is a Russian Spy leading a double life. When Susanna finds out that he has another wife who has borne him kids, her anger knows no bounds. He meets his end courtesy Susanna's pet snakes. Susanna transits into partial madness and no longer needs to ponder before disposing off anyone she disapproves. Her fifth husband Keemat Lal (Annu Kapoor) is a police inspector, who has shielded his 'Madame' from prosecution in two murders(He lures her into marriage). With a voracious appetite for sex, his need for Viagra proves to be his undoing as one fateful night, she makes him overdose on his Viagra by mixing it in his drink. Dr. Modhusudhon Tarafdar (Naseeruddin Shah) a Bengali doctor saves her of a suicidal attack she had due to loneliness and guilt and puts her on a mushroom only diet. While she does not wish to marry he convinces her into marriage saying that she will be the sole inheritor of his property. He tries to kill Susanna a few years after their marriage in order to inherit her money as he is actually a bankrupt. He tries to poison her with soup, however the butler drinks it by accident and dies instead. In a state of shock, she shoots Modhuda during a session of Russian roulette.
Susanna lights her house on fire out out of severe depression years later. Her faithful maid with six toes comes to save her instead dies in flame. In the forensic lab Arun finds out that the body is not susanna's yet declares her dead in his reports. He goes in search of Susanna and finds her where she tells him she finally is getting married the next day to someone who accepts her knowing all of her sins. The seventh husband is finally one who is full of love, and already 'dead'. Her seventh husband is Jesus as she becomes a nun at the end. Susanna finally found the love she kept seeking all through her life and this man would never hurt her. Arun and his wife go back home after he tells her Susanna is dead forever. | romantic, comedy, murder | train | imdb | null |
tt0494232 | Halo 3 | The following occurs directly after the events in Halo: Uprising. Background: The Covenant currently occupies Earth, and is amassed at an excavation of an artifact of Forerunner origin.It is a night sky: several bright pinpoints of white lights hang in the center. It's a tranquil forest, with lust forestry and a winding river. A fireball hurtles through the sky. Then, Cortana's voice begins whispering:Cortana: "They let me pick. Did I ever tell you that? Choose whichever Spartan I wanted. You know me. I did my research. Watched as you became the soldier we needed you to be. Like the others, you were strong and swift and brave. A natural leader. But you had something they didn't. Something no one saw... but me. Can you guess? Luck. Was I wrong?"Sergeant Major Johnson and his squad find the Master Chief lying on the jungle ground after having fallen through the atmosphere. It seems that the Chiefs armor is in partial lockdown, with its owner unconscious. Just as the Sergeant radios for extraction, Master Chief surprises the squad by regaining consciousness. Johnson rebukes the Chief, saying, "You crazy fool, why do you always jump? One day you're going to land on something as stubborn as you are!" After a quick systems check, the Marines and their new found ally, the Arbiter, head out towards the river for evac. They reach the river and the Pelicans, but before they are able to board, the drop ships are attacked by Banshees. Johnson and his squad disappear in the ensuing chaos and are presumably captured. It is now up to the Chief and the Arbiter to rescue him. They eventually come across an UNSC outpost, which has been taken over by the Covenant. Both the Chief and the Arbiter push though waves of enemy to take back the outpost and rescue the captured Marines. Their victory is short lived, however; only moments after the fight, Covenant reinforcements arrive and the outpost falls under attack once again. Just as it seems like they are about to be overrun, Pelicans arrive and spray the Covenant ranks with missiles.The Pelicans bring the Chief, Arbiter, Johnson and his squad to a concealed base deep in the jungle. Master Chief meets up with Commander Miranda Keyes in the Ops Center, and they begin to discuss tactics with Admiral Hood. With only a few ships left, the Admiral has little choice but to throw everything he has at the remaining Covenant hovering over the artifact. However, to do so, the Chief has to clear all anti-aircraft batteries from the city of Voi. Halfway through the discussion, the transmission is interrupted by the Prophet of Truth, who claims that Earth will "burn until its surface is but glass", and that not even "the demon" will survive. Realizing that an attack is imminent, Keyes orders an evacuation, telling all able bodied Marines to prepare to fight. The Covenant begin to invade the bunkers, so the Master Chief and the Arbiter set off to repel the enemy while Johnson and his squad set up a bomb to destroy the base- and the invaders. Halfway through the battle, Johnson is driven out of the Ops Center by Brutes. The Chief is forced to return to the Ops Center and rearm the bomb, and then make a speedy getaway via the elevator in the hangar.Following the plan of attack outlined by Lord Hood, the Master Chief must clear a path into the city of Voi. Using spare Warthogs from the barracks, the Chief, Arbiter, and some Marines fight their way through the Tsavo Highway. After several moments of high-speed travel and copious amounts of fighting, the team comes across a destroyed section of the highway and must continue on foot. This is hardly a favorable circumstance for the Marines, as they are massively outnumbered by the Covenant. The Chief is forced to fight through waves of Brutes on foot while waiting for re-supplies. Eventually, a Pelican circles ahead and drops some supplies as well as a Warthog. They finally reach the end of the highway and encounter a gigantic Brute barricade, complete with energy barriers, turrets, and several Wraiths. Taking out the Brutes one by one, the Chief and the Arbiter finally are able to destroy the barrier blocking the tunnel and drive through.Having reached the outskirts of Voi, the team comes across the first anti-aircraft battery. It just so happens that the entire area is swarming with Ghosts and Wraiths, giving the Chief and the Arbiter no choice but to jump into battle. The field turns into general pandemonium as explosions blow craters into the ground and vehicles explode into blue flames. Eventually, all anti-aircraft batteries are neutralized... but a scout report tells the Chief that "something big is on its way." A Scarab suddenly looms overhead, firing beams of plasma at the Marines. Master Chief boards the Scarab and, with a few well placed rockets to the power core, destroys the walking tank. With the Scarab out of the way, the Chief and the Arbiter receive orders to take out the anti-aircraft cannon in the vicinity. They head in that direction, rescuing several workers and killing a pair of hunters. They reach the heavily guarded cannon and take out all the opposition. Again, a few well placed shots into the core of the cannon destroy it, rendering the skies clear for an aerial assault on the Covenant war ships. MAC cannons boom as Human gun ships open fire on the Covenant, while the Chief and the Arbiter watch. But the attack is cut short by the abrupt activation of the artifact. Blown back by the shock wave, the Chief and the Arbiter rise to their feet to witness the Covenant ships entering into a gigantic, stable slipspace portal. As the Human ships are recovering from the shock wave, another, smaller slipspace portal opens and a Flood-controlled Covenant ship crash-lands nearby:Arbiter: What is it? More Brutes?Chief: Worse.The Flood immediately begins to spread though the city and hoards of combat forms attack all that move. The Elites begin to deploy drop pods to help manage the outbreak, and tip off the Master Chief that Cortana may be somewhere in the ship. The Chief wades through the sea of zombies and manages to get inside. He locates a memory module only to meet 343 Guilty Spark, who insists on transporting the module for safekeeping and repairs. Recalling the events on the first Halo where Guilty spark tried to kill him, he reluctantly lets Spark carry it. The Master Chief escapes the ship, and the Elites proceed to glass the continent in order to contain the Flood. They regroup in the Elite carrier Shadow of Intent, high above Voi, where Guilty Spark manages to repair the module and deliver Cortanas disturbing message:Cortana: High Charity... the Prophets' holy city, is on its way to Earth, with an army of Flood. I can't tell you everything. It's not safe. The Gravemind... it knows I'm in the system. But it doesn't know about the Portal, where it leads. On the other side, there's a solution; a way to stop the Flood, without firing the remaining Halo rings. Hurry, Chief! The Ark... there isn't much time.Master Chief insists on following Cortanas advice against a reluctant Admiral Hood. Both fleets prepare themselves and follow the Covenant through the portal.The fleet exits slipspace at the Ark, which is surrounded by the Covenant fleet. The Elite fleet engages the Covenant while Pelicans filled with ODSTs, the Chief, and the Arbiter stream towards the Ark. Upon landing on the surface, Guilty Spark announces that the Prophet of Truth has barricaded himself in the core of the facility and has activated a barrier around it. Destroying the generators will drop a portion of the shield, and allow the Marines and the Elites to punch through. Johnson heads towards the third generator, the Elites go to the second and the Chief and the Arbiter fly to the first. Master Chief is gazing out of the back of the Pelican when all of a sudden the rear Pelican bursts into flames. The entire fleet goes down, destroying lots of supplies and the only Warthog. The Marines are forced to destroy the anti-aircraft batteries before re-supplying, rushing to the tower and disabling the generator. The Elites turn off the second generator immediately after. Everyone turns to observe the final tower, but it does not turn off:Johnson: "Brute reinforcements, ma'am. We're pinned down!"Miranda Keyes: "I'm on my way!"Johnson: "Negative! Fire's too heavy! Everyone fall back! Now! (Static and cut-off)Miranda Keyes: "Sergeant Major?! Johnson?! Can you hear me?!The Marines mobilize on the beach for an assault on the third tower. Master Chief climbs into a Hornet attack craft and escorts the Pelicans and Phantoms to the generator. After taking out several anti-air batteries and enemy Phantoms, the troops drop off on the towers platform. Fighting through the entire building, they finally reach the top and shut off the generator. As Shadow of Intent begins its bombardment of the core, the now Flood city of High Charity shoots out of a slipspace portal, showering the area with debris. Shadow of Intent is shredded by this shrapnel, which render its weapons systems useless. Moreover, the Flood is now outside of the galactic target area; the Halos wont stop them anymore. Dispatching the local Flood threat, the Chief regroups with the rest.
