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tt0397044 | Blood and Chocolate | Vivian (Agnes Bruckner) is a nineteen-year-old werewolf born in Bucharest, Romania to American parents who then moved back to America. When Vivian was nine years old, her parents and two siblings were killed by two hunters who then proceeded to burn down their house. She then moved back to Bucharest to live with her aunt Astrid (Katja Riemann), who was the mate of the pack's leader, Gabriel (Olivier Martinez) at that time. To Astrid's distress, Gabriel left her after seven years in accordance with pack law to choose a new mate. The culmination of another seven years is only a few months away and Gabriel wants the reluctant Vivian as his.
This is not, however, what she wants. She begins a romance with a graphic novelist Aiden (Hugh Dancy) who is researching for his latest book. Though he is human, he knows much about her kind, the Loups-Garoux (werewolves). Their romance is closely watched by her cousin Rafe (Bryan Dick) and his friends Ulf (Chris Geere), Gregor (Tom Harper), Finn (John Kerr), and Willem (Jack Wilson), together known as The Five. Believing that she is telling him all their secrets- as seen by a drawing he did of her and wolves because he knew her as "The Wolf Girl"- and may grow to be a danger to their pack, Rafe tells Gabriel of them. Gabriel then tells Rafe that Aiden must leave or he must be dealt with.
Rafe lures Aiden to an abandoned church with the ruse that Vivian wanting to reconnect and attempts to scare him away. When this doesn't work, Rafe attacks and underestimates Aiden who defends himself and forces him back into a table where he cuts himself. Aiden, who did not know prior what Vivian and her friends were, sees the golden glow of the Loups-Garoux and realizes what he's been dating. The two fight, with Aiden attacking Rafe with a silver pendant and Rafe turning to a wolf, until Aiden eventually gains the upper hand and sends both over the rail, killing Rafe.
Afterwards, Aiden confronts Vivian about what she is, tempting her with his blood. She does not give in but is hurt that Aiden would think she was such a monster. Not long after, Aiden is captured by the pack to answer for killing Rafe, Gabriel's son. He is made to run through the forest while being chased by the pack. If the pack catches him, he dies. If he makes it to the river and crosses it, he lives. Vivian is scared for him and changes into her wolf form, a white wolf, to save him from the rest of the pack. Aiden makes it to the river by confusing the pack, using his blood to spread his scent and make it harder for the pack to track him. Gabriel, however, is angry that Aiden made it to the river and attempts to follow him anyway, to kill him. Vivian helps to protect Aiden by throwing Gabriel off. Aiden, not realizing that the white wolf is Vivian, strikes her with a silver knife causing her to slowly die unless she gets an antidote.
After hiding from the pack, Aiden and Vivian find the pharmacist who has the antidote for the silver poisoning and steals it from him, but not before he calls the rest of the pack. After being chased, Vivian tells Aiden to save himself and is captured by the pack. She is held in a cage and taunted by the rest of the five while Gabriel attempts to curve her to his way of thinking. Aiden comes to Vivian's rescue and in the end Vivian has to kill Gabriel.
Aiden and Vivian go towards the age of hope. Driving past other Loups-Garous, the wolves are shown to bare their necks in respect to Vivian and Aiden, showing Vivian to possibly be the new leader of the pack. | revenge, horror, murder, romantic, flashback | train | wikipedia | It isn't life changing, deep or even particularly thought provoking, but it does draw you in and keep you 'entertained' throughout.Many of the comments below extol the book and damn the film, you'd think they would know better to expect a fairly run of the mill film to outshine the fiction it was based on.
I haven't read the book but I may now.The story is compassionate and attempts to re-consider the wolf-person theme by treating them as an oppressed minority, I couldn't help but think that they were a metaphor for the Roma, a thought that bears scrutiny I think.The cinematography was atmospheric and Bucharest became the star, lots of beautiful rococo buildings and a pleasantly eastern soundtrack.
I kept wondering if the film wasn't a Hollywood offering because the characters all seem normal and manage to avoid behaving in the usual American manner (not an "oh my god" in earshot), but no, the ending isn't European.I was really pleasantly surprised with the beautiful human to wolf transitions, the makers restrained themselves from fx to the benefit of the film, it reminded me of the early eastern European fairytale films (the singing ringing tree).
Also, in the character of Aiden, the filmmakers were able to acknowledge their respect of the loup garoux storyline; they were practically screaming, "This is not some cheesy werewolf story!" Katje Riemann and Bryan Dick also gave nuanced performances as Astrid and Rafe.
Post Matrix every vampire or werewolf movie (Van Helseign, Underworld, Blade) seems to involve copious amounts of special effects, Martial arts and the main character decisions being whether they kill the bad guy with a gun, sword, falling building, poison that makes people explode, or giant stake improvised from the radio antenna on top of the Empire State building.Blood and Chocolate follows the traditions oh movies from the 1980s (The hunger, Wolf, Cat people and even The Lost Boys).Characters are not fighting over whether to enslave the human race (if vampires planned to enslave the human race, wouldn't it be easier to let everyone know, and 1.3 Billion people versus a few thousand vampires or werewolves will be a very short battle indeed).Blood and Chocolate tells the story of a teenage werewolf who wants to escape what she is being told she should be and a young American writer/artist who has already escaped from his domineering ex-ranger father).In this story, werewolves are blessed, not cursed, they are the best of man and the best of beast.
In fact the special effects are so bad, it is likely that was a conscious choice (I think the transformation is a homage to Cat People).If you like this movie, check out the old stuff from the 80s..
It's hard to really point out what was wrong with this movie: the acting wasn't terrible, the characters were fine (albeit a little weak), and the story was sound.
And just using real wolves gives this movie a plus.The acting wasn't bad at all, and i was glad this wasn't a typical werewolf movie where the main female (Vivian) is just some pro-ana matrix woman who kills everyone in matrix style, and can carry big guns, just like in the Underworld movies.
BLOOD & CHOCOLATE is less of a horror film (splatter addicts will hate its lack of gore and nudity) than it is a supernatural romance, lush with gorgeously photographed Medieval locations, a sensual soundtrack, and beautiful actors in every role.The international cast is led by rising American starlet Agnes Bruckner, perfectly cast as the Juliet to Hugh Dancy's star-crossed Romeo, caught in a deadly interspecies tryst.
Not having read her book BLOOD & CHOCOLATE, I can't comment on any possible differences, but the screenplay is well-crafted and the characters nicely drawn.Based on a book by a woman and directed by one, this is a great movie for couples or family viewing, with a good story told well, plenty to like, and nothing too exploitive or controversial.
IMDb writers said enough to make the idea of seeing this film especially since most of the academy award nominees seem like freak show films.The era of classic vampire and werewolf movies has been over for over 20 years.
Silver is still the main protection against werewolves.The idea that the wolves hunt in packs add a new tense dimension to wolf man movies.The 3 lead actors are fine.
After I cast all things in the book from my mind, I enjoyed the premise of the movie and the new take in the werewolf genre..
I Read the book for this a long time ago, it was given to me by a friend and while it is not the sort of book I would usually buy while browsing for a new read I was enthralled by it and read it in one sitting (its not that big anyway) and then again the next day.Knowing this I watched this movie with some trepidation, I was expecting the usual rip off (ala Lord of the Rings, Narnia etc.) with too much special effects and most of the story missing including some of the most important/memorable parts.Now while there is a fair bit of the book missing here and a few changes, I was very pleasantly surprised, This film does manage to portray the storyline very well, the acting is believable and the characters look right.
It makes such a refreshing change to see a werewolf film these days that does not rely on special effects and all out action, One that tells a story and tells it well.I finished watching this movie with a sense of satisfaction that the job had been done properly, this is the highest praise I can give those involved in this film.
The fact that they ended up to be Vivians cousins, or at least Rafe, which takes away another good story found in the book.
Out of all the characters, he was very one dimensional.Now, the movie is nothing like the book except for a few major details and the producers added there own twist to them.
If you put the book out of your mind when you go to see it and try not to compare (which ended up to be very easy since the movie is so different you can't even tell it was based on the book) then I think you will enjoy this.
However, as picky as I am about good story lines and books fitting with movies I'd say this is terrible.
If you want to find a sci-fi movie that fits nicely with its book counterpart, find something like Interview with the Vampire.
However, the evil son of Gabriel and Vivian's cousin Rafe (Bryan Dick) poisons Gabriel about the love of Vivian, forcing her to choose between her bounds with her family and her passion for Aiden."Blood and Chocolate" is an entertaining romantic adventure, with an attractive story, good performances and great special effects.
Unfortunately the film makers have botched the job and we're left with a barely okay little movie.Why use a well known story if you're going to change things around?
Its not engaging or surprising simply because once a scene starts you can tell how its going to play out, actually once the movie's basic premise is set up you'll know whats going to happen, regrettably you won't care.Not worth bothering with unless you need a lesson in how not to adapt a book for the movies..
Based on a book by Annette Curtis Klause, and directed by Katja von Garnier, it's difficult not to draw comparisons because of the subject material and similar themes, this time though doing without the vampires, and sets the spotlight firmly on a group of hunted werewolves called the Loups-Garoux.
The soundtrack too had a tinge of Hindi(?!) music influences, which I totally enjoyed, but too bad, the film had been intrinsically destroyed by a lack of a strong storyline, plagued with non charismatic and weak villains with zero diabolical plans, with preference to hang around and do nothing, save for showing off their pitiful skills (which I suspect is because of the lack of budget).With a strange title, Blood and Chocolate correctly named itself - a weird and silly mix which doesn't go down well at all.
There's a distinct lack of gore, and the violence isn't overbearing, while the astounding art direction and overall moodiness of the movie is only heightened by filming on location in Romania, a perfect backdrop for the heavy gray feeling of Blood and Chocolate.
It lacked a good plot, it turned every character with the exception of Vivian completely around, making the werewolves evil and the poor humans the victims.
The other characters are too...the dialogue is very bland and predictable.The absolute WORST part of the movie is the transformations between the "humans" and the "wolves." If you wanted something kick-ass like Van Helsings, you're gonna be really upset.
Hugh Dancy's accent has to be one of the best American accents I have heard from British actors, though there are certain things that he says to give it away.I highly recommend that you go and see "Blood and Chocolate," though for fair warning, I have not yet read the book and this opinion of mine on the movie is based only on the movie, no comparison to the book at all..
The film could have been a little more realistic if they didn't try to stuff it with so much fake werewolf lore with churches and kingdoms surrounding them.The film has so much bad with it, that you almost forget that the best part is they use real beautiful wolves instead of CGI or makeup.Pass on the movie and pick up the book instead.Cheers.
If you like a good werewolf flick, then give this movie a try..
You can always be stuck with effects that are horrendous (see Stay Alive, or even Van Helsing), however, Blood And Chocolate used it minimally and well enough to where you're not left saying, "That's SO fake!" I'd recommend this movie to anyone who enjoyed flicks like Ginger Snaps, Twilight, or Dracula 2000.
While this probably won't go down as my favorite horror movie ever, I thought Blood and Chocolate was a very solid, interesting vampire story.
If you'd like a more thoughtful and introspective story that touches on the effects of living through violence and what it means to be different, outcast, and a member of a violent, isolated group, then this film is probably worth your time..
There was another post that bugged me when someone said that he was upset because the Romanian people were speaking English, even between them.It's not our fault that this may look awkward since the American speaking actors couldn't learn few words in Romanian, but in our country there are many English speakers, and lots of them who are actors.So before complaining about this aspect try reconsidering your opinion.I didn't saw any good comments about the whereabouts of this movie, the beauty of the city, of the chapels etc but few by few i consider that this movie deserves a 5 because it was shot here, in my country.
Oh, and he's Vivian's brother, apparently.We learn than Vivian may be "chosen" to be the next wife of current pack leader Gabriel (Olivier Martinez) and there's a lot of big talking about tradition and sticking with the rules of conduct for wolves.Of course, Vivian is not into that whole "tradition" stuff, and instead becomes interested in a "Meat" named Aiden (Hugh Dancy) who is acts cute and charming and whose acting probably adds points to this flick.After playing hard to get for a while, Vivian softens up and she and Aiden become an item with the happy segues and cut shots as a happy couple together, sharing lollipops and ice cream together.Of course, this movie is a tragedy and it turns into darker times when Rafe discovers the romance and brings it to Gabriel.This brings us to the pinnacle of the movie, which by any account, was pretty unspectacular.
It ends in a predictable fashion, and not in a "gee that was a predictable but entertaining ending", more of a rather, "gee that was a predictable ending that just wasted another 40 minutes of my time."We'll break from the synopsis here to just give the raw review:In general, this movie is trying so hard, but fails in so many ways The acting is tough to pull off as authentic, the director could have done a lot better to create real drama While the score brings the movie up a notch, it's almost all it's got going for it The effects, while cutting edge for 1985, are pretty low-budget and do not much more than transform a human mid-leap into a dog.
I mean, if you haven't read the book the movie was overall pretty good.
Good plot and such, but if you are a fan of the book like me and my friends are,we went to the first showing of the movie at 3:50 pm on Friday and well..
They do change some of the names in this and the way the characters were described in the novels isn't what they look like in the movie.
While the book had an ending that was both unexpected and much more realistic (in some ways) than what you expect, the movie has a fairly typical movie-like third act.
This isn't totally a bad thing; in some ways, it made the story a bit easier to enjoy without too much thinking.That, really, is the key to enjoying Blood and Chocolate; don't turn off your brain, but don't try to make it any more than it is.
the romance of the movie between Aiden (a human graphic novel writer) and a chocolate candy store worker named Vivian, kept me interested in the film.
Unlike some I actually did enjoy watching this movie, it didn't have the big special effects, nudity, or gore that what seems like all mainstream movies have now-a-days.
The cinematography was outstanding, the "transformations" were a pretty classy way for them to change, and it was a nice special effect, too.Neither my friend or I had ever read, or even heard of, the book that this is based on.
Seriously, this is the best advice EVER: Do not watch movies with previous expectations, you might miss what's actually good about the work because you're too busy complaining about changes from the original source or debating special effects.I have to say that I didn't follow my own advice.
I watched the movie fully expecting to be disappointed (I had loved the book when I was younger and heard that they'd butchered it).
As for the plot, it's entirely simple, but sometimes simple is better, and moves pretty fast.Before summing up, I want to just touch on some people's complaints, namely those given by viewers disappointed by the special effects, and the fact that the loup garoux were, gasp, actual wolves and not man-wolf hybrids.
The underworld movies were good and hopefully the new one called skinwalkers will be good.Blood and chocolate has good special effects and I liked the story as well.The only thing I didn't like was the opening scene where Vivians family is murdered was too rushed.It should have been longer and the characters should have been introduced and explained better.Olivier Martinez was excellent and convincing as their leader.Hugh Dancy did a good American accent and I didn't know he was even British.