A quick journey by Hornet, interrupted only by two Scarabs, brings Master Chief, the Arbiter, the Elites and the Marines into the core of the Ark.As the Chief and the Arbiter rush as quickly as they can to the top, Sergeant Johnson is being beaten by his Brute captives. Seeing as how the Prophet of Truth is about to use Johnson to activate the rings and Master Chief isn't anywhere near the top, Miranda Keyes crashes a Pelican through the upper window. She is quickly outnumbered however, and reaches a mutual understanding with Johnson. She needs to kill them both so none of them can be used to activate the rings. Just as she is about to shoot Johnson, she makes eye contact with him and hesitates- then falls to the ground, dead, her back riddled with spikes. The Prophet drops his spiker with disdain:Truth: "Your forefathers wisely set aside their compassion... Steeled themselves for what needed to be done... I see now why they left you behind. You were weak, and Gods must be strong."Truth grabs Johnsons hand and forces it on the activation button. Instantly the Control Terminal begins to change and seven holographic halo rings light up one by one. At the end of the corridor, the Chief and Arbiter emerge from the lift just in time to witness the activation. As they are about to rush in, two pure Flood tank forms drop from above:Flood: "Do not shoot, but listen! Let me lead you safely to our foe. Only you can halt what he has set in motion!"The unlikely union of Flood, Human, and Elite rush down the corridor to Truth. With flood forms swarming over every inch of the terminal and the combined efforts of the Chief and the Arbiter, all Brute opposition is quickly put down and the Prophet cornered. Truth continues to spew his religious speech even when threatened at sword point, declaring at the end that he is "the voice of the Covenant." The Arbiter retorts that because Truth is the voice, he must be silenced, and plunges his sword through Truth. As the Prophet crumples to the ground, a sinister laugh echoes through the facility and the Flood forms turn to face the Chief and the Arbiter. "We trade one villain for another," the Arbiter observes. Johnson rushes to the Pelican with Keyes's body and starts to fly the ship out. Master Chief and the Arbiter try to grab hold but are knocked off Flood forms. They fight their way back to the lift and upon finding it broken, jump down the dark shaft.The room is dark, with exposed wiring lighting up the area in intervals with a shower of sparks. They are scanning the room for hostiles when a purple flicker catches Master Chiefs eye. He jumps up and chases it around the corner. The purple flicker forms into an image of Cortana, which keeps on walking. Chief follows the image of Cortana until it stops at a panel. He presses the button and an observation panel opens up to reveal a giant, incomplete Halo rising out of the fog:Arbiter: A replacement. For the ring you destroyedMaster Chief: (To Guilty Spark) "When did you know?"343 Guilty Spark: "Just now. But I had my hopes. What will you do?"Master Chief: "Light it."343 Guilty Spark: "Then we are agreed! A tactical pulse will completely eradicate the local infestation! I will personally oversee the final preparations. Though it will take time to fabricate an activation index."Arbiter: "How will you light it?"The Chief turns and looks at High Charity, deep in thought.Two banshees land gingerly on the floor of the Flood hive, the former Covenant holy city of High Charity. The Chief and the Arbiter dismount. The entire city is built out of organic material that squishes under boot; gaping, pulsing, oozing orifices and corridors reminiscent of the inside of an intestine. Master Chief and the Arbiter do little more than shoot Flood forms while rushing to find Cortana. Along they way, they are assaulted with transmissions from a tortured Cortana and an aggravated Gravemind:Gravemind: "Child of my enemy, why have you come? I offer no forgiveness... For a father's sins are passed to his son. Of course, you came for her. But we exist together now. Two corpses in one grave."Cortana: "A collection of lies; that's all I am! Stolen thoughts and memories!"Cortana: "It was the coin's fault!* I wanted to make you strong, keep you safe. I'm sorry, I can't."Cortana: "What's your name? It's very nice to meet you. You like games? So do I."*Cortana: "I'm just my Mother's shadow... don't look at me, don't listen! I'm not what I used to be..." *Gravemind: "Time has taught me PATIENCE. But basking in new freedom, I will know ALL THAT I POSSESS!"Cortana: "I have walked the edge of the abyss. I have seen the future. And I have learned. There will be no more sadness. No more anger. No more envy."Gravemind: "SUBMIT! END HER TORMENT AND MY OWN! You will show me what she hides! Or I shall feast upon your BONES!!"The Chief begins to reach the end of the hallway.Cortana: "This is UNSC AI Serial Number CTN0452-9. I am a monument to all your sins."The Chief rushes to the end of the hallway, to find Cortana in a Stasis Shield in on of the panels in the room. He beats and bashes the shield until it finally breaks. On a holographic projector lies Cortana. Master Chief tells Cortana that when he makes a promise, he keeps it; referring to Halo 2 where he promised to return for her. She slowly gets up, recovering her strength and presenting the Chief with the activation index from Installation 04. Asking him how he was going to get out, the Chief responds, saying "Thought I'd try shooting my way out, mix things up a little." He then inserts Cortana into his armor. As they head out, Cortana remarks with tenderness, "Just keep your head down, there's two of us in here now, remember."**Cortana advises that they destroy High Charity. With practiced ease, Master Chief takes out the reactors and sends them into critical meltdown. Running and gunning, they make it to a downed Pelican and board. With Flood tentacles clawing at the ship and explosions rocking it back and forth, they craft struggles for every bit of altitude. They just barely escape a massive explosion, and head towards the new Halo ring.*These lines refer to the prequel, The Fall of Reach. The coin and the game is a test that Dr. Halsey performed with John 117 as a small boy. She would flip the coin and John would demonstrate his incredible ability of always winning (or luck); he is able to discern what side of the coin would land on top when it was flipping too fast to have possibly been seen. Cortana is an imprint of Dr. Halsey, a collection of her brainwaves and personality.**This is the line of dialogue spoken by Cortana in Halo: Combat Evolved when you loose your first health bar in combat. She speaks it with rebuke in Halo 1, and with nostalgic love in Halo 3.The Pelican crash lands into a snowy bank, revealing an area that looks remarkably like the control room from Combat Evolved. Sergeant Johnson is bringing the frigate Forward unto Dawn closer to the control room for their escape strategy. Gravemind has more than half a mind to stop them, however, and sends waves of dispersal pods at them. With Flood forms rushing up at them from every direction, the Chief and the Arbiter haul as fast as they can to the control room, with Johnson providing cover with a spartan laser. They reach the top and Guilty Spark opens the door for them, shutting them just in time to block the Flood. Guilty Spark excitedly explains that the ring would be ready to fire in a few days. Its incompletion renders its destruction imminent should it be fired now, but of course, thats what the Chief needs. Upon hearing this, Guilty Spark goes crazy and attacks Johnson, Master Chief, and the Arbiter. Spark reveals a bit of Forerunner history at this point, saying "You are the child of my makers. Inheritor of all they left behind. You are Forerunner. But this ring is mine!"The armor of Master Chief and the Arbiter disperse most of Guilty Sparks energy, but it cuts straight through Johnson's ballistic armor. Master Chief opens fire on Guilty Spark, and watches as his bullets ping off Spark uselessly. Suddenly, a laser beam lances through the air and Spark is blasted across the room. A mortally wounded Johnson hands an overheated Spartan laser to Master Chief, telling him to kick Sparks ass. Several shots from the Spartan laser later and Spark explodes in a shower of... sparks. Master Chief tries to revive Johnson, but it is clear that he is dieing. Johnson tells chief to keep Cortana with him always, and to "never let her go... send me out with a bang." Cortana activates the ring, and everyone runs back outside. Getting into the Warthog that Johnson used to get here, they speed away with Halo crumbling around them.* The Warthog just barely makes a jump into the hangar of the frigate Forward unto Dawn as the Installation crumbles around them. The Chief inserts Cortana into the ship as Scorpions, Warthogs, and supply boxes are sucked out by the explosion. The frigate begins to lift off into the portal when a Warthog clips the Chief, and he starts to fly out. He punches a handhold for himself into the floor, and slowly is able to crawl back into the hangar and take refuge behind a pillar:Cortana: "If we don't make it..."Master Chief: "We'll make it."Cortana: "It's been an honor serving with you, John."The Installation fires and subsequently explodes, and everything goes blank.