If you accept this, you can enjoy it as a completely different story.The actors that portray these characters did and exceptional job and the special effects for the changing from human to wolf was very well done.
This movie was not AT ALL like the book but I still loved it.
Also, I get a nack out of literary movies (as I said many, many times); even from horror novels like this werewolf story.
Usually I hate werewolf movies that use real wolves for the werewolves instead of special effects monsters, but in this film it works instead of feeling like a cop-out.
It involves werewolves and the romance between a female werewolf and a human.Watching this for the first time in 2015 on DVD it makes an interesting comparison to the Twilight movies which came later.
A viable effort to turn one of the greatest supernatural teen books into a movie to capture a new audience, Blood and Chocolate has been changed from it's original form to be adapted to an older teen audience.
The acting was good, the characters were interesting, and the story wasn't bad, but the changes that occurred are what make this film a problem.
Not only is it painful to watch after reading the beautiful novel, it's a poorly processed werewolf flick on it's own.As many have stated, nothing between the book and the movie are the same except for the characters' names.
I've always been a reader since I was little, and around my middle school years I bought the book Blood and Chocolate, which the movie is based on.
The great book Blood and Chocolate by Annette Curtis Clause was completely butchered by this movie.
the only two good things about this movie was the names of the characters are the same, and the actor's appearances are exactly as the book describes them.
I read the book, which made this movie the worse thing I have watched in years.
The only thing like the book was the names of the characters.
I don't know, it seemed that the movie strayed so far from the book that it lost the meaning of Blood and Chocolate all together.
*If you have read the book, don't spend the entire movie comparing the two or anticipating things to happen like I did.
The movie is supposed to be based on the book blood and chocolate but they're both very different. |
tt1582519 | Khaleja | A remote village named Pali in Andhra Pradesh is hounded by an unknown disease, and several villagers loose their life each month. The village Tantric (Rao Ramesh) predicts that a powerful man will come to their rescue as God. He assigns his assistant Sidhappa (Shafi) the duty to find a man with such unknown supernatural power, and bring him to their village.
Meanwhile, Alluri Seetarama Raju alias Raju (Mahesh Babu) is an eccentric Orange Cab driver lives in Hyderabad, with his grandfather (Kota Srinivasa Rao), who is a teacher. Raju is currently in Rajasthan in search of the family of a man named Bilavar Singh. In his journey, He meets a Gemini TV television reporter Baabji (Sunil) who comes to Rajasthan to shoot a travel documentary.
Raju introduces himself to Baabji and tells him the reason for him being in Rajasthan. He describes a woman named Subhashini (Anushka Shetty), whom he considers brings bad luck to him. Previously he encountered her in various occasions in which she damages his taxi due to her reckless driving. Raju lands in hospital one day when Subhashini mixes epsom salt laxative intended for someone else, in Raju's coffee thinking that it meets her at a coffee shop to collect the compensation for his taxi's damages from her. For this reason, he considers her a bad luck.
One day, he drives two men, Geology Scientist Dr. Paranji and his assistant Bilavar Singh, to their destination the Geological Survey of India. But he sees them getting gunned down by some hench men and Bilavar falls out of a window and lands straight on Raju's taxi, completely destroying it. Since Bilavar has insurance, Raju's boss tells him to deliver the insurance check of Rs. 5,00,000 to Bilavar Singh's family in Girdwala, Rajasthan and get Rs. 1,00,000 in return to pay for his car damages.
Meanwhile, Subhashini's father, business magnate Durga Prasad (Tanikella Bharani), brings her a match, another business magnate GK's (Prakash Raj) son. The main reason for the proposal is to establish a strong business partnership. GK's son takes her to Rajasthan for a date. But Subhashini runs away after she sees a condom packet drop from his pocket and realizes his true intentions. GK finds out about it and informs Durga Prasad and promises to bring Subhashini back. He sends his henchman, Govardhan (Subbaraju) to Rajasthan in search of Subhashini. To Raju's dismay, Subhashini finds Raju and Baabji and learns that she is in Rajasthan. Subhashini, Baabji, Raju, and a botanist Tom (Ali) find Girdwala and hand over the check to Bilavar Singh's family, but Raju refuses to ask for the Rs. 1,00,000 when he sees the family's poverty. Tom remains in the village as the villagers want to punish him for cutting a sentimental plant, Baabji goes away with his shooting team, but does not offer them a ride as he is scared of Subhashini's reckless behavior.
As Raju and Subhashini return, Govardhan's men attack, stab Raju, and take Subhashini after knocking her unconscious. But Raju survives, fights and kills almost all of Govardhan's men, while Govardhan escapes from the scenario leaving Subhashini behind. Just as Raju goes unconscious, Sidhappa finds him and believes he is the God after seeing the omens. Sidhappa and Subhashini take Raju to Pali, where the villagers treat his wounds. After waking up, he finds all of the villagers praising him as Man God. He finds out from Subhashini that they are in Pali, and that the villagers see him as the supernatural man God that the village Tantric was describing about, and who will rescue the village. Initially reluctant to help them out, he escapes to Hyderabad where he hands over Subhashini to her father. After realizing that Tom and Siddappa followed him to Hyderabad, Raju puts fate to test and when he understands the concept of deityhood and god, he makes it a goal to solve the mystical series of deaths in the village. After tracking down a doctor (who works for GK), the dean of the medical college run by GK (who set up the medical camp in Pali), Govardhan and Miriyam (Brahmanandam), GK's lawyer, Raju discovers that the plastic factory in Pali deposits it's wastes in the driking water source nearby, thus contaminating and killing the villagers. While Tom and Siddappa think this is the end of the story, Raju suspects that there is more to the story, that so many villagers are dying due to the plastic factory waste that is being contaminated with drinking water, and GK actually wants the villagers in Pali to die, which was why GK had the Government's medical camp removed periodically. He finds GK's assistant (Archana) and suspects that she has something to do with GK's plan as she did not get into his taxi along with Geologist Paranji, indicating that she knew beforehand that he was going to be killed. Raju inquires her about GK's intentions, who reveals that Paranji discovered earlier that there is a large Iridium deposit under Pali, which is worth billions, and informed GK about it.
Despite GK's warning to Paranji of not revealing it to anybody else, he tries to inform the Geological Survey of India about the deposits, which was why he and Bilavar Singh, who was with him, were killed that day. GK suspects that Raju might also know about the Iridium deposit because he was with Paranji when he was killed which was why GK sent Govardhan to kill him, not to retrieve Subhashini. Raju was lured to Girdwala under the cover of delivering the insurance check to Bilavar Singh's family (GK had the insurance documents planted) and was attacked by Govardhan. GK needs the strong plastic glass from the plastic factory to pack the Iridium. He wanted the Pali villagers to vacate (to dig the Iridium ore without trouble) on their own to avoid suspicion, which was why he poisoned Pali's environment using the plastic factory's waste.
GK kills his assistant because she revealed everything to Raju. GK then heads to Pali to kill all of the villagers before the truth goes out to the public. The village head warns GK that Raju is their God and that Raju will bring death to GK and keep the Pali's population at 534 and not let anyone die in the wrath of GK. Raju arrives at Pali along with Sidhappa. GK immediately shoots Sidhappa and kills him, reducing the population to 533. Raju angrily kills all of GK's goons, and severs GK's palm. A terrified GK starts escaping with Raju in pursuit. Raju catches up to him, and GK dies when a religious knife hanging from a nearby tree falls and stabs him in the neck. The village head finally reveals that Raju fulfilled his mission as God to save the village as, although Sidhappa was killed, another baby was born to keep the village's population at 534. | violence, murder | train | wikipedia | null |
tt0282975 | Silent Hill 2 | === Setting ===
While not a direct sequel to the events and characters of the first Silent Hill game, Silent Hill 2 takes place in the series' namesake town, located in the northeastern United States. Silent Hill 2 is set in another area of the town, and explores some of Silent Hill's backstory. The town draws upon the psyche of its visitors and ultimately forms alternative versions of the town, which differ depending on the character. The concept behind the town was "a small, rural town in America"; to make the setting more realistic, some buildings and rooms lack furnishings.
=== Letter from Silent Heaven ===
James Sunderland (Guy Cihi) is the protagonist of the main scenario of Silent Hill 2. He comes to the town after receiving a letter from his wife Mary (Monica Taylor Horgan), who died of an illness three years before. While exploring the town, he encounters Maria (also Monica Taylor Horgan), who strongly resembles Mary except for her different personality and clothing; Angela Orosco (Donna Burke), a teenage runaway searching for her mother; Eddie Dombrowski (David Schaufele), another teenage runaway who was somehow brought to the town; and Laura (Jacquelyn Brekenridge), an eight-year-old who has met and befriended Mary.
After arriving in Silent Hill, James decides to search a local park, where he meets Maria, who claims that she has never met or seen Mary. As she is scared, he allows her to follow him. While looking for Laura inside a hospital, James and Maria are ambushed by the monster Pyramid Head, and Maria is killed by him just as James escapes. He resumes his task of finding Mary, and chooses to search a local hotel where he and Mary spent their vacation. On the way, James finds Maria alive and unharmed in a locked room. She claims ignorance of their previous encounter and discusses elements of James' and Mary's past that only Mary would know. James then sets off to find a way to release Maria from the room and eventually returns to find her dead again. Later on, he rescues Angela from a monster; she confesses that her father used to sexually abuse her, and a newspaper clipping James can find implies she killed him in self-defense before coming to Silent Hill. He also confronts Eddie, who admits to maiming a bully, and killing a dog, before fleeing to Silent Hill. Attacked by Eddie, James kills him in self-defense. At this point, it is revealed that in Eddie's version of Silent Hill all the monsters experienced by James are experienced by Eddie as people laughing and taunting him to violence.
At the hotel, James locates a videotape which depicts him killing his dying wife. At this point in the game, the letter from Mary is shown to have been a blank piece of paper the entire time. In another room, a final meeting with Angela sees her giving up on life as she is unable to cope with her trauma and guilt any longer. She walks into a fire and is not seen again. At this point it is revealed that in Angela's version of Silent Hill the town is always on fire.
James later encounters two Pyramid Heads, along with an alive Maria, who is killed again. James realizes that Pyramid Head was created because he needed someone to punish him, and all the monsters have been manifestations of his psyche. The envelope from Mary disappears and both Pyramid Heads commit suicide. James heads to the hotel's rooftop; depending on choices made by the player throughout the game, he encounters either Mary or Maria disguised as her.
Silent Hill 2 features six endings, all presented as equally possible; Konami has kept their canonicity ambiguous. In "Leave", James has one last meeting with Mary, reads her letter, and leaves the town with Laura. "In Water" sees James commit suicide by driving his car off a cliff. The "Maria" ending sees Mary as the woman on the rooftop, who has not forgiven James for killing her. After her defeat, James dismisses her as a hallucination and then leaves the town with an alive Maria, who briefly coughs, suggesting she will become sick just as Mary did, and the cycle will repeat. The other three endings are only available in replay games, including "Rebirth", in which James plans to resurrect Mary using arcane objects collected throughout the game, and two joke endings: "Dog", where James discovers that a dog has apparently been controlling all the events of the game, and "UFO", where James is abducted by extraterrestrials with the help of the first game's protagonist, Harry Mason.
=== Born from a Wish ===
Born from a Wish is a side-story scenario in the special editions and re-releases of the game in which the player takes control of Maria shortly before she and James meet at Silent Hill. After waking up in the town with a gun and contemplating suicide, she resolves to find someone. She eventually encounters a local mansion, where she hears the voice of its owner, Ernest Baldwin. Ernest refuses to let Maria into the room he is in and will only talk to her through its closed door. After Maria completes tasks for him, Ernest warns her about James, whom he describes as a "bad man". After Maria opens the door to Ernest's room and finds it empty, she leaves the mansion. At the conclusion of the scenario, Maria contemplates suicide once more, but ultimately resolves to find James. | insanity, violence, murder, flashback | train | wikipedia | I don't know if that will happen within my lifetime, but games like Silent Hill 2 make me confident that it WILL happen.As a fan of the Resident Evil series, I was ready to rip this "pathetic copycat" title (the original SH) to shreds.
Everything about Silent Hill 2 is excellent--the graphics, the voice acting (I'd like to hear these newcomers in other roles), a musical score which rivals--and shames--many film soundtracks, the writing (considering it's been translated by the industry that gave us "the master of unlocking", it's very well done), the design--the list continues.
To enjoy the series the player must be willing to participate, in thought as well as action.Many people--especially parents, I'm sure--will be turned off by the edgy content in Silent Hill 2 and will subsequently dismiss it as valueless.
Yes, there's blood is spilled; yes, there are disturbing images; yes, (in Silent Hill 2) there are strong sexual overtones; and yes, this would be a poor choice for the less mature or easily frightened; but ALL of it is essential in the creation of atmosphere, emotion, and storyline- in short, the entire experience.
This is by far the most character-driven (non-RPG) series I've experienced.Not too long ago I was discussing video games with a professor of mine, an intelligent person whose opinion I respect and value.
I'm convinced she either knows nothing at all about the Silent Hill games (has likely never played them, not to mention completed them--is it not incredibly presumptuous to judge a book after reading only a few chapters?) or that she looks down upon video games in general.
All have stories to tell, none of which are pretty, and we watch in fascination as various characters fold under the mental strain of the sights they are seeing.By the end of the game, there are several questions left unanswered, and several new ones are raised.
And (most interestingly) does this nightmarish Silent Hill actually exist, or is it all a figment of James' twisted imagination?The game provides some brilliant environments and creature design, some challenging puzzles and creepy, grainy camerawork.
The action is well balanced with puzzles and, luckily, Silent Hill 2 didn't forget the running away aspect of survival-horror games (as many new games do forget).
All of these features add up to what is Silent Hill 2, the scariest game I have ever played.In all, Silent Hill 2's creepy, yet beautiful visuals, haunting story and terrifying sounds are definitive proof that video games can be art, and darn fine art at that..
This video game is plot-driven; not like Resident Evil which can be summed up thusly: We Have to Kill Things.The sound effects and scenes are better-done than in any other comparable video game, and most motion pictures too.
This game is a sequel to Silent Hill, the surprise hit videogame that came out in 1999 and scared the crap out of almost everyone who played it.
This Game has one of the best story lines ever; James Sunderland, recived a letter from his wife Mary, it said, "In My restless dreams I see that town, Silent Hill, You Promised you'd take me there again someday, but you never did.
Well, I'm alone there now in our speical place waiting for you..." James is very suspisious of this letter and decides to go to Silent Hill, only one thing bothers him about doing so, His Wife Mary has been dead for 3 years.
i thought that the first silent hill game was really good, even though its story was really complicated!
the story is miles better (more like a catastrophic love story than a horror)the graphics are hellish (PS2 though, the graphics on SH1 were great for the PSOne)but the one thing that it lacked was that feeling of fear that was present throughout the first one.
Filled to the brim with symbolism, as you walk through the town of Silent Hill, you begin to empathize with James, the main character, unsure if what you're seeing is actually real or a product of the imagination, while also becoming more and more detached as more is revealed.
I am 31 years old and this game is still stuck in my mind, the atmosphere the monsters the voice acting the music the puzzles the graphics at time, everything was just near to real perfection in this game..
Fantastic game silent hill 2 with many different endings i love this game and still play and play with my ps2 fantastic i dont know more to say but i think people will understand play this if you havent and have fun :).
For a video game that came out almost 16 years ago, Silent Hill 2 is one of the best, or maybe even the best, survival horror/psychological horror games ever created, the disturbing and gut wrenching atmosphere and captivating story telling that this game delivers is something that is truly unique and superior compared to other games in the genre.
In my opinion, Silent Hill 2 has one of the most memorable characters and one of the most terrifying gameplay elements I have seen in horror games, but whether it's the static of the radio, or the never ending fog, anyone who plays this game will most definitely find something that will truly horrify them.Rating: 9.5/10.
It also improves the graphics, and those are excellent in this, regardless of release: The beautiful, impeccably done and realistic lighting, shadows, weather effects, "static noise"(invaluable for the mood), the *gorgeous* CGI cut-scenes(and the in-engine ones, that now have their mouths move, if perhaps not always perfectly synced), the cinematography that gets to be even freer and it's been loosened up, that it helps a ton and the dynamic camera(that brings with it immensely interesting and effective angles) that you can exert limited control over all add up to make this a truly cinematic experience.
There can't be another game series like Silent Hill, it is unique in it's own special way.
I've played many games and I can't think of any game that even compares to Silent Hill.
But with Silent Hill, whether you're into playing video games or not, you'll love every friggin' second of it..
Being a big fan of adventure/horror games such as Fatal Frame and Resident Evil, I couldn't help but pick up the first Silent Hill.
I played this video game when i was 14 years old, i really enjoyed every part of the game (having played the original Silent Hill back in 1999 when i was 11), even though i didn't get the emotional side of the story because i was too young, i did enjoyed the environments this game gave me in those times of "a friend is needed", they were so special as if i were dreaming, it was a dream becoming true, i was alone and i had no friends, everyone hated me at my school but i had my friend the PS2 console, just when it came out "SH2: Letters from Silent Heaven" was the hit of the year!
And i felt really concerned to unlock every hidden items and endings possible, and i did, without the help of anyone i solved the riddles and i felt i had my real, true and only friend.The music from SH2 got me deeply inside my mind, that's why i started to get more into this kind of artists and bands, when the "Psychedelic Trance" music appeared was when i was into SH2, and the sounds and name of the tracks were highly related to this video game, it was a true experience i will never forget, i felt so happy even though i was very depressed and lonely and i didn't liked my life, bands like : X-Dream, Juno Reactor, Infected Mushroom, Koxbox, Wizzy Noise, Lish, Electric Universe, SBK, were starting my path to a new music revolution that would break any boundaries of quality and perfect dark harmony and feelings.Silent Hill is my life and i will never forget those great moments when i was younger and i completed every single ending and gradually i were discovering new amazing things throughout the world of Silent Hill 2 Letters from Silent Heaven.Perfection for people who are only concerned with this video game and have had enough experiences that could prove that you're a real fan and not "fakes" that just pretend knowing it all when they really are just waiting to judge another masterpiece and make it a piece of trash, this is what i will always hate and despise in my life.I have dedicated my entire youth to Silent Hill!
and who expected Pyramid Head to be doing THAT??), but the true terror of Silent Hill stems from a myriad of different factors that blend together to create the most memorable horror experience in gaming history.
This is a true horror classic just like the first one (although maybe not as good)but this game take you to an place that you may not talk about,too terrible to explain,still too fascinating to stay away from.
A masterpiece in storytelling and environments, this game is every bit as great as everyone say it is and team silent really did something special here.the characters look and feel real, the game goes deep into the human emotions and depression the way no game in that time had ever done before.it's a different kind of horror, a one you will never forget and it will mess with your mind for days..
Game-play, graphics, puzzles, story-line and sound effects - Just EXCELLENT.
I don't like very much video games, but "Silent Hill 2" is one of the best games that I've played.
This sequel improves every aspect of the first game: The story, the characters, the graphics...And it made a great job combining horror and drama, creating a interesting story.
By last I want to mention something about the voice acting: It is much better than the first one(Propbably the weakest point of the first "Silent Hill" were the odd voices of the main characters) and the voices go very well with the characters.I recommend this game to anyone.
James Sunderland receives a letter from his dead wife, Mary, beckoning him to Silent Hill.
I also love how the monsters have meaning (you may have to do a bit of research to find out what, I do not currently have the resources on me but the Silent Hill Forum is a good place to start).
The game itself is so scary that i couldn't play it alone although i have watched many horror movies that didn't let my friends sleep at night and didn't even blink.
Silent Hill 2 imo is the best game in the entire series for it's epic storyline, great atmosphere, Soundtrack, graphics, characters, endings, puzzles, monsters/art design, etc.
Simply put it If you love Horror games and a deep epic story look no further then Silent Hill 2.
Despite more recent entries in the franchise- now at the hands of various Western developers- having faltered and crumbled at times, that original quadrilogy of releases will always be admired as classics of the genre.Perhaps the most popular of the ever-expanding media franchise is "Silent Hill 2", a game initially released fifteen years ago for Sony's smash-hit Playstation 2 console.
"Silent Hill 2" is simply perfection, and horror at its purest.James Sunderland is a man lost.
A letter apparently written by his deceased wife, Mary, beckoning him to return to the town of Silent Hill- their "special place." Knowing that this letter cannot possible exist and questioning his own sanity in following its direction, James still chooses to return to the town where he had once spent time with his beloved wife.
Some may not be a fan of the old-school survival-horror set-up which can make it hard to navigate maps and fight off the borderline-demonic foes tracking you at every step, but I find it lends a lot to the suspense and perfectly compliments that sense of all-encompassing chills.The fact of the matter is that this is an invaluable and important piece of gaming history and is a perfect example of video games as art.
the couple first time i played the game i was totally terrified , its amazingly horrifying , this is totally the perfect example of twisted psychological horror.
While western horror mainly consists of running around with a chainsaw and slicing hordes of baddies, Japanese horror tends to be less direct about it - Its subtle, claustrophobic, and mostly psychological.The most remarkable thing about the Silent Hill series and SH2 in particular, is that it managed to pull off what was once considered to be impossible to achieve in video game format - a truly chilling and yet strangely compelling survival horror experience, unburdened by the usual design flaws that characterized earlier games in the genre, such as Alone In the Dark and Resident Evil.
Moreover, the astonishingly pathetic attempts to bring the franchise to the big screen only cemented the notion that the Silent Hill games are nothing short of peerless in both storytelling and atmosphere.It's a strange thing to say considering that a large portion of the game consists of running in fairly empty streets, often needing to resort to a pretty awkward combat system and the unwieldy nature of the in game camera which somehow always finds the least comfortable position to be stuck in, especially when my character needs to get away from the horrors in a hurry - meaning pretty much all the bloody time.
First of all, you play as James Sunderland , a helpless man who revived a strange letter from his dead wife saying "Come to their special place in Silent Hill".
The sound in mostly in all Silent Hill games is clearly creepy as hell making you wanna mute your TV.
Since Silent Hill is based on excellent atmosphere ,their is truly no pop-ups or any cheap scares which I like seeing how this is a psychological game playing with your mind.
Furthermore, Silent Hill 2 will forever be one of the best horror games of all time.
gonna tell you - after playing this game for first time 11 years ago i knew it gonna stay with me until the end of my life - and how right i was..
Creepy survival horror game with good atmosphere..
Yes the atmosphere is the thing that stands out the most in this survival horror that does not really resemble the more typical game of this genre such as Resident Evil.
However, this is where Silent Hill is not so good...the endings, nothing is really resolved at all, I won the game, but still felt I needed to know more.
However, I've played through the game twice, and there is a bit more revealed each time, so maybe those questions are answered in the end--just another trip through Silent Hill away.
However, I found myself playing SH1 more than SH2, because SH1 had more..."zazz"...to the game (despite the dated graphics and low resolution).When I first heard SH2 was on the verge of release, I was both happy and saddened...I was happy because, well, this is Silent Hill!
James Sunderland lost his wife to an illness 3 years ago, and he receives a letter saying that she's waiting for him at Silent Hill.
Sorry, but you'll have to check in on a plot guide to find out what that is.BOTTOM LINE: Although I did buy this game and play it (for the simple fact it's Silent Hill), it did not live up to the standards of the original.
In my opinion this is why the Silent Hill series is better than the Resident Evil games.
There was rarely a computer game (or a series) that has been as underrated as Silent Hill.
Playing Silent Hill with such cinematic feelings goes beyond every 'normal', non-interactive movie: all the time you have the feeling that YOU participate in the game; that you are not just observer, but you PLAY a 'REAL' character.It is interesting that everything started with the horror genre.
Yamaoka claims that the silence is also a sound, just its opposite part, and how right he is!Silent Hill 2 is not just psychological-horror game.
But let's hope it'll avoid Hollywood and stay on its own ground ...With Silent Hill, 50 people worked on the game for about 2 years, usually more than production time of a HW movie.
I remember playing the first game of this series, Silent Hill, for PlayStation back in 1999, and it terrified me.
That was when I was 6.It was only a few years later when I remembered the Silent Hill series, and decided to give one of the games for PS2 a try.
Here James' grief for his wife and his interest in this woman are brilliantly examined for the viewer and this realism unseen in the first game (along with better voice acting) manages to draw you in further than any video game ever has.For a horror game, Silent Hill 2 is strangely beautiful, with awesome graphics and handsomely rendered characters -some fragile and alone others dangerous, each with their own story and personality.
Silent Hill 2 is more like a tragic love story that will leave you stunned.
Rather than fall into the basic trap of games that value action over story, Silent Hill 2 revolves around character development.
Their internal conflicts are believable and intense, a quality that makes "Silent Hill 2" a unique gaming experience, being excellent in every single possible aspect: The graphics are impressive and well done, the music (Done by Akira Yamaoka)is superb, bringing the story the perfect combination of horror and sadness.
The story follows James Sunderland a man searching for his dead wife in the hellish madness that is Silent Hill.
Silent Hill 2 was, for its time, a great game.It was the first Survival Horror game out on the market, and was very much used as an exercise in demonstrating the then new PS2's power. |
tt0208988 | Get Carter | Newcastle-born gangster Jack Carter has lived in London for years in the employ of organised crime bosses Gerald and Sid Fletcher. Jack is sleeping with Gerald's girlfriend Anna and plans to escape with her to South America. But first he must return to Newcastle and Gateshead to attend the funeral of his brother Frank, who died in a purported drunk-driving accident. Unsatisfied with the official explanation, Jack investigates for himself. At the funeral Jack meets his teenage niece Doreen and Frank's evasive mistress Margaret. It is later implied that Doreen might actually be Jack's daughter.
Jack goes to Newcastle Racecourse seeking old acquaintance Albert Swift for information about his brother's death, however Swift spots Jack and evades him. Jack encounters another old associate, Eric Paice, who refuses to tell Jack who is employing him as a chauffeur. Tailing Eric leads him to the country house of crime boss Cyril Kinnear. Jack bursts in on Kinnear, who is playing poker, but learns little from him; he also meets a glamorous drunken woman, Glenda. As Jack leaves, Eric warns him against damaging relations between Kinnear and the Fletchers. Back in town, Jack is threatened by henchmen who want him to leave town, but he fights them off, capturing and interrogating one to find out who wants him gone. He is given the name "Brumby".
Jack knows Cliff Brumby as a businessman with controlling interests in local seaside amusement arcades. Visiting Brumby's house Jack discovers the man knows nothing about him and, believing he has been set up, he leaves. The next morning two of Jack's London colleagues arrive, sent by the Fletchers to take him back, but he escapes. Jack meets Margaret to talk about Frank, but Fletcher's men are waiting and pursue him. He is rescued by Glenda who takes him in her sports car to meet Brumby at his new restaurant development at the top of a multi-storey car park. Brumby identifies Kinnear as being behind Frank's death, also explaining that Kinnear is trying to take over his business. He offers Jack £5,000 to kill the crime boss, which he flatly refuses.
Jack has sex with Glenda at her flat, where he finds and watches a pornographic film where Doreen is forced to have sex with Albert Swift. The other participants in the film are Glenda and Margaret. Overcome with emotion, Jack becomes enraged and pushes Glenda's head under water as she is taking a bath. She tells him the film was Kinnear's, and that she thinks Doreen was 'pulled' by Eric. Forcing Glenda into the boot of her car, Jack drives off to find Albert.
Jack tracks Albert down at a betting shop. Albert confesses he told Brumby that Doreen was, indeed, Frank's daughter. Brumby showed Frank the film to incite him to call the police on Kinnear. Eric and two of his men arranged Frank's death. Information extracted, Jack fatally knifes Albert. Jack is attacked by the London gangsters and Eric, who has informed Fletcher of Jack and Anna's affair. Jack shoots one of them dead. As Eric and the others escape they push the sports car into the river with Glenda trapped inside. Returning to the car park Jack finds Brumby, beats him senseless and throws him over the side to his death. He then posts the pornographic film to the vice squad at Scotland Yard in London.
Jack abducts Margaret at gunpoint. He telephones Kinnear in the middle of a wild party, telling him he has the film and makes a deal for Kinnear to give him Eric in exchange for his silence. Kinnear agrees, sending Eric to an agreed location; however, he subsequently phones a hitman to dispose of Jack. Jack drives Margaret to the grounds of Kinnear's estate, kills her with a fatal injection and leaves her body there. He then calls the police to raid Kinnear's party.
Jack chases Eric along a beach. He forces Eric to drink a full bottle of whisky as he did to Frank, then beats him to death with his shotgun. As Jack is walking along the shoreline, he is shot through the head by the hitman with a sniper rifle. | revenge, comedy, murder, violence, flashback | train | wikipedia | null |
tt0060783 | One Spy Too Many | The film opens with Alexander (Rip Torn) stealing a chemical weapon from a military base. The weapon causes an enemy’s troops to lose the will to fight, thereby making conquest in battle far easier. This is part of Alexander’s dual goal: to conquer the world in the manner of Alexander the Great and to break each of the major moral codes in so doing (which essentially means the ten commandments as detailed throughout the movie).