*This is a remake of the last level in Combat Evolved.The front end of the Dawn crash lands into an ocean on earth. Rescue workers recover the half ship and pull the Arbiter from the wreckage. There is no sign of the Chief. After several days, a memorial service is held for those fallen in the war:Admiral Hood: "For us, the storm has passed. The war is over. But let us never forget, those who journeyed into the howling dark and did not return. For their decision required courage beyond measure, sacrifice, and unshakable conviction that their fight; our fight, was elsewhere. As we start to rebuild, this hillside will remain barren, a memorial to heroes fallen. They ennobled all of us, and they shall not be forgotten."Admiral Hood: "I remember how this war started. What your kind did to mine. I can't forgive you. But...you have my thanks, for standing by him to the end."The Arbiter shakes Admiral Hood's hand.Admiral Hood: "Hard to believe he's dead."Arbiter: "Were it so easy."The Arbiter leaves the Memorial. His Phantom heads back to the Shadow of Intent, hovering above. The Arbiter meets Shipmaster Rtas 'Vadum on the bridge, looking at a holographic image of Earth:Shipmaster Rtas 'Vadum: "Things look different. Without the Prophets' lies clouding my vision. I would like to see our own world. To know that it is safe."Arbiter: "Fear not. For we have made it so."The Arbiter clenches a fist to his chest.Shipmaster Rtas 'Vadum: "By your word, Arbiter."Arbiter: "Take us home."The Shadow of Intent leaves Planet Earth. Going back to the memorial, underneath the print "UNSCDF March 3 2553", the numbers "117" are scratched in, to dedicate to the Master Chief, who had no picture, or belongings to be remembered by.(After the credits, deep in space) The back half of the Dawn is floating deeper into unexplored space:Cortana: "Chief? Can you hear me? I thought I lost you too."Master Chief: "What happened?"Cortana: "I'm not sure. When Halo fired, it shook itself to pieces. Did a number on the Ark. The Portal couldn't sustain itself. We made it through just as it collapsed. Well... some of us made it. But you did it. Truth and the Covenant. The Flood (she's plugged into the panel and appears). It's finished."Master Chief: "It's finished."Cortana: "I'll drop a beacon. But it'll be a while before anyone finds us (The Chief places himself in one of the Cryotubes). Years even... Ill miss you."Master Chief: "Wake me. When you need me."Cortana smiles. The Cryotube seals, freezing the Chief.Legendary Segment: The back half of the Forward Unto Dawn is seen drifting to the night side of an unknown planet. The sun suddenly shines onto the planet, chasing away the dark and revealing the Marathon symbol on the planet side. | violence | train | imdb | It has everything; sleek, refined graphics, generally improved game play, a multitude of awesome weapons, an incredible storyline, excellent voice acting,.........
This finale to the triumvirate cements both Halo and Bungie's place among the all time greats in the video game world.
Plus, there is online Co-op play, so you can go through the story mode with an online friend, or more than one!Of particular note are the voice performances of Keith David (the Arbiter) and Robert Davi (the Ship Master Elite, a very cool returning minor character from Halo 2).The only downside, I suppose, is that Michael Wincott, who voiced the Prophet of Truth in Halo 2, does not return in the role for Halo 3.
Last night 26.9.07 at midnight i queued along with nearly 100-150 people to purchase halo 3 luckily for me and my friend we were around about the 5/6 people to purchase it :D The game as a whole is just amazing as i said.
The game-play many have said is similar that of which it is however i found that controlling master chief has been improved slightly.
new vehicles and weapons and newly formed enemies halo 3 is "the" game to buy The hype over here in england has been incredible i have friends asking about the game all the time because they really want to get it but either cant afford or the place is sold out I would have to say i finished halo 2 and as soon as the ending was shown i wanted halo 3 now 4 years on it has been the biggest wait but it is really worth it :).
But this is a Halo game, and what makes it console dynamite isn't so much what's new, what's different, or even what happens as you play - instead, it's all about how it makes you feel.Within an hour of starting the game you'll be leaping onto futuristic motorbikes and ripping the alien driver from his seat, then flipping the bike around and mowing the monster down with his own ride.
And when it finally comes to switching off your console and going to bed at night, finding the will to sleep will be impossible as you'll still feel ten-feet tall and able to punch holes in solid concrete.Thrilling action aside, Halo 3 is also one of the best-looking games on the shelves and surpasses all expectations; from the slick, Hollywood-quality movies that flesh out the story and introduce cannon-fodder characters you can't help growing attached to, to dense forests where you can spot enemies fleeing through the undergrowth as trails of saplings get pushed aside, Halo 3 boasts an epic sense of scale and keen eye for detail, its stunning art direction helping to create breathtaking worlds that are a joy to explore and the perfect stage for tense and imaginative shootouts.
The new battle gadgets and retooled Covenant enemies - each of which look more terrifying than before, especially when you're standing toe-to-toe with a Brute Chieftain intent on caving your skull in - also make this instalment absurdly exciting, and the fact you can stick with Master Chief throughout rather than being forced to control a crappy alien like in Halo 2 will be enough to tempt back players who were disillusioned by the last game.But while the single-player adventure doesn't disappoint, Halo 3's biggest draw is its multiplayer carnage.
The sprawling online mode also features clever 'matchmaking' options where you're paired with other players of similar skill across the world, avoiding the frustration of becoming the whipping boy for a gang of experienced nutjobs.While a tangible sense of déjà vu pervades the whole adventure, Halo 3 does what it does extremely well, and what it loses in originality it more than makes up for in stellar production values and delirious, balls-out blasting.
And while players looking for a solo shooter may find BioShock's bleak atmosphere more intriguing, Halo 3's blistering blend of anarchic battles and team-based challenges make it worthy of the 'game of the year' tag so often thrust upon it..
I'm not gonna lie and say it was amazing and the best yet just because I was waiting for it for so long and a lot of other people like it.Let me first start out by saying I am a long-time Halo fan.
It's a pretty quick single player experience.Alright, actually playing the game.
I absolutely love the fact there's theater and you can go back and watch a lot of your latest online battles.So here you have it: In a nutshell, Halo 3 I think felt a bit rushed, and not exactly what I had hoped it to be.
There will be plenty of aspects for fans to nitpick, but it's hard to argue against Halo 3 as the most complete game available on any console.PRESENTATION - 10/10 An amazing replay editor, four-player online co-op, map editor, and community support make this the most robust feature set ever in a video game.GRAPHICS - 9/10 Despite a few moments of slowdown, this is a gorgeous game, especially considering the demands of the replay function.
Multiplayer and the Forge are fantasticLASTING APPEAL - 10/10 The campaign won't take you long to complete, but this is a game that can be played for years.
Wow. this game has got to be the most amazing game i have ever had a chance to play, it starts off beautifully even to the tiniest details there is pure magnificence.Bungie has changed some weapon and controls around but only for the better.
but it is still fantastic, playing the levels you feel in the game as the screen is slightly tilted to each side giving a helmet feel,there are no more words to describe it if you don't have this game get it because it's amazing, hands down game of the year..
It is one of the best FPS ever made and that title will not soon be taken away.Halo 3 has online play which is an experience itself and put together with the campaign, all i can say is...
With its great graphics, storyline, easy to control game play and its awesome actual game play it tops the rest.Unfortunately it is the last of the halo series in the FPS genre.
It was only recently that I played the original Halo; the game had come out in the generation I skipped and when I eventually rejoined gaming with the 360, I had all the shooters I needed with COD4 and anything I saw of Halo was of a multiplayer with big beasts that seemed to take a lot of hits to die – basically it never appealed to me.
The graphics were a nice change from the original Halo (even the updated version) and although I missed the final half of Halo 2, the story was not too hard to pick up since essentially the players are all the same.The gameplay is a lot of fun – more than I expected.
The use of music and the large cinematic landscapes produce great moments but also a real sense of excitement; the best example is the final level, which is a drive against the clock like the first game, however this time the clock is not real but a warning triggered by progress – so not a real heart-in-mouth race, but it is exciting and the urgency helped by the scale of the surroundings and the music.
The cut- scenes are not overly used but when they are they add to the cinematic feel, being dramatic and looking very good – the only thing I think they did badly was the ending as it is misleading and doesn't make too much sense unless you sit through all the credits (which we all know we should but nobody does); it would have been better to deliver it all properly.