U.N.C.L.E. becomes involved after the theft of the weapon and agents Napoleon Solo (Vaughn) and Illya Kuryakin (McCallum) are assigned. Also searching for Alexander is his estranged wife Tracey (Dorothy Provine), although her motive is to serve him with divorce papers. Through a series of coincidences (and Tracey’s focused efforts to trail the U.N.C.L.E agents to find her husband), Solo, Kuryakin, and Tracey end up joining forces. As a result, they are at various times captured, tortured, left to die in an elaborate way in an Egyptian tomb, and otherwise thwarted by Alexander throughout the film.
Alexander believes that if he is able to assist a military junta in the takeover of a small country (implied to be Vietnam) that he can use that country as a base for world conquest. By careful planning, he combines his final violation of a commandment - killing the country’s leader - with the takeover of the country and the start of his march toward global domination. Intervention by U.N.C.L.E. prevents the assassination, and during his escape Alexander is killed by his own accomplice Kavon (David Opatoshu). | violence | train | wikipedia | For the last time, this is not a spoof..
The first theatrical spinoff from "The Man From U.N.C.L.E." to come from two RELATED episodes ("To Trap A Spy" was "The Vulcan Affair" + extra footage, and "The Spy With My Face" was "The Double Affair" + extra footage*, but this movie was first shown on American TV as the show's two-parter "The Alexander The Greater Affair"), "One Spy Too Many" has Solo and Kuryakin go up against evil millionaire industrialist (aren't they all?) Alexander, who as part of his plan to take over the world by breaking all of the Ten Commandments has stolen a will gas, which our heroes have to get back.This is often and misleadingly called a spoof by people who can't understand the difference between an espionage show with a sense of humour (which "The Man From U.N.C.L.E." was in the beginning) and an out-and-out comedy (which is what it became in its third year, giving the show a very misguided "Batman" feel - I defy anybody to watch Solo dancing with a man in a gorilla suit in "The My Friend The Gorilla Affair" without screaming).
Though it's pretty tongue-in-cheek, the danger our heroes are in is real more often than not; it does betray its TV roots more than any of the other "movies," with several of the show's trademark going-out-of-focus-at-the-end-of-an-act shots preserved, an all-too-obvious "To be continued" moment and at least one really bad use of stock footage.But with Messrs.
Vaughn and McCallum in fine fettle, and Rip Torn having a high old time as the evil madman (and he wasn't even Larry Sanders' producer then), this is as entertaining today as it must have been when it debuted on TV nearly forty years ago.
Would I be lynched if I said I actually like these more than Bond?*Said extra footage was eventually turned into "The Four Steps Affair." That episode has never been shown on British TV, and indeed neither have most of the other episodes that became movies - except for "The Five Daughters Affair" (i.e.
"The Karate Killers"), shown in its original two-part format on the UK answer to TV Land, Granada Plus..
Good 60's fun without being too silly.
'One spy too many' is two episodes of the Man from UNCLE TV show put together to create a film length version.
Alexander (Rip Torn) is breaking each of the ten commandments as he carries out his master plan towards world dominance.
When he steals a chemical weapon from a military base, leaving a number 8 behind, UNCLE agents Napoleon Solo (Vaughn) and Illya Kuryakin (McCallum) join forces with Alexander's estranged wife (Dorothy Provine) to stop his plan before it's too late.Like most UNCLE films this is has TV-show production values and is generally not meant to be taken too seriously.
Having said that the plot is not that ridiculous compared to some of the spy spoofs' other storylines, and Rip Torn makes for a good villain.
The story manages to be fun without being too silly.
However the idea of a drug that makes you calm and peaceful will probably not seem too farfetched for many of us!Vaughn has the most fun as ladies man Solo and gets the lead role of the two agents.
McCallum always seemed strangely sidelined and here is no different.
He doesn't get any girls, any laughs and doesn't get that many fights either.
However the two do manage to have a type of disapproving chemistry between them.
Provine is a bit annoying as Tracy Alexander and is not a great female lead.
Other minor female characters aren't key to the story but do provide a flirtatious sexy feel to the film especially the beautiful 'Control' (Yvonne Craig who also played Batgirl!) and Princess Nicole (Donna Michelle who played another role is the earlier UNCLE film "The spy with my face").
They both provide tasteful sexiness that feels at home in a 1960's film.Rip Torn is almost unrecognisably young as the lead villain and plays him well - with an air of uncaring evil as he calmly goes about his businesses.
There are actually no really bad performances in this film!
Also, having been left out in "The spy with my face" that old friend makes a reappearance - the UNCLE theme tune!
It now feels more like an UNCLE movie.It's all a bit of fun, but it manages to have good performances, a reasonable plot and some dated action in order to make itself a fun, Saturday afternoon family film.
Any fan of the TV series should be a fan of this..
Rob's your U.N.C.L.E..
The "The Man from U.N.C.L.E." TV-adaptations-into-movies are never off British TV rotation for long, although nostalgists like myself would be far happier if the rights to the complete original TV series could be picked up and shown the same way that classic British-made ABC shows like "The Champions", "The Avengers" and "Department S" more frequently are.
I for that matter would love the chance to see other classic US fantasy / spy series like "The Wild Wild West", "I Spy", "The Green Hornet" and even "Get Smart" which somehow seem to have been permanently mothballed since their 60's heyday, certainly as far as British TV is concerned.This U.N.C.L.E. composite shows its soldering too easily despite professional enough titles front and back-ending it.
It doesn't strike me as one of the more memorable adventures Agents Solo and Kuryakin enjoyed, although it has its, albeit minor, moments.
David McCallum gets most of the action here, neck deep in a marshy swamp, stripped to his shorts (no doubt his myriad teenybop fans of the time would have appreciated this) and suspended from a ceiling to be made into a modern-day mummy (it sounds strange just typing that never mind witnessing it), while Robert Vaughn does his usual debonair bit, courting the ladies, although here Yvonne Craig (later to become the leather-clad Batgirl in the "Batman" TV series) as his minor Miss Moneypenny interest, seems absurdly, as she was 30 at the time, almost too young for our hero.
Another oddity is the crude insertion, at the end of master-villain Alexander's plane exploding mid-air in vintage black and white - talk about regurgitating your old stock footage!The story is run of the mill spy-caper fare with Rip Torn (looking at times a ringer for Ralph Fiennes!) getting off on an Alexander the Great(er) global domination kick and coming unstuck at the hands of Solo and Kuryakin with the usual token meddlesome tag-along female in tow, played here with relish by Dorothy Provine.To be truthful there are few real thrilling and suspenseful moments and even the stars' quips seldom raise a smile but Vaughn and McCallum look the part in their suits and haircuts and that great Jerry Goldsmith theme music is never far away.Probably for 60's kids like me only, although, not unnaturally the child in me remembers TV series like this and the above-mentioned with rose-tinted glasses probably lacking today.
Not that that will stop me watching the others in the series!.
The Best Of The Man From U.N.C.L.E. Films.
This is the best 'Man From U.N.C.L.E.' film combining humour, action and adventure.The grittiness of "To Trap A Spy" had gone as the series settled down to be a smooth tongue-in-cheek weekly action adventure.
Illya was now Napoleon's fully fledged partner and gets his own good scenes, and there are bonuses with Rip Torn as the megalomaniacal villain 'Alexander The Greater', Dorothy Provine as his dippy blonde former wife who has her own reasons for pursuing him, David Sheiner is alternately scary and funny as a henchman, Yvonne Craig as Napoleon's contact at Channel D and there are some memorable set pieces like the human chess game, the giant blade swinging over its victims, Napoleon's fight with Ingo in the gym, a mummified David McCallum and more.
(One of the things I always liked about these films is the way that coloured gas suddenly emits from everyday objects and knocks out anyone who breathes it in.) Here's what I wrote about it in my book "What We Watched In The 1960s (In The Cinema)" when it arrived in Glasgow during week commencing 6th February 1966.1966 would be the year when the spy craze peaked.
Audiences were turning out in their droves for spies in all shapes and sizes, and on Thursday evenings 'The Man From UNCLE' was a Top 10 rated show, which had already provided two successful spin-off films using existing episodes with additional material that may have been too strong for American TV, but the two-part episode - 'The Alexander The Greater Affair' - which kicked off season two in the USA, was released in Britain as "One Spy Too Many", with no additional material, and very good it was too.
Napoleon Solo and Illya Kuryeakin were after Rip Torn as a modern day Alexander The Great who wants to take over the world and break each of the commandments on his way.
His ex-wife Dorothy Provine hinders them as they go all over Europe and the US, which always manages to look like the MGM back lot.
The support feature was a made-for-US-TV movie, "Your Cheatin' Heart", which told the story of country singer Hank Williams, ably played by George Hamilton with Williams' son providing the vocals.
It was an excellent double-bill at both the ABC Regal and Green's Bedford.
Trivia: In early 1966 this film outperformed the new Bond film "Thunderball".
Director Joseph Sargent went on to helm "The Taking Of Pelham 1 2 3" in the 1970s.Jim Doyle is the author of 'What We Watched In The 1960s (In The Cinema)', 'What We Watched In The 1970s (In The Cinema)" and 'What We Watched In The 1980s (In The Cinema And On Video)'.
Overlong, but with compensations.
Unlike "One Of Our Spies Is Missing", the title of "One Spy Too Many" is well-chosen: the extraneous "spy" is played by Dorothy Provine, who is quite funny as the eager and persistent Tracey.
As a feature-length film, "One Spy Too Many" is also about 20 minutes too long, and it gets painfully slow at times.
But there are highlights spread over its length: the chess match with people acting as the pawns, the elaborate tomb death traps, Napoleon's fight with a muscle-bound gorilla in a gymnasium, Illya being chased by agricultural vehicles and almost getting mummified, and a climax that's worthy of a Bond movie (with the exception of the black-and-white stock footage of the plane explosion!).
The three main villains are well-cast, but the "will gas" that gets stolen from an army base in the opening sequence is never really used.
I was not surprised to learn that Yvonne Craig's scenes in this film did not exist in the original TV episodes; her innuendo with Napoleon (I love the way she pronounces that word), as well as the camera panning over her nude body push the boundaries of the PG rating! |
tt0087229 | Exterminator 2 | Following from the previous film, it shows Eastland walking freely on the streets of New York, without any hint that his dual identity was compromised. He meets up with another old army buddy, Be Gee (Faison), who owns a garbage truck. As seen at the beginning of the film, Eastland wears a welders' mask and wields a flame thrower, while listening to a police scanner for possible crimes to stop. Slaying the brother of a gang leader named X (Van Peebles), the Exterminator gains the gang's enmity. Coincidentally, his army buddy happens to see the gang during a robbery of an armoured car, and scares them away with his truck. However, they get the truck's plate numbers, and vow revenge. Following the truck one night when the buddy loans it to Eastland, they follow Eastland to his home, and, not having seen who the driver of the truck was the night it scared them away, they presume Eastland was the man behind the wheel that night. They attack Eastland's girlfriend in the park, crippling her. Later, they break into her apartment and kill her.
Then Eastland and his buddy interrupt a drug deal between X's gang and the mob, stealing the narcotics in the process, though the army buddy dies. Having earlier captured one of the gang members, Eastland allows him to escape to draw X into a confrontation, with the drugs as bait, in a closed up industrial site. Curiously, X seems to be aware of the Exterminator's real name in this final battle. Eastland triumphs, but was shot when last seen, and is seen walking away. | cult, revenge, murder, violence | train | wikipedia | null |
tt0342258 | Unleashed | Bart (Bob Hoskins) is a vicious loan shark whose method of persuading men to pay him back involves Danny the Dog (Jet Li), a man with the mentality of a child and a dog. Danny is a violently skilled fighter who stops at nothing to take down his targets, but only when a metal collar around his neck is removed by Bart. Once the collar is on, Danny is a harmless, withdrawn person, with very little knowledge of how to live as a socialised person, and he is constantly bullied by Bart, whom Danny perceives as his master. Danny meets Sam (Morgan Freeman), a kind blind pianist, at the antique warehouse while dealing with Bart's clients.
After the collar trick with Danny starts to fail, Bart realizes he can end his loan shark career by entering Danny as a fighter in underground fighting deathmatches. If Danny wins, Bart receives a hefty prize money. However, after the first fight, Bart is involved in a mishap with another criminal and is left for dead after being shot by a machine gun. A critically injured Danny returns to the antique warehouse for shelter, where he is found by Sam. Danny is out for two days and wakes up at the home of Sam and his stepdaughter Victoria (Kerry Condon), Danny starts to open up to them. He starts a new life with the benevolent family. The two teach Danny how to eat, read, speak, cook, go grocery shopping, and how to play the piano. Danny socializes with Victoria and Sam by hanging out with them in public areas and taking family photos. Danny drastically changes with new clothes, hairstyle, and fresh lifestyle. He finally learns to live without his collar after Victoria removes it. He is drawn closer to music while spending time with Victoria. He also develops curiosity about who his mother was after Victoria teaches him what it means to have a family.
Weeks later Sam informs Danny about moving back to New York, where he and Victoria are originally from. He invites Danny, telling him they think of him as family, and Danny happily accepts. However, Danny runs into Bart’s right-hand man Lefty in the streets and is forced back to Bart after Lefty threatens him by hurting Sam and Victoria. Bart is still alive after recovering. Bart drags Danny back to the underground arena, where a death-match is set between Danny and ruthless martial artists. Despite Danny’s refusal to fight, Bart shoves him into the pit, where he is pummeled by four fighters while trying to defend himself. Danny eventually retaliates by pummeling the four fighters, but refuses to kill them. Enraged by Danny’s change of character, Bart kills the first fighter at gunpoint, drags him back home, and shuts him back in his cage. That night,, Danny sneaks through his door and goes through photographs of Bart’s favorite prostitutes, finally finding one snapshot of who appears to be Danny’s own mother. He interrogates Bart, who tells him that she was simply a prostitute who is long gone. He angrily promises to make Danny repay him for the money he had lost earlier that evening.
Next morning, Danny manages to escape from Bart by flip-crashing the car and runs back to Sam and Victoria, telling them what he has learned and where he was. With the two's help, Danny figures out that his mother was a pianist who had financial problems. As Victoria plays the same music his mother played, Danny regains memories from his childhood past: his mother was a music student with no money, so she offered herself to Bart to get some to pay for her lessons. But one day, Bart showed up, she tried to hide Danny from Bart but Danny came out of hiding. She defied Bart and was killed. Bart has been raising Danny ever since, not as a human being, but as a dog. After regaining the memories, he and Victoria try to pack up when a confused Sam returns.