Otherwise it is generally a very well put together game though.The downside of it is that the game is not as long as I would have liked – it is plenty fun while I played but even for someone only grabbing a few hours every few evenings, it was done quite quickly.
For me I don't pay for Gold to play online, so I cannot comment on that – but for the very low price I was able to pick this up for, I felt the solo campaign was more than good enough on its own – shortness aside.A strong game then – even some 6 years later it stands up very well.
Halo is probably one of the best examples of a game that just can't be compared to a movie.
Even after getting all the fun out of the campaign, you can go on to online matchmaking in which you battle out in endless game types, packing in true competition with ranked matches, or social playlists for beginners or the action sack playlist for fun-lovers.
It gives you the ability to capture your best moments in halo by viewing your recent games and then being able to record footage from whichever angle you want and then recommend it to others to download and view themselves.
I first played this game back in 2007 months after it was released.I played mesmerized.The graphics are as realistic as Avatar but this made 2 years before Avatar!The online multi-player is addicting.
I played online everyday all day which i have never done before.The story is solid, straight-forward and to the point.The best thing this game has to offer is the Forge mode.The selection of item to put on maps is amazing.The amount of arenas is a good amount.The final thing to discuss is theater mode.If you are into making machinima, this is the definitive console game.
It does not get any better than this the controls are the best thing on the market now(I mean that the theater mode control scheme is amazing.)The only thing this game lacks is the length it need to be way longer.Overall, Halo 3 has tons of replay value.
Don't get me wrong, Halo is one of my very favorite franchises, and I was super-expectant of the sequel that had me convinced of its greatness with commercials I found were more exciting than the game itself.
This makes me terribly sad because the story and the characters of the previous installments surpassed the excellent action.I was appalled at the disappointment, and looked to see if anyone else felt the same, but everywhere I looked outside of my home city and a few others, people were raging about how great it was, blinded by their expectations to see much fault in the game.In Halo 3, the combat remains intact, but repetitive enemies and the annoyingly present Flood detracted from the overall intensity of battling building-high enemies every now and again.
If you are a fan of Halo, by all means go ahead and get it, but if you want real action and a great story, look elsewhere..
Let's just say Halo 3 is a powerful and exciting game that could be famed worldwide for years on end.
It is the most addictive of the features and it has kept Halo fans playing the game for long stretches of time on end.
I'd give it a 9/10.Theatre - Another Unique Feature in Halo 3 is the Theatre, where you can see games, take screenshots or film videos, and then see them, share them, and post them on the File Share to let it to the community.
A 7/10 for this one.Halo 3 is a game to look out for, and I think all lovers of Sci-Fi or First-Person-Shooter will love it and its infinite possibilities.Total Mark: 8/10 By HowlingRabbit334.
Halo 3, the most extremely over-hyped game of 2007, has been released, and my, my, is it a disappointment.Those buying it for the multiplayer will obviously now have something to complain about.
Play Bioshock, then tell me Halo 3 has great graphics.
Custom games are a lot more interesting than they used to be, with infection maps that you can spend hours playing.
But lets cut right to the quick here: this game is awesome.Almost all the people that have bought Halo 3 have probably been wondering what happens in the story, so when they buy it they immediately play through the campaign.
They have put so much effort into creating and imagining this wonderful series that in the end I actually shed tears, just like I did with Lord of the Rings.This IS the only game to have ever touched my heart and taught me that we all have something to fight for, even if it means giving up destiny, the ones we love, and our lives to do so.10/10.
I haven't complete the story mode because i was playing in Xbox live and i have a really great and fun game.
The story of Halo series is one of my favorites in video games, so i think that in this game the quality will be the same like in the others.And of course the package and the art book are juts beautiful and i regret for not buy the pr sale of the legendary edition so now i'm going to look just for the helmet in the internet.
(SPOILER) The sequence at the end is some of the most exciting game play that I have seen in years, with the running of the warthog to the ship.
graphics, th graphics have come virtually no distance what so ever they have barely changed since the second one sure they're crisper but they don't stand a chance against the test of time and other titles that were previously released before halo three such as gears of war which is its biggest rival looks better and plays better and finally 3.
halo 2 had a longer more imaginative enjoyable story mode but this game has only a few levels that are relatively short these are all important facts for a game but another important aspect is the online play and i have to say it is the saving grace with new modes and a build your own map system it is enjoyable.
the ability to record online battles shows us how we die in games and lets us see r best moments again and again so if you want an online experience that ticks all the boxes makes new ones and ticks them then go a head but if u r looking for a thrilling game that u can enjoy for ages get out and get the orange box, gears of war, rainbow six Vegas and the list gos on thank you for reading and good night.
This game was fun, but the online wasn't THE BEST ONLINE EXPERIENCE EVER, like most people say.
This is by far the best halo i have played my brother has just got the game today and the multiplayer maps are awesome the look of it is beautiful of course you can only really get the best out of it if you play it on a plasma TV but still there are fresh new weapons to choose from there is even a flamethrower and i can say this by the best weapon is the gravaty hammer and the best vehicle is the quad bike but really the best thing you can use is the build option where you can go on the multiplayer map and choose any weapon that you have unlocked or any vehicle and more and although i haven't played much of the campaign level nit is really good because you can have a co-op with three people and this is when the people are in the same room arrrghhh im sorry im really hyper i had a lot of sugar The best game in 2000!!!!
Halo 2 was a real blast to play online.
Halo 3 introduce and improved co-op mode with point counting, 4 players and the option to play it online.
A few new modes have been added, you can now record your games and show it to your friends, and you can also change stuff on the original maps, which is fun.Halo 1 and 2 were both good but were really different from each other with different strengths, Halo 1: campaign and Halo 2: online.
Online, it feels like Halo 2 just with updated graphics and some new items an map.
Which of course means its ridiculously fun to play but you will recognize that experience from Halo 2 and maybe already be fed up with it.
The campaign is, amazing and comes very close to top the first halo's awesomeness.
This means Halo 3 has both and amazing online mode as well as campaign mode.
There is so much about Halo 3 that makes me want to play it over and over again.
I found that Bungie has greatly improved the graphics and scenes from Halo 2, and that had a massive impact on the style of gaming and maybe the addiction of the all the levels that I encountered.Campaign - The story was well-thought and creative, but it still doesn't pull me in as much as the Halo 2 campaign.
You dive into a world of explosive online play, fun glitches and just awesome frenzy-like action.
I just simply can't find anything more addicting and lasting than the excitement of Halo 3's supreme online matchmaking and Custom Games.Bonuses - Gears of War 2 had a bonus and it was called Horde.
You can save films, record your favorite game moments, a take screenshots of any wacky, memorable experiences you had during your time playing.
It is a very creative addition to this extraordinary game, and let's gamers show and share their best moments to all of the Halo 3 online community This game is recommended to any fans of Sci-Fi and First Person Shooter. |
tt0104694 | A League of Their Own | Elderly Dottie Hinson (Anne Cartwright) is a former player on the nation's first women's baseball league in the 1940s. As catcher for the Rockford Peaches, she helped break gender barriers and earn nationwide respect for herself and the teams. Recently widowed, she nervously prepares to attend a reunion with her former teammates, including her younger sister Kit, also a league player, who Dottie rarely sees. She arrives in New York, and ss she stands at the gate of Doubleday Field the memories flood back.In spring of 1943, the United States is at the height of its involvement in World War II. The draft has claimed the best talent from Major League Baseball, including Joe DiMaggio, Ted Williams and Bob Feller. Walter Harvey (Garry Marshall), a candy bar mogul and MLB team owner, holds an owners' meeting to determine what they should do if the American and National Leagues deem it necessary to shut down. He enlists one of his marketing gurus, Ira Lowenstein (David Strathairn), to come up with a solution.Some time later, one of Harvey's talent scouts, Ernie Capadino (John Lovitz), comes to Willamette, Oregon, to a farm-based co-ed fastpitch softball league. This particular game has the home team, Lukash Dairy, down by one, with two men on and one out in the bottom of the ninth inning. A young lady, Kit Keller (Lori Petty), is on deck. Before she goes to the plate, her sister, the aforementioned Dottie Hinson (Geena Davis), points out a gap in the infield that she can hit through, to tie or possibly win the game. She also warns Kit to lay off high fastballs, a pitch Kit claims to like but Dottie knows she can't hit yet. Sure enough, Kit swings at two fastballs, then takes a changeup right down the middle to strike out, drawing sneers from the crowd.When Dottie steps up to bat, she takes a ball inside, then swings at and hits a ball right in her wheelhouse, sending it to the outfield wall. As she stops at first, the two players on base score, and they win the game. Ernie takes note of her patience at the plate, and decides Dottie would be perfect for the league due to both her talent and her "dolly" good looks. Dottie is also married, with her husband Bob fighting overseas in the Pacific.Kit clearly has a rivalry with Dottie, believing that their parents (and the rest of the town) see her as inferior to her older sister. Dottie attempts to deny this, but she also has a competitive streak that urges her to outdo Kit. As they are milking the cows at their parents; farm, Ernie Capadino finds them and offers Dottie a tryout for the upcoming league. Dottie initially declines, but Kit desperately wants a chance to prove her talent. Ernie rebuffs Kit as he had seen her poor batting at the game, but Dottie explains that Kit is a great pitcher and it wasn't her turn to pitch that game. Ernie strikes a deal, offering Kit a tryout if Dottie attends too. Dottie eventually gives in.The next morning the sisters get a late start and must sprint after the moving train and jump aboard, meeting up with Ernie. En route to Chicago, the trio stops in Fort Collins, Colorado, to watch another girl, Marla Hooch (Megan Cavanagh), who is coached by her father, Dave (Eddie Jones). The tryout is in a gymnasium, where she hits several hard fastballs, breaking several windows, and also shows patience at the plate. She's even a switch hitter. Her father mentions that if she were a boy, he'd be talking to the Yankees. When she's done, and Ernie finally gets a look at her, he rejects her, because she is rather homely. The rejection angers both Dottie and Kit. Marla's father manages to convince Ernie to take her, claiming it's his fault she isn't "pretty" since her mother died when she was young, and he raised her alone as a tomboy.All four make it to Harvey Field for the tryout. Ernie leaves the girls to go try out, as he has more scouting work to do. The three come upon a group of girls, including Mae Mordabito (Madonna) and Doris Murphy (Rosie O'Donnell). Mae and Doris look down on the new girls, and make an offhand claim that Dottie, Kit and Marla will be rejected. Kit takes offense to that, leading Mae to throw a ball hard at her head. Kit ducks, but before the ball gets to her, Dottie catches it barehanded, to Mae and Doris' astonishment.As the tryout is given, a radio program is played with a debutant deriding the idea of women's baseball, calling it the "masculinization of women". Kit tries out as a pitcher, while Dottie plays her usual position of catcher, and shows incredible talent with playcalling and catching girls stealing.Eventually girls are chosen, split into four teams of sixteen girls each. Dottie and Kit both end up on the same team, the Rockford Peaches, to play in Rockford, Illinois. Marla, Mae and Doris are also on the Peaches. Before the introductions, one girl is lingering at the board, looking helplessly at the team lists. One of the girls assigned to the Peaches, Helen Haley (Anne Ramsay), approaches the girl and gets her name, Shirley Baker (Ann Cusack). As it turns out, Shirley cannot read. Finding her name on the lists, not only has Shirley made it, she's also on the Peaches. Charlie Collins (Don S. Davis), who will manage the Racine Belles, welcomes them to the All-American Girls Baseball League. During the introduction, the girls find out that many stereotypes of women will be involved. The "uniforms" feature short skirts that will make sliding very tricky, and all the girls will have classes at charm and beauty schools, in addition to their daily lives being monitored by chaperones. Lowenstein interjects to their protests, and insists that the rules be followed.One of these beauty school classes for the Peaches is shown, especially Marla's difficulties going through it. During a grading of their style, several girls are given stern suggestions to change their look. Dottie and Kit do not need such suggestions. The recommendation for Marla: "a lot of night games".Meanwhile, Walter Harvey is back at his mansion, doing business with former MLB player Jimmy Dugan (Tom Hanks). He asks the former player if he is still an alcoholic, but he implies he is when he can afford it. Harvey complains, since Dugan's playing career ended because of an alcohol-induced incident that left him with a blown-out knee. Harvey offers Dugan a manager position in the new girls baseball league, to give the league a name to cheer for while the girls play.In the clubhouse for their first game, the Peaches are getting ready, and eagerly awaiting the arrival of their famous manager. One of the girls, Betty Horn (Tracy Reiner), has her husband's baseball card of Dugan, hoping to get it autographed. Dugan arrives drunk, walks through the clubhouse to the bathroom, and proceeds to urinate right in front of the ladies. He takes so long, Mae actually starts timing him. When he's done, he leaves the clubhouse, ripping up Betty's baseball card along the way, leaving her in tears. The other girls are worried about not having a lineup. When Dottie stands and suggests making a lineup shouldn't be so hard, Mae and Doris challenge her to make the lineup herself. Dottie immediately names Mae the leadoff hitter, playing centerfield, to Mae's satisfaction.When they come out for the game's introductions, the guys in the stands catcall them mercilessly. The Peaches determine to suck it up and prove their mettle on the field in their first game, against the South Bend Blue Sox. During the introductions, a guy jumps up on top of one of the dugouts and makes fun of the players. The shortstop, Ellen Sue Gotlander (Freddie Simpson), throws the ball at his head, knocking him silly. The game goes on, and in the bottom of the ninth inning, Dottie hits a 3-0 pitch for a three-run home run to win the game for the Peaches. After the game, Lowenstein chastizes Jimmy for napping during the entire game.A second newsreel plays, exhibiting the new women's baseball league, and profiling several of the players for the Peaches. The end fades back to color as another game ends with Marla, Ellen Sue and Helen turning a 4-6-3 double play to lock up another win for the Peaches. After the game, another of the players, Evelyn Gardner (Bitty Schram), asks Jimmy if she can take her son, Stilwell, on the team's road trips.Cut to a scene of the road trip, with Stilwell (Justin Scheller) running up and down the aisle of their bus and distracting the bus driver, running him off the road. He stops the bus, quits, and storms off. The team chaperone, Miss Cuthbert (Pauline Brailsford), chases him, trying to convince him to stay, but to no avail. As she's away, some of the girls reveal a scheme to Dottie to sneak off to a roadhouse during their road trip. Mae plans to give Miss Cuthbert food poisoning to get away with it. Miss Cuthbert returns, and wakes up Jimmy (who was napping) to drive the bus. In a drunken haze, he blindly grabs and kisses Miss Cuthbert, but screams when he realizes who he's kissing.Sure enough, that night, Miss Cuthbert is ill, and as a doctor makes a house call, Mae, Doris, Kit, Marla and most of the team sneak to the road house, dancing all night. Eventually Dottie makes her way to the roadhouse to warn them that Lowenstein is on his way to find them. Marla lags behind--she had gotten drunk, and ended up falling in love with a patron named Nelson (Alan Wilder). It's clear the attraction is mutual, and Nelson offers to take Marla home himself.The next morning, the girls go to church. Mae went to confession and told the preacher "everything", leaving the man of the cloth stunned. That night, Jimmy takes batting practice alone with a pitching machine, drunkenly complaining to himself about his job.The next game is against the Racine Belles. Jimmy is reading a paper instead of watching the game, so Dottie is taking it upon herself to manage the team. Mae gets a hit to left-center, and stretches it into a triple. Jimmy sees Dottie giving signals to Marla, who is next to bat. Dottie is suggesting a squeeze play. Jimmy would prefer that Marla, their best hitter, swing away at the ball, and sends Marla his own signals. After a brief war of signals, Jimmy tells Dottie to stop, that he's the manager. Dottie retorts he should start acting like one. Jimmy takes over, and with his play, Marla gets a run-scoring hit. Jimmy is impressed, but still doesn't think the girls are "real" ballplayers.In another bus ride, their superstitious left fielder, Alice Gaspers (Renee Coleman), tells everyone to cross their fingers as they pass a cemetery. Mae is shown teaching Shirley how to read, using a romantic novel. Shirley is surprised when she realizes what she is reading. Evelyn is writing a song about the league. Doris tells Betty about her on-and-off boyfriend, Charlie, who puts her down because she plays baseball. But now that she sees how many girls can play, she no longer sees a problem with it. After