Bart and a large gang of thugs arrive at Sam's apartment building to capture Danny. Frantic, Danny hides Sam and Victoria in their closet, and he runs out to fight the thugs all over the building. He faces off against an attacker with skills similar to his own; Danny eventually causes him to fall to his death on Bart's car. An enraged Bart and his men pursue Danny through the building with guns, finally catching him in Sam's apartment. He threatens to pull the trigger, all the while telling him that he was never meant for a different kind of lifestyle. But he drops the gun and instead takes out a collar, telling Danny to come home. Danny slowly advances toward the collar, but stops Bart at the last minute and disarms him. He proceeds to furiously beat Bart, causing Sam and Victoria to burst out and frantically beg Danny not to kill; however, a defeated Bart orders Danny otherwise. Bart tells Danny he will always be an animal, to which Sam responds by smashing a flower pot on his head, knocking him unconscious. Sam, Danny, and Victoria embrace having calmed Danny's rage. Bart is arrested in the aftermath.
Some time later, Danny is with Sam at a piano recital at Carnegie Hall, where Victoria is getting ready to perform. Realising Victoria is playing what his mother played years ago, Danny sheds a happy tear. | comedy, psychological, cruelty, murder, violence, revenge, flashback, romantic, sadist | train | wikipedia | null |
tt2385003 | Assassins | Robert Rath (Sylvester Stallone) is a paid assassin who wants nothing more than to get out of 'the business', haunted by the memory of murdering his own mentor Nicolai years ago. Rath is a quiet, morose professional who is on an assignment to kill someone when someone else gets to the 'mark' (the target) before he does. That person turns out to be Miguel Bain (Antonio Banderas), a fellow assassin and a competitive sociopath.
As Rath tries to figure out who sent Bain, the contractor offers him one last job that could financially allow him to retire: killing a computer hacker named Electra (Julianne Moore) and the four Dutch buyers of a disk that contains sensitive information and Rath has to retrieve. However, Electra has set up cameras in all the rooms of the apartment block where she lives and watches them like watching television.
Bain first kills the four Dutch buyers who turn out to be Interpol agents, but when Rath comes to kill Electra, for the first time he has a change of heart. His pay for the job is given to him in a briefcase in exchange for the disk. But the briefcase actually contains a bomb placed by his own contractor in an attempt to kill him. Luckily, Electra had swapped the disk, not sure if Rath was coming back or not.
The contractor takes the chance and hires Bain to terminate him; now having become a target along with Electra he must try and extract enough money out of his contractor so he can disappear for good, while avoiding the bloodthirsty Bain. Rath's contractor turns out to be none other than Nicolai himself who also hired Bain to track down Electra and the disk.
Nicolai revealed he had a vest on when Rath shot him years ago and faked his death ever since. Knowing that Nicolai would kill him too, Bain, along with Rath, shot him dead. Bain plans to kill Rath to be the number one assassin. But Electra puts on her sunglasses to allow Rath to see Bain. Rath shot Bain through his jacket killing him. | revenge, murder | train | wikipedia | null |
tt3954660 | Suntan | Dinanath (Ashok Kumar) is a labourer, who has determined to educate his son Kishore (Satyendra Kapoor) and make him a doctor and marry Kishore with his friend's Shanu (Indrani Mukherjee) as promised to his friend on the death-bed. Kishore promises to marry Shanu and makes her pregnant. But unfortunately, he has other plans of making quick money. He marries Lata (Bindu) who is very rich unknowingly. They neglect and insult their parents. Shanu gives birth to a girl, Parvathi (again Indrani Mukherjee). Geeta gives birth to a boy, Ravi (Jeetendra). Dinanath becomes blind his wife Thulasi (Nirupa Roy) works as a housemaid in her son's house only without giving her identity. Ravi grows up in her hands, develops lot of affection on Dinanath, Thulasi & Parvathi. After 20 years Thulasi reveals the truth while leaving her last breadth, Kishore will not attend to her funeral, because of his status in the society and Dinanath also dies in car accident. Now Ravi decides to teach his parents a lesson for illtreating his grandparents with the help of Advocate Baldev Raj (Utpal Dutt) and his daughter Sarita (Rekha). | romantic | train | wikipedia | Still worth watching for the chicks, Greek islands and something different..
The plot is a really simple story of a disappointed 40-something year old man, Kostis (Makis Papadimitriou, "Chevalier"), who, while working as a doctor in Antiparos island, falls passionately in love with a young Anna (Elli Trigkou).
The movie is set in the beautiful, yet crazy scenery of Antiparos, and it portrays its atmosphere and hedonistic frenzy in a vivid and realistic way.
The drunkenness of summer and the liberal power of youth, as captured by the lens of Argyris Papadimitropoulos ("Wasted Youth"), are constantly being collated with the awkward phase of the middle aged body and the protagonist's useless struggle of overlooking it.
First, sorry for my poor English.This is one of the most
real movies I have ever seen, the acting is awesome, it's so good that I don't know if the actors are not just ordinary guys and girls been themselves.They say the perfection is achieved not when there is nothing left to add but when there is nothing else to remove, and I think this movie is all about that, straight and honest like life, nothing redundant.
The one thing that can be improved is the soundtrack, something more like Chambao would be great but overall good job even on this matter.If you ever been in love and ever been heartbroken
if you ever been alive you'll love that movie, really love it, you'll hate it and love it at the same time..
Kostis, a glum, middle-aged doctor, arrives with his pot-belly and receding hairline on a small Greek island to run the local clinic.
It is winter and the island feels quiet and isolated - conversation for Kostis consists mainly of the local ageing Lothario promising him a United Nations of 'pussy' when the tourist season starts.
Sure enough, summer brings with it hordes of tourists, and Kostis falls in with a group of twentysomethings who, when they are not partying hard in the local nightclubs, spend their time on the clothing-optional beach.
They are all sleek and lovely (excepting one particularly horrendous beard) and among them Kostis sticks out like a sore thumb, but they tolerate him until he starts to drink increasingly heavily and ignore his duties at the clinic, indicating he is not as amusingly harmless as he at first appeared.Efthymis Papadimitriou turns in a good performance, portraying well both Kostis' pathetic eagerness to please the youngsters and providing a nice line in staring-eyed obsessiveness.
The other characters - both tourists and locals - are all pretty much two-dimensional stereotypes, with the exception of Anna, young leader of the group and object of Kostis' admiration.
Elli Triggou manages to make her not too obnoxious.As soon as Kostis finds happiness with the group, movie law dictates that things are not going to end well and in that the film is entirely predictable - and I found that waiting for the inevitable embarrassment to happen distracted me from the rest of the film.
A great little film about unfulfilled love in an island paradise..
The movie's main theme shows how desire can blind you to the point that you have no self awareness, where the central character becomes hypnotized and losses all sense of his dignity and humanity.
He is an older man who falls madly in love and although at times he had to be excessive, his acting was realistic and left me suffocating, wanting to get into the screen to stop him.
The cinematography was amazing, set in a sleepy sandy little Greek island, a paradise, a place that we would all want to fall in love..
It was the drama of a middle-aged man who had not tasted the joys of life, being glum and relatively ordinary.
(to use the title of a failed film I was forced to make).We middle-aged nudists have to come to terms with millennials calling themselves Young Naturists, who are rewriting the rules of nudist etiquette.
And while they thrive, embracing the "new hedonism" which actually is pretty mild, and naturally, beautiful realized in this film, older nude beach goers like our hero Kostis feel like a relic, who no longer fit in with the younger crowd no matter how hard they try to hang on to romantic notions of love.Kostis, a pathetic romantic fool, ends up like every unattractive romantic fool, neglecting his professional duties and spiraling downward in some misguided attempt to recapture something he never had.And it can only end tragically.
I was hoping it'd be even more violent, but that's my American attitude showing.Overall, I highly recommend this film because it's the direction that any indie filmmaker interested in using nudity in their art should go.
So far, so average.And then I watched it.Well.Eff me sideways.I shall repeat that for added effect.Eff me sideways.Because what this actually is is a gloriously shot, tightly paced, hedonistic take on a climactic midlife realization that caught me off guard on every possible level of expectation I prematurely held before experiencing it.Against the contrasting backdrop of dawn's naked flesh quivering with the brazen need to explore, coming in like a tide to swallow whole the bashful self-consciousness of the late afternoon, we journey through the sad and ordinary, over to the passionate and never freer, only to eventually enter the dark tunnel of unhingedness......as we progressively come to the understanding that we're doing so while riding on a train purposefully manufactured brakeless.Since I fear this is one of those movies about which I could go on for an eternity and a day, a quick summary and I'm out.Suppressed, depressed, obsessed and, finally, possessed by his own demons, Kostis evokes our sympathy and demands our loathing while having us squirming with second-hand embarrassment on the edge of our seats.Anna's care-free nuisance quickly abides as she progressively morphs into a mirror of perilous exposure held against the viewers ourselves, now, then, definitely in dormant theory, for some in operating practice.Two worlds collide, two bodies connect, two psyches shatter into razor-sharp shards of discordant bareness.Do it.
I really loved this movie, almost to the very end, because sadly, that's where it went way off track.
It's genuine and true to what life is really like for the locals and tourist on the Greek Islands, in fact you can almost smell the night blooming jasmine and salty sea air.
The lead gives a great performance as a doctor relegated to a minor island and you can feel for him as his portrayal of an aging physician who's life is passing him by is expertly depicted - and that's why it's so disheartening at the end because even he, as an actor, seems lost and dejected with the strange ending imposed upon him and his character by the filmmaker - it's cliche at best and seems to belong to a whole other film altogether..
Actors are very well chosen BUT the personification of the main character (the doctor) shows that in real life some people think they are cool but in fact they hide a 'nurdish' - pathetic life from their childhood that reflects in their adult life.
If you get pissed off by geek&nerds that don't have a clue what the difference between sex, love, being cool is then don't watch this movie because you will feel like beating out the s..t out of the main character..
This film begins with a man by the name of "Kostis Makridis" (Makis Papadimitriou) arriving by ferry to the small Greek island of Antiparos where he is to work as the village doctor.
It's then that a young woman named "Anna" (Elli Tringou) is carried into the clinic by some of her friends because of a motorcycle accident.
After a quick examination Kostis tells her that she will be fine and in gratitude she invites him to join her friends for some fun on the beach.
Now rather than reveal any more I will just say that this was an interesting film which captured the wild and hedonistic lifestyles of young men and women seeking pleasure above everything else.
Not even the voyeuristic examination of perfect tanned and naked bodies can pay the viewer sufficiently for enduring this film.
Yet, that very fact, might as well be considered being the film's ultimate message of hope.I admit that I prefer to stick to "male" rather than "female" views of the scenario, if such a distinction exists, since I only have a pair of "male" eyes.This is a story of a volcanic explosion of unfulfilled needs, prevailed by perhaps, the first and foremost one of spiritual nature: "Eros" (meaning in ancient Greek: being in love).
An explosion that tantalizes the ethical boundaries that hold this world together, as it triggers its pursue for love, happiness and reward.The main character, Kostis, a doctor, disembarks in a world where he is expected to lead a flat, low expectations life of serving the poor local people in almost exile conditions (especially in winter).
Half a year later, summertime (both actually and metaphorically) promiscuously brakes through his door in the form of Anna, a young liberated woman, determined to drink life bottoms up, along with her company, people of similar attitude.
Anna, unaware of the significance of her impact in Kostis' life, lures him carelessly into summertime delights including herself and so, the doctor after surrendering to the temptation, inevitably falls in love with her and dives eagerly, albeit defenseless in the deep waters of this experience.In the meantime, he is already under pressure from an increasing feeling of inadequacy, as he has already met, firstly, a womanizer and then an old classmate, now a plastic surgeon, successful in their own ways in Kostis' eyes.
These are people, he could have been similarly as successful as, since he is almost the same age as them and of more or equal skills and potential.Inexperienced in handling the psychological implications of his close intimate encounter with Anna, who seems to provide an ideal way out of his misery, the troubled hero is drawn into a schizophrenic approach of the situation, as she, initially ignores and later reacts gradually with astonishment, indifference and repulsion to his passion and clumsy efforts to persuade her into a long term relationship.
The more his desperation and failure grow, the more he tries to bend reality to his needs and violent and intrusive, becomes.In the meantime, starting from the days of seeking Anna's companion and as the situation grows darker and obsessive in his mind, Kostis slips into a more and more unprofessional and cynical attitude regarding his medical duties towards the local community, which in turn traverses the line from embracement to discontent, anger and finally, to his official expulsion.Eventually, Kostis, submitting to his passion and determined to quench his thirst, finds his way to make his love object available to his yearning, though without consent.
Credible representation of aspects of life in a typical Central Aegean Greek island, both during winter and summer.
Above all, from a watcher's point of view, a feeling of familiarity with a lot of the situations unfolding before his eyes, empathy for either or both of the two main characters, depending on his/her past experiences and their aftermath.Certainly, a film to live with and discuss for days to come, after its watching..
An unhappy middle-aged doctor is posted to a Greek island where he meets a hedonistic group of young people, one of which, a beautiful, liberated girl, he falls for.This is the kind of film that puritanical, emotionally stunted Hollywood - and probably even the rest of increasingly Islamified Western Europe - is not capable of making nowadays.
It's brave, bold and beautiful.Casually erotic (the actress who plays the frequently nude Anna could be described as cinematic Viagra), superbly acted by the lead (his character has to plummet to depths that are excruciating to watch) and unnervingly accurate in whatever scene it turns its eye to, it dares to tell a story that is as dark as we all are beneath our exteriors.
And it triumphs.The outraged person who gives this film 1/10 on this site hilariously appears not to have even seen it as they get a major plot point completely wrong..
When the story begins, Kostis (Makis Papadimitriou) has come to the Greek island of Antiparos to become the town's doctor.
However, each summer the place is swamped with tourists
wild, young and fun-loving tourists.
As for Kostis, he's a dull, emotionally constricted middle-aged man and seems out of his element when a group of crazy young people arrive in his office after a minor accident.
One of them, Anna (Elli Tringou), seems to have taken an inexplicable liking for the dull doctor and she invites him to join them at the beach some time.
Soon, Kostis joins this same group at the beach but he looks very much out of place
and you wonder why they like him.
While most of the bathers are young, tanned and naked, he's a pasty bald man
wearing a lot of clothes on a clothing optional beach.
It really seems like Kostis is trying to live his 20s all over again
but is ill- equipped for this wild life.
And, in some ways, it seems as though he is totally alone
even though he's surrounded by people.Over the following days, Kostis goes out bathing and partying with this same crazy group of young people again and again.
She is interested
but only in a fleeting way
but Kostis misinterprets this for love.
Of course the film has a lot of nudity
such is life on many beaches in Greece.
Four words that come to mind while watching Suntan.Prior to watching Suntan, I had preconceived ideas I was about to experience a story, possibly a comedy, about a middle aged male who takes a fancy to a younger female, while on holiday, and misinterpreting her body language during the course of their stay.
There is a middles aged man, Kostis, played brilliantly by Makis Papadimitriou.
There is a girl half his age, Anna, played brilliantly by Elli Tringou.