that, she tears up and throw away the photograph of Charlie she was showing around.In the next game, against South Bend, the Blue Sox finish the top of the sixth inning having tied the game. Jimmy cuts down Evelyn for throwing home instead of hitting a cut-off man on what should have been a single, allowing a runner on second and eventually letting two runs score. His yelling leaves her crying, and he ends up yelling at her a second time, telling her how "there's no crying in baseball". He relates a story about how he was once verbally abused by famous manager Rogers Hornsby, and didn't cry himself. The umpire comes over and suggests he treat his players more gently. This leads Jimmy to insult the umpire, getting himself ejected from the game.The next game is at Racine, and barely anyone shows up. Lowenstein arrives and tells the Peaches that Life Magazine is there to do an article about the league, and Dottie is going to be their profile feature. He also reveals that the owners have threatened to shut the league down due to dismal attendance. The girls do not want to go back to their old lives. Dottie decides to do something: on a routine foul pop-up, she does a split to make the catch, impressing the crowd and getting the photographers for Life a cover picture for the issue.A montage of scenes through the middle of the season then plays out, with various plays and several fan promotions. Slowly the games bring in more and more fans. During the montage, it is shown that Marla has married Nelson, and leaves the team for the rest of the year.During another bus ride, Dottie and Jimmy talk about themselves, particularly her husband Bob, who is in Europe but has been out of contact for a while. A key game is played, and Kit is getting tired on the mound in the final inning. During the game, Walter Harvey has a meeting with Ira Lowenstein, revealing he intends to close the league at the end of the season. Ira challenges Walter to give him the reigns of the league and let him continue the league himself. Before facing the final batter, Jimmy and Dottie visit the mound, and Dottie decides that Kit is finished. Jimmy sends an angry Kit to the dugout and calls Ellen Sue in to finish the game.After the game, Doris jokes to Kit that she's getting "too big" to finish her own games. This gets Kit mad, and she throws her glove at Doris, then tackles her. Jimmy has to break them up, and tosses Kit in the showers. Afterward in the clubhouse, Kit yells at Dottie, feeling like she's being held back. Kit feels like she's at home, like she's always second-best behind Dottie. That night, Lowenstein finds Dottie lingering in the clubhouse. Dottie says she is finished with baseball, not wanting to deal with Kit's jealousy. Lowenstein offers Dottie a trade instead.That night, an irate Kit reveals she's been traded to the Racine Belles. Dottie wanted herself to be traded, but Kit figured Lowenstein would never do that, because Dottie was the star of the Peaches. The argument continues in Kit's room. Dottie remarks that the only reason she joined was to get Kit in the league in the first place. Kit asks why she's still there, then. Dottie leaves, allowing Kit to pack.A few days later, the team is getting ready for another game, singing the song Evelyn wrote. Jimmy enters the clubhouse, revealing that he gets a bonus if they win the game and make it to the World Series. After some ribbing from Doris, a Western Union delivery man arrives with a telegram from the War Department, silencing the clubhouse. He reads the telegram stating that one of the team members' husbands has been killed in action. However, he turns to leave because the telegram isn't on his delivery list. Jimmy has to rip the telegram from the delivery boy's hands, not wanting the spectre of not knowing who lost their husband to distract them from the game. He reads the telegram, and gives it to Betty, who has to be helped out in tears.That night, Dottie is in her room, crying because she does not know the fate of Bob. Suddenly, a knock on the door, and it opens to reveal her husband, Bob Hinson (Bill Pullman), walking with a cane. He was shot by a sniper, which was why he was out of contact. They have a tearful reunion. The next morning, as the rest of the team prepares to head to Racine to begin the World Series, Dottie decides to retire. Before she leaves with Bob, Jimmy warns her that she would regret the decision to leave so hastily.The Belles and the Peaches split the first six games, leading up to a Game 7 in Racine. Jimmy, concerned about his team's chances and getting constantly heckled by Stilwell, leads a rare (and somewhat irreverent) locker room prayer vigil with the team. During warmups, Jimmy tells the replacement catcher to let him know of the first sign of tiring by Ellen Sue, who has taken over full-time as pitcher. The catcher reveals herself to be Dottie. Half-way to Oregon, she realized she had to finish the season out, and returned just in time for the decisive game. Bob was in the stands for the game, cheering her on. Although Alice had been playing in her place at catcher, he allows Dottie into the game to play. Her attitude gives Jimmy a renewed confidence that they just might win the game, and the series.The game plays out scoreless until the bottom of the eighth, when Evelyn again fails to throw a cut-off on a grounder to the outfield, allowing the Belles to score a run. Although they are now behind, 1-0, Jimmy manages to keep his cool to Evelyn, pointing out strainingly that she needs to work on her fielding before next season.The Peaches attempt to mount a comeback in the top of the ninth, leaving it up to Kit to pitch the Belles to victory. Mae starts it off with an infield single. Doris follows that with a flyball single to center, moving Mae to second. Evelyn hits a sacrifice bunt to advance Mae and Doris, getting out one. Helen gets squeezed, and grounds out to first base for out two. Dottie comes to the plate, and hits a line drive right at Kit's head, forcing her to duck. Mae and Doris score, giving the Peaches a 2-1 lead. After getting Ellen Sue to fly out to end the inning, Kit returns to the dugout crying, but she has to compose herself, because she will need to hit if the Belles want to win now.In the bottom of the ninth, one of the Belles' players gets a hit, giving Kit a shot to win the game for the Belles. Dottie reminds Ellen Sue to feed Kit high fastballs. Sure enough, Kit swings at the first two. But she gets a lucky shot on the third one, connecting and driving it into the rightfield gap. The Belles runner makes it home to tie thegame, but Kit decides to win the game herself, trying for an inside-the-park home run. Evelyn hits the cut-off this time, and Dottie gets the ball in time. Kit runs into Dottie, knocking the ball loose and touching home plate, winning the game for the Belles, 3-2. At the end of the game, Harvey comes up to Lowenstein, and agrees to keep the league running.After the game, Kit is signing some autographs, reveling in her growing fame. She encounters Dottie, and apologizes for running into her. Dottie assures her it's just part of the game. Dottie is about to return to Oregon with Bob, but Kit wants to stay in Racine and get an offseason job while waiting to play next year. Dottie confirms that she is indeed retiring. Kit insists Dottie will miss being in the league, and laments that Dottie is leaving right when she wants her to stay.When everyone prepares to leave, Jimmy finds his way to Dottie, who finally introduces him to Bob. Jimmy reveals that Harvey offered him a job managing a Triple A minor-league team in Wichita. He turned it down, deciding to remain the manager of the Peaches. Before Kit gets on her bus to leave for home, she and Dottie have one more playful shouting match, with Dottie insisting that Kit lay off the high fastballs.The scene fades back to the present day, with Dottie again at Doubleday Field. Doris (Vera Johnson) and Mae (Eunice Anderson) are the first to recognize her, and confirm it by throwing a baseball at her, which she again catches with her bare hands, even though she's now in her seventies. She reunites warmly with her teammates. Among them, Helen (Barbara Pilavin) became a doctor, and Ellen Sue (Eugenia McLin) married a plastic surgeon. Among others, she also met with Shirley (Barbara Erwin), Betty (Betty Miller) and Alice (Shirley Burkovich). Marla (Patricia Wilson) reveals herself; Nelson had recently handed his business to their son. It's here that Dottie reveals that Bob had died the previous winter. During their reunion, another former player (real-life women's baseball player Dolores "Pickles" Lee-Dries) points Dottie out to a reporter, saying that though "she only played one year", she was still the best player the league had ever seen.Afterward, a ceremony is held in the National Baseball Hall of Fame and Museum. Prior to the ceremony for their exhibit, Dottie meets with Stilwell (Mark Holton), who notes that his mother, Evelyn, died two years before. She also finds a placard for Jimmy Dugan (who had also passed). The Women in Baseball exhibit is opened by Ira Lowenstein (Marvin Einhorn) himself, since he was the one that kept the league going as long as it did. During the opening, Dottie looks through the exhibit, and eventually finding herself before a picture of herself and Kit. It is here that she is found by Kit (Kathleen Butler), who enters with her husband, children and grandchildren. Kit quickly finds and reunites happily with Dottie.During the credits, an "Old Timers' Game" is played at Doubleday Field. The last scene is one of the women arguing a questionable strike call with the home plate umpire. | dramatic, cult, boring, entertaining, flashback | train | imdb | Sounds silly, but this was the movie that reminded me to stay strong, at the time when women were expected to stay in the kitchen, as hard as they had to work for it, there was a women's baseball league during WWII.
More and more people show up and the league becomes a huge success.The acting is absolutely superb, we have actors on top of their game, Tom Hanks who delivers the memorable "There's no crying in baseball!" speech.
Little did I know as a child that a professional women's baseball league even existed.That just goes to prove what little recognition these ladies have gotten over the years.This film finally pushes them over the top in terms of getting that recognition.Excellent perception and direction by Penny Marshall here in recreating this long ago time;a time of war when the nation needed the simple pleasures of life more than ever,to help them escape,at least temporarily,the horrors of the goings on overseas.With most of the male professional ball players overseas,our beloved women were called upon to fill the void,and boy did they ever fill it!It makes me wish, in some ways,that I could have been there to see it all.A fine comic performance here by Tom Hanks,as Jimmy Dugan, the somewhat reluctant and ignorant(at least,at first) manager of the Rockford Peaches.
Seeing Geena Davis, Lori Petty, Rosie O'Donnell and Madonna in one film is fantastic.