Taking a shine to Anna, Kostis heads to the beach with aims of getting to know Anna and her friends a little more.
What Anna sees as a bit of fun, Kostis sees as long term love.
It is form this moment, the story turns awkward, sad, dark.Kostis turns to drink, becomes a stalker, before turning into an abductor, that almost leads to rape.
Up until this point, other than the slightly awkward moment here and there, the film makes for good viewing.The whole cast are fantastic.
Its a clear, human, real life story about the life on Greek islands, which all over the year function as typical villages, and during the summer they turn into glamorous resorts of sex, alcohol, orgies, nudism, etc.
In that atmosphere, we can see a personal trauma of Kostis, a lonely, disappointed and failed man, apparently overqualified physician, who has suffered unnamed emotional wrecks in his previous life, and came to the small island to work, as a result of some random circumstances.
It is a man who has not "lived life" at the right moment, and who is, even at mature age, incapable to act as an adult.
So he misplaces his lust for a young oversexualized tourist Anna, who just came to have a fun without any borders , for a life-changing love, turning himself into a complete clown and even a perv.
It is so obvious to a viewer that Kostis sticks to this ridiculous attraction simply because he has a need to regain some meaning in his life, something motivating which would make him alive.
The random appearance of his successful schoolmate as a tourist on the island shows us what he could have been, and what he failed in his professional and private life.
It is clear that Kostis is desperately trying to compensate for that by believing in some heavenly love and relationship which could be an anesthetic for other flows in life.
The girl who is young enough toe be both his mistress and his daughter, is so obviously a parody of the "life changing girl", just Kostis does not see it.The film stops right at the moment when Kostis is just about to fall to the lowest point of the human being behavior.
A loner doctor and his summer love on a Greek island.
Greece has hundreds of islands full of life during the summer but gloomy and melancholic during the winter.
The middle aged doctor is a bit old to start his career from Antiparos but for various reasons that's what he does.
The young doctor falls in love with a young woman but he seems to be a little more serious than he should have.
Sorry but I do not believe the story of the pathetic loser doctor that really falls for a naked cutie that is fooling around with her group.
Still, we don't have to wait too long until the suntan lotion comes out and the Greek Tourist Board can start to smile...at least up to a point.Kostis is the new doctor on the island and he has his fair share of patients for such a small place.
Summer may bring sunshine and the kind of young tourists who give the Greek islands a bad name so it isn't long before Kostis is frequenting the local nudist beach.
When he develops a fixation on Anna, a girl he has treated for a motorbike accident, he seems happier but we know his problems are just beginning.You can tell from the opening shot there's going to be a heart of darkness to Papadimitropoulos' film.
Makis Papadimitriou is very good as Kostis but it's an underwritten role and the film itself feels slightly underwhelming.
The scenery is fabulous and it will certainly make you want to go to the Greek islands though you may want to choose where and exactly what time of the year. |
tt0044517 | The Crimson Pirate | In the Caribbean, late in the 18th century, Captain Vallo (Burt Lancaster), a pirate known as "The Crimson Pirate", and his crew capture a frigate of the King's navy. The ship is carrying Baron Gruda (Leslie Bradley), a special envoy of the King on his way to the sland of Cobra to crush a rebellion. Vallo proposes selling the frigate's weapons cache to El Libre, the leader of Cobra's rebels. Baron Gruda counters by proposing that Vallo capture El Libre and bring him to the Baron for a sizable reward. Vallo accepts, and Baron Gruda and his crew are released, while Vallo keeps the frigate. Some of his crew complain that this is not pirate business, but they come around when they find out the large amount of profit to be made.
Vallo and his crew sail to Cobra, where the captain and his lieutenant, Ojo (Nick Cravat), go ashore and meet with the island's rebels, led by Pablo Murphy (Noel Purcell) and Consuelo (Eva Bartok). Vallo and Ojo learn that El Libre has been captured and is in prison on the island of San Pero. The meeting is interrupted by the King's guards, and Consuelo quickly leads Vallo and Ojo to safety. Returning to the frigate, Vallo informs his crew he will rescue El Libre, though Consuelo only believes Vallo is interested in selling weapons to him. While promising Vallo that he will receive his payment, she informs him that El Libre is actually her father.
After sailing to San Pero, Vallo impersonates the Baron and goes to a dinner held in Gruda's honor by the Colonel of the island's garrison (Frank Pettingell). For the disguised Vallo, the Colonel puts on display El Libre (Frederick Leister) and another captured rebel, Professor Elihu Prudence (James Hayter). Vallo orders the prisoners released into his custody, and he leaves, returning with them to the frigate, which sets sail for Cobra.
Consuelo is grateful to Vallo for rescuing her father, but is distraught to hear that Vallo intends on selling her, El Libre, and the professor to Baron Gruda. Ojo suggests that Vallo has fallen in love with Consuelo, but he denies this after releasing all three prisoners. Consuelo now begs Vallo to come with them but he refuses. Vallo's first mate, Humble Bellows (Torin Thatcher), overhears this exchange, and turns against his captain for breaking his word, sending a message ashore to Baron Gruda.
Vallo lets El Libre and Consuelo leave, but the King's guards are waiting, and El Libre is killed and Consuelo is captured. The pirates mutiny against Vallo, and Humble Bellows is elected their new captain. Baron Gruda promises Bellows gold for dealing with Vallo. So the professor, Ojo, and Vallo are cast adrift in a skiff in the outgoing current and left to die. Gruda proposes a toast, presenting the pirates with a barrel of rum. Unknown to them, the rum has been drugged; after consuming the rum and passing out, they are captured and transferred back to Vallo's ship, now prisoners for Gruda to sell to the King.
Baron Gruda informs Consuelo that she will now marry Herman (Eliot Makeham), the governor of Cobra, or he will execute the island's population. Consuelo is compelled to accept, and Gruda announces the wedding date and mandatory attendance by everyone. In the meantime Vallo, Ojo, and the clever professor escape their dilemma by capsizing their skiff, trapping a large air pocket for them to breath; walking along the sea bottom toward Cobra, they come ashore, where they quickly find out about the wedding. Vallo intends to rescue Consuelo, but the professor convinces him to first enlist the island's cooperation. Vallo agrees, and along with the professor's advanced knowledge, the people of Cobra build his advanced weapons for their coming revolt. Nitroglycerin grenades, multiple cannon tanks, flamethrowers, rapid-fire rifles on revolving drums, and a large inflatable balloon with gondola are constructed in secret.
On the day of the wedding, the people unleash the advanced arsenal just before the ceremony, over-throwing the governor and his guards. Baron Gruda manages to escape to his frigate, taking Consuelo with him. Vallo and Ojo go after them in the large balloon. They spot their old ship below and slide down the balloon's tie-down ropes to its deck, and release the pirates. They then pursue Gruda's frigate. As the pirate ship gets close, Vallo orders the pirates below deck, making Gruda believe they are about to launch a full broadside. Instead, they sneak out through the gun ports, drop into the sea, and swim underwater to Gruda's frigate. A repentant Humble Bellows stays aboard to keep the ship on course, sacrificing himself after Gruda orders a broadside, which destroys the pirate ship. Vallo and his pirates surface, climbing aboard the frigate; the guards are defeated in the ensuing battle, while the Baron is killed. In victory Vallo and Consuelo embrace. | action | train | wikipedia | null |
tt0112767 | Xích lô | The movie is about an 18-year-old boy who has been orphaned after his father died from a truck crash while he was in his usual work. The father was a cyclo driver, and his desire was the son would have a better life than he had. However, after the father’s death, because of the family hardship, the boy has to take over the father’s job, pedaling a rental cyclo around busy streets of Sai Gon city to earn a living. Living with the boy in a small house, there are his old grandfather, who repairs tires despite of his failing health, his little sister, who shines shoes for restaurant customers in the neighborhood, and his older sister, who carries water at a local market.
Their poor but peaceful lives are jeopardized when the cyclo is stolen by a gang. Having no money to pay for the robbed cyclo, the boy is forced to join a criminal organization and is under the supervision of a brooding gang leader, who is also a poet.
Meanwhile, his older sister also comes under the influence of the poet and becomes a prostitute. They develop feelings for each other. She visits his house where he is beaten by his father, who is furious for the profession he has taken. The poet brings the cyclo driver to Mr. Lullaby, who kills a victim by slitting his throat while singing a lullaby.
Ho Chi Minh City is hit by unrest as different gangs start fighting with each other. A truck carrying a helicopter crashes on a busy city-street. The cyclo driver blinds one eye of the man who stole his cyclo, but manages to remain unseen by anyone. He pays another visit to his lady employer to pay a part of his debt, but she refuses and becomes busy with her retarded son who has covered himself with yellow paint.
The poet assigns the cyclo driver the job of murdering a man. His two accomplices give him a gun and teach him how to kill their intended target. They also hand him a bottle of pills to reduce his anxiety, but warn him not to take too many. The poet and the cyclo driver's sister visit his childhood place. He leaves her in a nightclub with a client and she is abused by the man. Both the poet and the man realize their mistakes and the man tries to compensate by bribing the poet with a hefty sum of money. But the poet kills the man and then kills himself by setting fire to the room where he lives.
Meanwhile, the retarded son of the lady is killed when he is hit by a truck. The cyclo driver gets drunk and takes two tablets of the drug he has received from the poet's accomplices. He becomes hallucinatory in the flat where he has been forced to stay, failing to carry out the job of killing the man. Instead, he covers himself with blue paint and then due to the hallucinations he mistakenly shoots himself twice. The next morning, the members of the gang find him badly injured but still alive, and the lady spares his life despite his failure because he reminds her of her deceased son. She releases him from the gang. The movie ends with the scene of the cyclo driver, still contemplating the memory of his father, driving his cyclo with his grandfather and his two sisters on it through a crowded road of Ho Chi Minh City. | revenge, murder, violence | train | wikipedia | In Tran Anh Hung's 1995 film Cyclo, the cyclo driver is a naïve 18-year old (Le Van Loc) whose innocence is corrupted by the choices he is compelled to make to escape the circle of grinding poverty.
In Cyclo, Tran assaults our senses with the churning swirl of colors and sounds of Ho Chi Minh City, capturing the vibrations of the city with its street markets, pavement cafes, sidewalk vendors, and choking traffic.
Cyclo has little dialogue, mostly gestures and silences, and cinematographer Benoit Delhomme's focus on the underlying beauty of the city gives the film a lyricism that renders the violence ambiguous.
Cyclo has lost both parents and lives in near poverty with his grandfather (Le Kinh Huy), who continues to work fixing bicycle tires despite his failing health.
His younger sister (Phan Ngoc Lieu) earns a living by shining shoes outside of restaurants and the older sister (Tran Nu Yen-Khe) works as a cook and delivery person.
Cyclo's boss (Nguyen Nhu) is known only as the Boss Lady (none of the characters in the film are named) who leads a criminal operation while taking care of her retarded son (Bjuhoang Huy).
When Cyclo's bicycle is stolen by a rival gang, the young man is recruited by the Boss lady and her associate, The Poet (Tony Leung Chiu Wai), a small-time hoodlum and pimp, to work off his debt.
Unknown to Cyclo, the Poet recruits his older sister into prostitution, making her available to men interested in various fetishes while preserving her virginity, presumably out of his own love for her.
Cyclo is disturbing and raw but it is an original work of art, both a brutal and often bizarre look at Saigon's mean streets, and a searing love poem to the city and a young man who finally steps outside the vicious circle to discover himself beyond the chaos..
The fact that the actors do not have names, simply lables, such as "le cyclo," "le poete", and "le grand-pere," seem to reinforce the futileness of life in such conditions.There is a strong undercurrent of frustration in this movie.
Vietnamese Auteur Tran Anh Hung shows how by accident violence becomes dominant in the life of a poor, young worker toiling in the streets of Saigon.
Besides "Cyclo" is also a documentary about the sad daily street life in giant third world cities and the permanent fight to survive..
The film looks and feels like a visual poem, and you can't do anything but be awestricken by the sheer intensity and power of the images and their composition that are expressed towards you.
Tran's film is more collected, even though it can be made a point out of the plot at times being a bit sketchy.The story circles around a young cyclo (played by Le Van Loc), a bicycle taxi driver (pedicab), his older sister and her lover / ex-lover the local hoodlum, know as the poet ( played by Hong Kong star Tony Leung).
We don't learn any of their real names; even the film credits them as the cyclo, the sister, the poet, the grandfather, the madam etc.
But instead of returning to a normal life, he is pressured by the madam's gang led by the silent gangster the poet, to commit even more violent crimes, on madams behalf.The poet however, is at the same time living a second life as a pimp, under which guise he recruits the cyclos elder sister (presumably because she and her family need the money).
What Ahn-Hung Tran does is both daring and plausible: breaking new ground and expanding our horizons.As I mentioned, that trying to follow the plot is to miss the point of this film.
But the attention the right detail along with the decision to show consequences of situations instead of action and confrontation makes this a unique insight of human nature.The main characters are all mostly silent throughout the film.
Because the cyclo, his sister and the poet are all in one way or another force to do what they're doing, either by each other or by their environment.
Everything ads to the visual flow of the film.Evoking an incredible atmosphere of chaos, helter-skelter activity that seems to follow no law, the strength of cyclo lies in its imagery.
A magnificent accomplishment in cinematography, there's little new to be found in the film's somewhat muddled story which is told almost exclusively with the camera as Oscar winning director Anh Hung Tran demonstrates mastery over the lens in delivering this tapestry of pictures which captures the beauty and blight of a bustling Vietnamese city.
Not for everyone, "Cyclo" will play best with those who appreciate true artistry in film..
It must be one of the most dramatic portraits of Third World poverty ever put on film.The story of a young man's descent and redemption goes back to 1930s Hollywood and the Italian neo-realists.
The emigre Vietnamese director Anh Hung Tran brings a cold, sharp yet loving eye to Saigon and Vietnam.
The camerawork, composition, acting and plot(s) are all absolutely exceptional, the (Vietnamese) cultural aspects about family (father-mother-child) are omni-present (mentioned by redanit, also "the egg"); HCMC is a really captivating,noisy and ugly city in this movie, but Tran Anh Hung also shows the "other side" of Vietnam in his new one, "À la verticale de l'été", again on family and relation.
Tran Anh Hung has created a real masterpiece with Cyclo (Xich-Lo), worth 10 for sure !
"Cyclo" begins with neo-realist naturalism, as a young man struggles day to day driving his cycle taxi in modern day Vietnam.
His father has just died, and after working his entire life as a bike-taxi driver, has nothing to leave his children, but the suggestion that they might find something nobler to do with their lives.
The young man spends his days navigating the alleys and the side streets for the quickest routes and attempting to avoid collisions with other bike taxi drivers who have divided the city into turfs and gangs, of who can pick up customers where.One day his taxi is stolen, and to repay the taxi's owner (a local lady crime boss); he has to take on a series of petty crimes to pay the debt.
His sister(played by the gorgeous Tran Nu Yen-Khe begins a tenuous relationship with the boss of the gang Youth works for, a silent constantly smoking man called "Poet" played by the always excellent Tony Leung.
The first half of the film focuses more on Cyclo getting in over his head with the gang, stealing, transporting drugs,and lighting a rival building on fire with a Molotov cocktail.The second half shows us more of the "Poet" and "the Sister".
There are scenes where he is beaten by his father and collapses into sudden helpless boyhood, and a virtuoso and pivotal scene in a nightclub set to Radiohead's "Creep", in the best tradition of using pop songs to encapsulate not just moment in time (the 90's in which the film is set), but the very heart of a character.
When Yorke sings "what the hell am I doing here?" it might as well be Leong singing it aloud.As Cyclo becomes more fascinated with the power, attention, and adrenalin rush he is getting from the gang, "Poet" becomes more aloof splitting his time between the three girls he pimps, and he the lady crime boss who he serves as soldier and lover(or whore depending on how you look at it).
Vietnamese/French director Ahn Hung Tran delicately weaves us in and out of violence and tranquil beauty, near psychedelic explosions of color and poetic reflections, pimps and corpses and children happily at play.After he commits his first major crime, we see him covered in filth, as he had to escape the police in a river or tunnel.
It's a great visual metaphor for gang violence and corruption and its effect on community life, it just makes everything dirtier and sh*&$ier.By the end of the film, Cyclo does not come to his senses, but implodes on himself, and get's a brief offer to escape the life he bumbled or was forced into (its implied that one of the Lady crime bosses henchman was involved in stealing Cyclo's taxi in the first place.) The crime queen's handicapped son, who is Youth's same age, is a kind of mirror image of him throughout the film; financially privileged to his economic struggle, an eternal child to his forced growing-up, the apple of his mother's eye to the deafening absence of being an orphan.
In psychological terms this is guilty and reflective super-ego (poetic Leung) and impulsive childish Id (overgrown man-child son) on two opposite poles of self-destruction, and Ego sandwiched between the two, clinging to a faint possibility of hope/rationality."Cyclo" is compulsively watchable and despite its experimentations easily accessible.
It's about the coming of age of three characters: a riksja-rider, his sister and a poet/pimp/ganster.
The innocent riksja rider is forced to join a gang, his sister transforms from water-carrier to some sort of geisha (somehow staying virgin), and the poet who "moves" them suffers from a mental crisis.
The story starts out strong then about a third of the way through it hops the track.After that, if you can tell what is going on and above all WHY, you're pretty good--or friends with the author.The government of the People's Republic of Vietnam cooperated in making this film for, I suspect, political reasons.
There are some interesting backgrounds, particularly a short interlude where Poet, played by Hong Kong actor Tony Leung, and Sister (Ms. Yen-Khe) escape the filthy and impoverished inner city and spend a day in the countryside.
In Cyclo, the young man, who earns his living and supports his family by driving a rental cyclo (bicycle-taxi), is a child without parents.
In Cyclo, the poet is a child that cannot be accepted by his father.
However, in Cyclo, father (male) symbolizes the history and means where a son comes from.
To Tran, Vietnam, Ho Chi Minh City, and the people in there seem familiar, but are strange, actually.
Maybe this can provide one reason as to why Tran uses the characters to spy on people in the streets of Ho Chi Minh City through the frames of windows or lenses.
Therefore, when she is assaulted, her man, the poet, rages to kill the attacker.The characters in Cyclo do not have a name.
If this film is allegorical of a collective loss of innocence of a nation, those characters reflect and depict Vietnamese situations from the director's point of view.The end of the film shows the young man carrying his grandfather, elder sister and younger sister with a cyclo in a crowded street of Ho Chi Minh City.
The ending scene shows that through all the chaos, the young man finally rediscovers and re-builds himself in the present.
Perhaps to emphasize the fact that these are people who would easily blend into the city's gritty atmosphere and would therefore be eventually inconspicuous, the characters of Cyclo, Tran Anh Hung's foray into Saigon's seedy underworld, have no name.
Merely referred to as the cyclo driver, the poet, the sister, the madam, etc., these characters are merely the paint director and writer Tran uses to create the bigger picture, rather than the pictures themselves.As such, to linearly follow the story's plot is to somehow miss the point since the film is more interested in weaving various story lines to create a brooding picture of Saigon and its impoverished inhabitants.
Set in 1995 in the busy commercial capital of Vietnam, a young man (the cyclo driver, played by Le Van Loc) is barely making ends meet pedaling passengers around the city via a pedicab (or a cyclo) all day.
But when his cyclo is stolen, the cyclo driver turns to the poet (Hong Kong actor Tony Leung) who takes him under his wings, involving him initially in petty crimes and then gradually to major crimes such as murder and illegal drug trafficking.
Meanwhile, the cyclo driver's sister (Tran Nu Yên-Khê) works as a prostitute for the poet, with whom she shares (or shared) a relationship with.More like a visual poetry, the narrative aspect of the film may not appeal to more conventional members of the audience but Tran's masterful creation of a graphic portrayal of the city evokes a visually stunning sense of desperation and decay.
The teen is forced into crime by the woman from whom he rented the bike, and falls in with a gang she operates (lead by Chinese actor Tony Leung Chiu Wai, the most familiar actor in the cast).
Where Tsai stresses loneliness in the big city, Tran makes Saigon feel overcrowded and the mood is akin to paranoia..
There is no in-between when it comes to this movie, most UK people have found it too realistic, most foreign ones saw it as a clear depiction of Ho Chi Minh City's decadence and corruption.
In my opinion, this movie has got the merit of showing how things are, and how characters are not so clear-cut in their badness or goodness.
The movie is rather rational structured, as it begins with tough but still normal lives of the main characters.
During this unhappy experience, the two main characters experience how mean can people be to one another and they see how tough can life be, even worse than the way they were used to before, though one was an housekeeper and the other a bike-taxi driver.
As the movie slings to its end, the two wretches are finally redeemed and they both go back to their normal life.
That something is called "the script".We're first introduced to the cyclo driver and his family, and are given a fascinating taste of life in HCM City.
The unbelievability of plot events becomes irritating.My two biggest gripes are the script/story (by the director, Anh Hung Tran, and Trung Binh Nguyen) and the acting by the good/bad guy ("Poet") played by Tony Leung Chiu Wai.
I was longing for more views of HCM City and its life, and fewer interiors peopled with unsympathetic characters.I await a Vietnamese movie with the production values found in this film.
Tran anh Hung films have to be watched with a photographic sensitivity, for it relates to the color and shapes as a medium to express feelings and mood.
As I was watching Xich Lo, with great curiosity as I lived in Ho Chi Minh city for a while, I was caught by this sense of surreality that the movie expresses to and fro.
Add to this Hung's way to break plot rhythm, waving between poetic calm to harsh violence, and you get a movie rather unique in its genre, that I surely enjoyed.
In order to makes ends meet the grandson, only known as "the cyclo" peddles people around on his bicycle/taxi.
If this poverty-level existence was not bad enough, the grandson also owes 200, 000 dongs to a mafia Madame.Things go from bad to worse when the cyclo is stolen and the grandson is imprisoned in a nearby apartment by the Madame's man, played by Tony Leung, who is simply known as the Poet.
Therefore on one end the Poet is making the grandson murder while on the other he makes the sister embody the fantasies of perverts.Cyclo has to be one of the most violent films that I have ever seen.
This Vietnamese film was one of the titles I found listed in the book 1001 Movies You Must See Before You Die, I didn't know what to expect, but reading more about it, it wasn't what I expected, it made me even more keen to watch it.
Basically in Ho Chi Mihn City, an eighteen-year-old boy (Le Van Loc), who was orphaned following the death of his father, is living in poverty, he takes over his father's job, pedaling a rental cyclo around busy streets of Sai Gon city to earn a living.
Their poor but peaceful lives are jeopardized when the cyclo is stolen by a gang, so with no other way of making money, the cyclo driver joins a criminal organisation, under the supervision of a brooding gang leader, who is also a poet (Tony Leung Chiu Wai).
Meanwhile the older sister is also influenced by the poet, she becomes a prostitute, and they develop feelings for each other.
The cyclo driver is brought by poet to meet Mr. Lullaby (Van Day Nguyen), who kills a victim by slitting their throat while singing a lullaby.
It ends with the cyclo driver, still contemplating the memory of his father, driving his grandfather and his two sisters through a crowded road of Ho Chi Minh City.
Strange, almost surreal film which tells of the very downcast side of Saigon, Vietnam, which is involved in drug running and prostitution.Writer/director Tran Anh Hung paints very real characters who say little yet reveal much just through their actions and reactions.
Cyclo is a French-Vietnamese movie filmed by Tran Anh Hung, the same director of "The Scent of Green Papaya" .
The boss of the gang, the Poet ( a surprising Vietnamese-speaking Tony Leung) will introduce Cyclo's sister ( played by Tran Nu Yên-Khê, the director's wife) to prostitution, provoking Cyclo desire for revenge.
Tran Anh Hung camera work is excellent and so is photography.
There's no doubt on the director's ability; what I not liked is his dark vision of Saigon, maybe influenced by his life experiences.
Tran Anh Hung, born in south Vietnam, emigrated in Paris at the end of the war when he was 12 and became a French citizen.
I saw this movie for the first time with my Vietnamese girlfriend (from Saigon of course), and she not liked it for these reasons.
But apart these personal considerations on its verisimilitude, Cyclo is a great movie, maybe a little bit difficult for a mainstream public, but my advice is to take a look. |
tt0082537 | Humongous | It is Labor Day weekend, 1946. Young, virginal Ida Parsons innocuously plays as her father hosts a raucous party. Amid the festivities, an older, drunken man named Tom Rice staggers outside and propositions Ida. When she refuses, he chases her into the woods and brutally rapes her; her dogs break out of their pen and they attack and fatally maul Ida's rapist.
The film flashes forward to 1982. Preppy brothers Eric and Nick are borrowing their father's yacht to take their girlfriends, Sandy and Donna, on a weekend outing along with their sister, Carla. At the outset of the trip. As the tensions rise between Nick and Eric, Donna and Sandy engage in girl-talk, and geeky Carla silently laments that she is the sole member of the cruise who came along without a significant other.
That night, fog settles in; Eric and Nick, hearing cries out on the water, discover and rescue a shipwrecked fisherman named Bert. Bert informs them that he wrecked offshore Dog Island, the home of lumber baroness Ida Parsons, who has used her family fortune to hole herself up on the island for the past thirty-five years; only making two annual voyages onto the mainland for necessary supplies, and never speaking to anyone during these trips. Recovering from the onset of hypothermia, Bert tells the quintet a campfire story about the savagery of the wild dogs which roam Ida's island, acting as her sentries. Wrecking their boat after Nick, in a panic, attempts to steer the boat back to the mainland.
Donna, Eric, Sandy, Nick, and Bert wash up on Dog Island; Bert has been seriously wounded, and Carla is nowhere to be found. Nick wanders off into the woods, and is subsequently killed by a hulking figure that breaks down the shed where Nick hides. The next morning, Sandy and Eric go off onto the island, hoping that Ida Parsons will help them get back to the mainland. Shortly after they leave the beach, Bert goes into shock, and Donna desperately tries to warm him by stripping to the waist and lying topless across his shirtless torso. Seconds later, the same figure which killed Nick sneaks up behind Donna and Bert, fatally hurling Donna against a rock wall and decapitating Bert.
At the center of the island, Sandy and Eric discover Ida's fortified cabin, as well as the fact that all of Ida's dogs have died long ago, their mutilated skeletons lying in their pens. In Ida's boathouse, the duo discover Carla alive hiding under a tarp; she apparently washed up at another point on the beach and made it to the compound in the middle of the night.
In the course of exploring Ida's compound, Eric, Sandy and Carla discover a dust-covered nursery full of antique toys, and a cobweb-covered crib; they also discover Ida Parson's diary, which contains insane, rambling passages about giving birth to a sick child, which she intends to keep sinless by secluding him from all the evils of the outside world. As they continue exploring the house, Sandy comes across Ida's skeletal corpse, positioned in repose in her bedroom. The group decides to collect supplies and head back to the shore to collect the rest of their party so they can formulate an escape from the island in Ida's old rowboat. While exploring the basement, they discover the corpses of Nick and Donna and flee to the beach in a panic.
Eric and Sandy deduce that Ida Parson's son was the one behind the murders, left insane by his life of solitude under the care of the imbalanced Ida; with nothing to do but learn from Ida and explore the wilderness, he's become immensely strong, a capable tracker and hunter, and is thoroughly convinced that all outsiders are a threat to him and his mother. With the death of Ida, he was left without any basis for reality, and ended up eating the dogs to survive.
Eric and Sandy go back to the house and get the matches that Sandy dropped earlier. Ida's son attacks, breaking down the door. Eric attempts to fight using a broken branch, but the mutant grapples with him and fatally breaks Eric's back; once it has killed Eric, it turns it attention to Sandy and chases her upstairs into his mother's bedroom, where Sandy wraps a blanket around her head and, playing Ida, convinces the mutant to leave his mother's bedroom. But when Sandy leaves the room, the mutant is there and pursues Sandy out of the house and to the boathouse. Sandy runs headlong into Carla at the boathouse and the mutant, close behind, grabs Carla and crushes her face and kills her. Sandy manages to lure the man into Ida's boathouse, which she sets on fire; Ida's son is severely burned in the blaze, but still manages to leap from the water and attack Sandy, chasing her up a hill where she yanks a sharp signpost from the ground and impales the mutant with it. As he dies, we finally see his burned and deformed face.
Traumatized by the death of her friends and the murder she has been forced to commit, Sandy sits alone on Ida's dock, strongly resembling a scarred and traumatized Ida. | cult, revenge, murder, violence | train | wikipedia | And there's an obvious Canadian feel to both films.The beginning of HUMONGOUS is brutal and sets up the familiar story-line of a gruesome incident which happened in the past that will affect a subsequent generation.
But like many have mentioned already, many scenes during the night are EXTREMELY dark and it's difficult at times to know exactly what's going on.
As annoying as the dark scenes were, I believe this was done deliberately, not because the film is a low budget movie and they couldn't afford lighting but because that's what the director wanted.
In a movie theater, after watching scenes that happen mostly in the dark, a quick shot of a bright image creates tension and actually hurts the eyes.
The monster's appearances during those brief scenes of brightness must have been startling in a dark theater.The acting is mostly serviceable but the last three survivors, Janit Baldwin (the girl with the glasses), David Wallace (the blond guy) and Janet Julian (the last girl) are much better than your average slasher actor.