After I watched it, for some strange reason I felt I'd watched an extended episode of "Laverne & Shirley" but this is great for the comedy!Tom Hanks was magnificent with all the comic touches that endear him to so many of us.The older version of Dottie at the beginning and ending of the story is NOT Geena Davis made up to look older - neither are any of the other ladies!
An excellent casting decision was made to have older actresses play these parts - Lynn Cartright was chosen to play Dottie (Geena Davis) in her late 60's and she was a dead-ringer for Geena!Watch for Tea Leoni (as Racine Belles 1st-base player), Eddie Mekka (Carmine on "Laverne & Shirley" - he dances with Madonna!) and David L.
However, for me the ignorance of the baseball rules is not important, but the fact of that the subjects treated in this movie are universal: fight for a dream and achieve it, solidarity (how beautiful the scene when one of the players teaches to read the one who doesn't know, using a "little hot" short-novel), friendship, hope, dignity and the spirit of trying to be always better.
Although Geena Davis was quite good as Dottie, the two best performances came from two actors I had not previously heard of, Jon Lovitz in the cameo role of Ernie Capadino, and Lori Petty as Kit, who brought out the fierce determination and will to win of her character.
Set at the start of World War 2, Geena Davis and Lori Petty are recruited to the first professional baseball league for women.
The sisters struggle to keep the league going against the odds, while their own personal rivalry begins to escalate.I don't pretend to know much about baseball, so if this element is poor i wouldn't really notice, but i did feel that it was a good setting for the story.Quite touching and well directed, i was surprised how compelling this movie was.
'A League of Their Own' is a film about an all-female baseball team during the second World War. This film follows the stories about the team of females and their perspective on life and society (as women) during this time in history.
By the very end, with the inevitable look at the contemporary women (who are played by actresses, don't be fooled into thinking they are the real deal), it gets moving but in that pushy way that makes you kind of glad the film is finally ending.Too bad.
Rosie O'Donnell is a real chore stomping about on the field, but Geena Davis and Lori Petty (as competitive sisters) are genuinely charming, shrewdly cast and nearly flawless (a movie about them alone would be worth watching).
As a sports fan, it's fun to see a film of a little different nature, the case here being women's pro baseball - something that actually took place for a short time during World War II.The best thing going for the film, in my opinion, was a very likable lead character - someone you could really root for - in Geena Davis' character "Dottie Hinson." She made the movie, as far as I was concerned as the rest of the cast - although good - was not particularly likable.For instance, Tom Hanks plays a profane, drunken manager, and not a lot of laughs except for famous, "There is no crying in baseball" line which has become famous.
Many of the men in here are generally pictured as sexist idiots, which is the way left-wing Hollywood likes to portray men.The sad thing is, this is another one of the these Penny Marshall films that ignorant national movie critics call a "family film." However, profanity - which includes four blasphemes (even one by Davis which ruined her good-person character image at that point), a two-minute scene of hearing Hanks taking a pee....and other things hardly add up to "family fare."However, it is an entertaining adult movie that has a lot of charm to it and is recommended, especially if you're a baseball fan..
In my opinion everything about this movie was great, The plot was awesome, the acting was perfect, just the right amount of happy tears, sad tears, laughter, and the fact that it is based on actual events, and baseball (baseball is my favorite sport) and that it is really about women proving to people that they can do everything men can do.
The ladies like Lynn Cartwright et al were not only brilliantly cast as older look-a-likes but they simply WERE the younger actresses 40 years later.The film is paced well with excellent timing and begins in 1943 went the men went to war.
I realize it's a little late to be commeting on a movie thats thirteen years old, but I didn't see it till recently, so whether it's proper, or not, I feel like I need to comment on it because it's such a wonderful movie.Every lady who played in the movie, played their parts with perfection.Maddona, Lori Pettie, Rosie O'Donnell, and Geena Davis, of course stole the show, but without the support of the multi talented rest of the cast, as well as the stunt people, they couldn't have pulled it off.And let us not forget Tom Hanks, character, as the teams manager, who started out as being a misanthropic idiot, but as the movie progressed,he gradually became a relatively tolerable human being.
Only Hanks could have pulled this character off with such an air of perfection.I think one reason for this film being such a wonderful, interesting, entertaining, and watchable movie, is the fact that Penny Marshall directed it.
There are lots of good character arcs, particularly the two sisters, Dottie (Geena Davis) and Kit (Lori Petty), and the washed up has-been, Jimmy Dugan, played by Tom Hanks with about 2 stone extra on him for the role.
The film had enough to keep my interest for the duration, but not enough to make me think "Wow, I've just seen a great movie" There is little in the way on conflict for the talented cast to act around.
When I first seen this film for the first time I thought it was neat that women were playing baseball professionally.
This movie just proves that women can be just as good at sports as men are.During World War two a lot of jobs became available to women, including baseball.
While it isn't a perfect film, it is a nice little enjoyable flick for a Sunday afternoon - you could do worse.When the men were shipped off to fight in World War II, there wasn't anyone left to play baseball.
Fearing financial losses, women were hired to fill in for the men's absence - forming major and minor league teams and putting on games like the boys did.This is based on a true story and stars Geena Davis as the main character.
Tom Hanks plays her alcoholic coach, who has trouble accepting his position as a women's coach - he kind of resents the idea of coaching females in general.Madonna has a co-star role as one of the baseball players, and it was her name on the credits that really helped make this a success back in '92 - without her it wouldn't have been quite as marketable.The cast is overall pretty good.
I'm only 17 but this is my favourite film ever , i live in UKand don't even like baseball but i love this film and watch it all the time , i think all the actors/ actresses are great!!!!!.
I think the casting was great and Gena Davis did a great job and Rosie o Donnell was very fun and they are all really good at playing baseball as well.
Its also appropriate because director Penny Marshall seems to want to make a nostalgic womens baseball movie but also a comedy, a drama, a statement and a tribute.
Geena Davis plays Dottie Hinson, a loving sister who has some troubles with her younger sister, Kit, and struggles on making decisions of wether she should stay in baseball team (Rockford Peaches) or go back to her home with her husband who just came back from World War II with broken arm(or was it a leg?).
Jimmy Dugan is probably one of Tom's best characters so far.Another great performance by Lori Petty, who played Geena Davis' sister, Kit. Kit is a very good player, but she gets jealous of Dottie and eventually joins another team called Racines.
Various women from all over come to participate, although the movie mostly focuses on Dottie Hinson (Geena Davis), Mae Mordabito (Madonna), and the manager Jimmy Dugan (Tom Hanks).I've never really been a baseball fan, so maybe I'm not the right person to be reviewing this movie, but I thought that it was pretty well done.
A humorous look at a woman's professional baseball league during World War II, A League of Their Own follows the lives of Dottie (Geena Davis) and her kid sister Kit (Lori Petty) as they try out for and make the Rockford Peaches, one of the four teams in the league just for women.
This movies shines for people like Tom Hanks, Geena Davis and even Rosie O'Donnell shows she had talent before she became the angry lesbian that she is now.
Based on a true story, 'A League Of Their Own' follows the first season of the A.A.G.P.B.L., or the All-American Girls Professional Baseball League.When a large percentage of the pro baseballers are sent to fight in World War II, a girls teams are set-up in a pro league to entertain the crowds.A whole host of stars unite to bring to live real people: Academy Award Winner Tom Hanks, Academy Award Nominee Geena Davis, Lori Petty, Madonna, Rosie O'Donnell, Jon Lovitz and Megan Cavanaugh are just a few, who all put in exceptional performances.This movie is funny, sad, moving and a thrilling ride from start to finish.
What I found upon doing that is a movie that starts off quite slowly and seems a bit "low-rent", but then builds and builds to an emotional experience and ending.For a basic plot summary, "League" tells the story of of the Rockford Peaches, a team in the first ever Women's Professional Baseball League (organized during WWII with most of the men professionals overseas).
It focuses primarily on the contentious relationship between sisters Dottie (Geena Davis) and Kit (Lori Petty), as well as featuring some great banter between characters played by Rosie O'Donnell and Madonna.
i was shocked when I looked in the credits and found out it was not the same actress.Jimmy Dugan ( Tom Hanks) played as a coach - it was strange I think because he was a supporting character and added some comical and seriousness moments to the film.
)Last comments - I liked the film Dottie and Kit had great sibling history going on there - they had each others backs / loved each other / laughed together / cried together / played baseball together / argued together and were a family.
Really compelling characters by almost everyone on the team where they're all real characters and not just a handful of main characters and the rest being just glorified extras like how it normally goes.While the movie has a very ensemble feel to it, it still mostly focuses on Geena Davis and Lori Petty playing sisters.
Tom Hanks and Geena Davis lead the movie, with their talents as dramatic actor and actress, and also comic styles.It's a must watch, for anyone interested in good dramas, and movies that touch not only the soul and heart, but also really mean something in the end.One of the best films to ever come out..
Of all the baseball movies I have had the pleasure of watching, this one was one of the better ones, and clearly ranks up there with "Field of Dreams" and "Pride of the Yankees".With Tom Hanks as a washed-up has-been who gets another chance at baseball through managing a girls professional baseball team during World War II, Geena Davis and Lori Petty as dueling siblings who make the team in tryouts at what clearly looks like Wrigley Field in Chicago, coupled with Jon Lovitz as the eccentric scout, Madonna as the resident tart and Rosie O'Donnell as the smart-mouthed member of the team, you just know you that are in for a treat.
Plenty of laughs, a struggling bond between the sisters (Petty and Davis), Hanks "no crying in baseball" speech, Marla Hooch's blossoming and her father's big heart, the grown-up "Stillwell Angel", best use of Jon Lovitz in a film ever, former "Laverne & Shirley" cast-member spotting, the little asides.
Add to this, a drunken has been manager, played by Tom Hanks in one of his best roles, and you have a movie you can watch and never tire of.
i can't remember the first time i had seen this film, but i know that it will always remain one of my favorites and can bring a tear to my eye.a perfect movie starring Tom Hanks, in his funner care free days, Gina Davis, Rosie O'Donnel, Madonna, in one of her better acting days, and more...all giving great, heartfelt performances...This film has it all, comedy, drama, action and romance.
It shows us the power of regret and the power of love.Best of all, this film features Madonna's classic, This used to be my playground in it's full version....a touching ending to a great movie..
WWII establishes the opportunity for women, such as Dottie Hinson (Geena Davis) and Kit Keller (Lori Petty), her sister, to compete in professional baseball, as portrayed in Penny Marshall's `A League of Their Own' (1992).
I still pull this movie out when I want a good laugh (and cry--the scene where Geena Davis is sobbing alone in her room gets me every time).
I *finally* got to see this film and it was a really fun movie.The idea of women playing baseball (and playing well) is a great thing to portray.
A Baseball Coming Of Age Story For Women - But Men Will Enjoy It Too. There's nothing particularly earth-shattering in this movie, which offers a heavily fictionalized account of the goings on in the "All American Girls Professional Baseball League" - a real baseball league formed during the Second World War as a means of keeping interest in the game alive while some of its biggest stars were fighting overseas.There are some good performances to be found here.
Tom Hanks - reunited with Director Penny Marshall (they worked together previously on "Big") offered his usual high calibre performance as Jimmy Dugan - an alcoholic ex-baseball star who (against his will) is assigned to manage the Rockford Peaches.
Geena Davis was great as Dottie Hinson, the Peaches catcher and - as Dugan describes her - "the best player in the league." I was also impressed by Lori Petty as Kit Keller, Dottie's little sister.
Tom Hanks, Geena Davis, Madonna, and Rosie O'Donnell are make excellence performances with Penny Marshall directing the film.
Madonna and Rosie O'Donnel bring enlightening humor to the film and Lori Petty plays Dottie's annoying kid sister Kit perfectly.
great cast, and it always bring tears in my eyes everytime i watched Geena Davis and Lori Petty hugging in the end of World Series...and of course when the old character meet again...subtle and touching...and i am a guy, you know what i mean....i love every moment of it, i love every cast in it, Penny Marshall should do some more like this, i hope so....
Penny Marshall directed an interesting movie about a long-forgotten women's baseball league."A League of Their Own" had a very strong plot, a great script, and excellent acting.
Every time I watch it with someone who has never seen it, they exclaim, "What good makeup work they've done!", thinking that they just made up Geena Davis and Lori Petty.
Geena Davis and Madonna were terrific as well as Tom Hanks, Rosie O'Donnell and Lori Petty.
It is a movie about the AAGPBL (All-American Girls Professional Baseball League) team named the Rockford Peaches.
Add Geena Davis, Madonna, Lori Petty and Rosie O'Donnell, none of whom I find overly compelling and you have to pay me (bigtime) to get in front of the screen.So much for prejudging-- I enjoyed this sweet little film immensely.Penny Marshall's work has at times been uneven, but she hits a home run here.
A good film about the forgotten women's baseball league. |
tt0145660 | Austin Powers: The Spy Who Shagged Me | Austin Powers is enjoying his honeymoon with his wife, the former Vanessa Kensington. She turns out to be one of Dr. Evil's fembots, who attempts to kill Austin, then self-destructs. Austin grieves briefly, then proceeds to the hotel lobby nude and celebrates being single again.
A NATO monitoring facility observes the return of Dr. Evil, confronting his son Scott, and then starting a riot, on The Jerry Springer Show, and informs British intelligence. At Dr. Evil's Seattle headquarters, Dr. Evil is presented with a one-eighth-size clone of himself whom he calls Mini-Me.
Dr. Evil unveils his latest evil plan: he has developed a time machine to go back to the 1960s and steal Austin's mojo, the source of Austin's sexual appeal. Dr. Evil and Mini-Me go back to 1969 and meet a younger Number Two and Frau Farbissina. An obese "Scottish Guard" called Fat Bastard extracts Austin's mojo from his frozen body at the Ministry of Defence Cryo Chamber. British intelligence warns Austin that one of Dr. Evil's agents is after him, and during a photo shoot the wanton Ivana Humpalot seduces him, but at the last moment she claims he is too sexy for her to kill him. They have sex in his bed, but do not get far before he discovers that he has lost his mojo and is impotent.
The MOD sends Austin back to 1969 with its own time travel device, a convertible Volkswagen New Beetle. Austin arrives at a party in his London pad and with the assistance of a CIA agent, Felicity Shagwell, escapes an assassination attempt by two of Dr. Evil's operatives. Austin and Felicity are pursued by Mustafa, another of Dr. Evil's henchmen; when caught he reveals the existence of Dr. Evil's secret volcano lair. Before he can divulge its location, Mini-Me shoots him in the neck with a dart, causing him to fall off a cliff.
After examining photographs from the crime scene at MOD headquarters, Austin identifies Fat Bastard as the perpetrator of the theft of his mojo. At Dr. Evil's lair, Fat Bastard arrives with Austin's mojo. Dr. Evil drinks some of it and has sex with Frau Farbissina. This results in an awkward situation when Frau reveals that she is pregnant. At the same moment Scott, Dr. Evil's son, arrives through the time portal. Dr. Evil announces his latest plan — to hold the world ransom by threatening to destroy major cities each hour, using a giant laser on the Moon. In London, Austin and Felicity get to know each other, but when Felicity tries to have sex with Austin, he turns her down because of his lost mojo.
Under MOD instructions to implant a homing device into Fat Bastard, Felicity seduces him, allowing her to plant it in his anus. Fat Bastard forces it out of his bowels into a Paddington Station toilet, but a stool sample from the scene is analyzed to reveal traces of a vegetable that only grows on one Caribbean island. Austin and Felicity arrive on the island, but are apprehended. They are put in a cell with a guard who is overcome when Felicity exposes her breasts. Dr. Evil and Mini-Me leave for the Moon to install the giant laser and are followed by Austin and Felicity, who hitch a ride on Apollo 11. In Dr. Evil's moon base, Austin battles with Mini-Me, eventually flushing him into space. As Austin confronts Dr. Evil, Dr. Evil gives him a choice: Save the world or Felicity, who is locked in a chamber with poison gas.
Felicity tells Austin to save the world and he succeeds in doing so by kicking Frau, diverting the laser and saving Washington D.C. Felicity is killed by the poison gas. Austin chases Dr. Evil and shoots him in the leg. Before Austin can kill him, Dr. Evil tells him he could use the time machine to save Felicity and the world. Austin travels ten minutes into the past, meeting up with himself and saving both the world and Felicity. Dr. Evil initiates the self-destruct mechanism of the moon base and escapes in his rocket after throwing Austin's mojo into the air. Both Austins fail to catch it and it crashes on the floor and is destroyed. Felicity points out that all the things Austin has done show that he never lost his mojo. They escape through the time portal to 1999.
At Austin's Pad, Fat Bastard makes another attempt to assassinate Austin, but Felicity disarms him. Felicity and Austin then throw a party. Dr. Evil recovers Mini-Me from space and vows to "get" Austin. On Jerry Springer, Scott learns he was not created in a test tube, but is the love child of Dr. Evil and Frau Farbissina. Austin returns to his pad, only to discover Felicity with the past Austin, who claims that since he and Austin are the same person, it is not cheating. Austin forgives Felicity. | cult, humor, cute, entertaining, stupid | train | wikipedia | null |
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