As a real horror film, it's definitely more successful than Lynch's other horror opus, PROM NIGHT, and a good portion of other slashers made in the same period and those made today, like I KNOW WHAT YOU DID LAST SUMMER, which was obviously inspired by this film..
It's predictable, to be sure, but directed with more skill than you'd expect, with a score that reminded me (in a good way) of Italian horror movies of the period, and a cute, fairly smart heroine in Janet Julian.
Eric (David Wallace), Nick (John Wildman), Donna (Joy Boushel), Carla (Janit Baldwin), and Sandy (Janet Julian) are in deep, dangerous waters when they come across Bert (Lane Coleman) stranded on a lifeboat.
When Nick goes looking for her and doesn't return, the gang begin to realise that there is something far more sinister than a group of mutts or an elderly lady lurking in the dense forest that surrounds them...As where PROM NIGHT owed more than a touch of inspiration to HALLOWEEN, Lynch's second effort looks as if it's more influenced by backwoods slashers such as THE BURNING or FRIDAY THE 13th.
It's certainly no masterpiece,not even of the slasher genre,but it's quite interesting and better than quite a few of the other,similar films released around that time.It opens with a brutal rape,and it almost gets the movie off on the wrong foot as although not that graphic it's hard to watch.
As has often been said before,the film is too dark,but some of the photography is pretty good,which makes one wonder if the darkness was a deliberate experiment which didn't quite come off.This movie was obviously {well,in the versions I've seen} heavily cut,during the killings we cut away just before we think we'll going to see something nasty.
The climactic scenes are pretty exciting though and even though you still don't get much of a look at the monster,this is actually quite effective.There's a underlying element of sadness to Humongous which is provided by the film's back story,and it's perhaps this which most sticks in the mind.
A prologue of "Humongous" is set in 1946.It shows a rich guy throwing a party on the island,in which his daughter was raped by her drunken boyfriend,who is then eaten by dogs.Nearly thirty years later some unlucky teens are trapped on an island with a 7-foot humongous creature with a taste for human blood.Unjustly trashed by almost everybody "Humongous" is actually one of the best Canadian horror films I have ever seen.I enjoyed it much better than slightly overrated "Prom Night".Sure,the film is dimly-lit and we don't really see the creature at all,but there is enough suspense to keep slasher fans entertained."Humongous" is not as gory as "Antropophagus" or "The Slayer",but if you enjoy watching murky slasher flicks from early 80's give it a chance.9 out of 10..
you'll always have some dumb kids who just happen to be too nosy for their own good stumble on a DESERTED island (gee, how original *sigh*) and drink too much and start doing stuff they shouldn't.I think I'd have had more pity for the monster if he wasn't put in such dreary lighting conditions (how do you expect to be scared by something you can't see that well?!?!) The only thing I did enjoy from this film was the ending, because that meant it was over.
a killer on an island; dark scenes at night; not bad, but definitely derivative.
He tells them about the island they are near, where a crazy old lady lives with lots of dogs.The psycho brother decides he wants to try driving the boat at night, though they had anchored already.
As this guy's a bit degenerated from the beginning, no one even his own brother don't even try to stop him and could they know what's out there
waiting) (Like Prom night the lighting is not so good but that's the pleasure.
Several decades later, a group of teens arrive on the island, but fall victim to a humongous, deformed mutant; the result of the rape.
Unfortunately, despite this one having many of the raw ingredients necessary for a hugely enjoyable slice of trashy 80s horror, it screws matters up with mundane direction, very dark photography, virtually no decent gore, and a creature that is hidden away in the shadows for most of the film.Humongous begins with a promising pre-credits sequence set in the 1940s, in which a young woman is raped on Labour Day by a drunken party-goer, who immediately gets his comeuppance when a dog rips him to shreds.The action then moves to the present day (ie., the early 80s), and sees five teenagers—Eric (David Wallace), his girlfriend Sandy (Janet Julian), nerdy sister Carla (Janit Baldwin), hot-headed brother Nick (John Wildman), and Nick's slutty squeeze Donna (Joy Boushel)—taking a trip on a lake in a motor cruiser.After becoming lost in a bank of fog, the group happens across a man named Bert stranded in a lifeboat, who warns them that they are approaching some dangerous rocks.
Bert's info, however, is not entirely correct: the old woman, who turns out to be the rape victim from the prologue, has recently died, and her dogs have been devoured by her hideously deformed son, who is on the loose on the island and still very hungry!The rest of the film sees the teens, and an injured Bert, being hunted and killed one-by-one by the ravenous monster; it's all par for the course, with the expected false scares, sudden deaths, the discovery of the creature's lair, and a scene blatantly cribbed from Friday the 13th Part 2 (1981) in which final survivor Sandy tries to confuse the killer by masquerading as his mother.Although director Paul Lynch seems content to to deliver a by-the numbers product, the film does boast two marvellously tacky scenes that I feel are worthy of note: Donna the slut tries to warm up a shivering Bert by taking off her top and pressing her breasts against him; and Sandy falls backwards onto a mouldy corpse, which somehow becomes attached to her.
Then, comes the stupid plot about a group of stupid teenagers who destroy their own boat and become stranded on a deserted island only to be killed off by the monster.
I watched the movie enough times to get a good look at the grotesque monster, but couldn't.
In the current time, a group of teens head off to the island where this woman's story has become somewhat of a myth and once there they come under attack by a deformed monster.HUMONGOUS isn't the greatest horror film you're ever going to see but there's quite a bit to like here.
Director Paul Lynch was coming off the Canadian slasher PROM NIGHT when he did this picture and it's quite interesting to see how this pretty much avoids the various trappings that you'd expect from a horror film of this era.
The film contained some pretty good atmosphere and especially once we get to the island and the teens are wondering around in the dark.The performances are pretty good from the entire cast and they certainly make you like and care for the people.
Big,scary and ugly.all this takes place on an island.The only drawback on this film is lighting,because mostly shot in the dark,which does add an ominous aura.The acting is decent and the music is scary too,direction is great,Paul Lynch,Also also the director of Prom Night!Which was equally affective as this film.I liked this movie one of the one,s that will make you think can this really happen,like Friday The 13th.It,s a shame they stopped making movie,s like these,80,s is the best of the genre,and this was made in 1982.If your up to watch a tongue in cheek with light,s out horror movie this is one of them.
I liked the ambiguous title, and it has a great premise (a group of teens get stranded on a foggy island with a giant, retarded killer -- well, it's a great premise if you're someone like me), but the movie, itself, is kind of dull, and parts of it are so damn dark you can barely tell what's going on.
The best part is before the group even reaches Dog Island (so named for the roving hounds that bark and howl all over the shores and provide occasional food for the giant), when they're all just sitting in the boat a few yards from the shore, listening to the yips and howls of unseen dogs out in the foggy darkness.Lowlight: The most likable character (and the best actor) of the bunch -- the cute, plucky smart-aleck kid sister with glasses played by Janit Baldwin -- is picked up by her face (I think) and mangled beyond recognition (possibly) and cruelly thrown aside so that the pretty, but poor-acting and unexciting, main heroine-girlfriend-model can save the day..
There's barely a story, basically the movie uses the typical killer stalking teenage victims slasher formula, except the teens are being killed on an island, and the killer, some kind of bigfoot-type creature that is part human, is hardly ever seen, and more than half the movie was shot so dark its hard to tell most of the time what the hell's going on.
"Humongous" turned out to be quite a frustrating experience since most of the film occurs within the dark (poorly lit exteriors within confinements or simply the night time sequences), which it was that pitch-black (even after adjusting the brightness on my TV) that made it hard to make out what was really going on.
Gladly they revert to using fire in the climatic scenes to brighten things up.Director Paul Lynch (who directed the 80s slasher "Prom Night") cooks up a raw, primitive if choppy as hell island backwoods survival deformed killer fable which has an engrossing back-story penned by William Gray (The Changeling "1980", Prom Night "1980" and "An Eye for An Eye").
The performances are acceptable enough (Janet Julian is rather good and Joy Boushel adds the spunk); rowdy teenagers and stupid actions.Fair if somewhat vanilla, but disappointing technical handling is what harms it.P.s. I recently watched the DVD version of the film and the print is great.
After the success of 1980's Prom Night, screenplay writer William Gray and director Paul Lynch teamed up once more to output another film in the genre, albeit lesser known, that could've counted as another hit for Canada if audiences could tell what was going on for more than 50% of it.The film opens in 1946 at a cocktail party – Ida Parsons is chased into the woods and raped by a drunken patron.
Fast forward 36 years into the 1980's - three siblings and a couple of friends head out on a boat trip only to experience trouble later that evening when they rescue a stranded sailor who warns them about Dog Island – a reclusive locale that houses a lonely old woman and her dogs.
While the night fog renders the coastline invisible and a disagreement between two of the siblings to complicate matters further, the ship runs aground and the troupe of younglings experience first-hard the terrors of Dog Island.This early Slasher is plagued with various issues throughout the film's duration; quite possibly the most glaring would be the quality.
had potential to be a pretty good horror flick but fails because of a lackluster script and it is kinda dull and you never do see the monsters because it is so damn dark and has a weak finale well it is worth catching on cable but do not pay for it ** out of 5 almost a *1/2if not for the decent acting.
To make a long story short, the friends crash their boat on the island, where they are stalked by a humongous monster.
The plot = In 1946 a woman is raped during a Labour Day party and gets pregnant, then fast forward 36 years later, a group of teens become stranded on Dog Island, where they witness something far worse than the killer attack dogs.I actually weren't that keen on this movie on first viewing, and then I viewed it a few more times and well let's just say that this movie has kind of grown on me over the years, this movie is actually very enjoyable.
and plus the gang starts to investigate the Island and split up and look for clues, which does hold my interest as the dig deeper and deeper into the islands secrets.But the biggest flaw in this movie is the terrible lighting, most of the suspenseful scenes way too dark to see what's happening and Some suspense is killed because the viewer knows more than the characters.
If you are more into modern slasher films, you are definitely not going to like this movie.
Next thing we know, it's 36 years later and a group of good-looking teenagers crash their boat on the island where the woman once lived.
"Humongous" is a really awesome 1982 horror film, the cast like Janet Julian(Sandy), Page Fletcher(Tom), and David Wallace(Eric) is really superb.The film starts out on Labor Day weekend in 1946 on an island owned by the Parsons family who are having a party.
Ida looks up in a blank stare.It is 36 years later, Eric Simmons is going boating with his brother Nick, sister Carla, and 2 female friends Sandy and Donna.
Carla runs really fast out the door, she runs to the beach and sees Bert's head floating in the water.Later that night, Eric and Sandy learn more and find out who it is that killed the dogs, and Nick, Donna, and Bert.
The boat house goes up in flames.Sandy is the only survivor of the island, she sits on the dock with the same face that Ida Parsons made 36 years ago.This film is really great, the only bad thing was that the movie was too dark, literally.
The horrible rape of a wealthy woman trying to resist a drunken male killed by her pet dog sets in motion the later plot where a group of college kids become stranded on a seemingly deserted island thanks to the troubled Nick(John Wildman)who is incredibly jealous of his more responsible, likable brother Eric(David Wallace)who seems to get the most attention of the lovely ladies than he does.
Some scenes, such as the monster's chasing Nick into a desecrated boat-house, are incomprehensible..you just wish someone with excellent skill at providing decent lighting(such as perhaps Dean Cundy)could've worked in the film because the plot is quite interesting.
This 1982 horror film begins with a young woman getting raped by a guy who then gets eaten by her dogs.
Director Paul Lynch also brought us the Canadian cutter Prom Night and here, he starts the action off with a bang: on Labor Day weekend 1946, a drunk (Page Fletcher, the title character from HBO's The Hitchhiker) rapes Ida Parsons at a party her rich father is throwing.
She is saved by her dogs, who attack the man before she smashes his brains out with a rock.36 years later, preppy bros Eric (David Wallace, Mazes and Monsters, Mortuary) and Nick are taking their father's yacht on a weekend getaway with their girlfriends, Sandy (Janet Julian, who was TV's Nancy Drew when Pamela Sue Martin left the series) and Donna (Joy Boushel, Terror Train) and their sister, Carla (Janit Baldwin, Gatorbait, Phantom of the Paradise).After a day of staring at girl's asses while feeling up other asses (this movie has more nudity in the first 11 minutes than nearly every movie that will come out this year), fog comes in and teh boys save a shipwrecked fisherman named Bert.
Stranded there they have to wait for help but it seems they are on the Parson island where some deformed monster stalks looking for food...This Canadian production was directed by Paul Lynch who is also credited with the title design & one has to say Humongous isn't an overly impressive film with which to spend ninety minutes of your life but by slasher standards it's not the worst example out there.
Gray seems to spend a lot of the time on the killers back-story & the teens working out the mystery, the problem is any seasoned slasher fan will be way ahead of both Gray & his character's.
Then it just became boooooring.This is a slasher movie where the killer had not one good kill!
Director Paul Lynch followed up his well known 1980 slasher movie "Prom Night" with this effective rural monster flick.
"Humongous" is a decent enough slasher film with some good points.**SPOILERS**Preparing for a sailing trip, Sandy Ralston, (Janet Julian) Eric Simmons, (David Wallace) his brother Nick, (John Wildman) and sister Carla, (Janit Baldwin) and Nick's girlfriend Donna Blake, (Joy Bushel) get together and sail off. |
tt0085011 | Dungeons & Dragons | The Empire of Izmir has long been a divided land, ruled by the Mages, an elite group of magic users. An evil mage named Profion (Jeremy Irons) attempts to create a sceptre that allows him to control Gold Dragons. His attempt to control a captive golden dragon fails, and he is forced to kill it. The dragon bleeds into the river, causing it to catch fire, which many inhabitants notice, including a pair of thieves, Ridley (Justin Whalin) and Snails (Marlon Wayans).
Later, Profion and the Council talk about the controversial views of Empress Savina (Thora Birch), who wants to give rights to non-mages in Izmir. Meanwhile, Ridley and Snails break into the magic school to steal valuables, but are caught by Marina (Zoe McLellan). She is distracted when the Library wizard is held hostage and interrogated by Profion's henchmen, Damodar (Bruce Payne) for information on where the map to the magic sceptre that controls Red Dragons is. After refusing to talk, Damodar kills him. Marina gets the map and travels through a portal to escape, accidentally taking the thieves with her. After crashing into a pile of garbage, they meet a dwarf named Elwood (Lee Arenberg), who ends up joining Ridley, Snails and Marina escaping through the sewer.
Damodar puts a price on Marina, Ridley, Snails and Elwood's heads and, after letting Profion know that the protagonists got away, Profion creates a tentacled monster inside Damodar's head. The protagonists hide in a tavern and read the map that Ridley and Marina get sucked into. Damodar and his henchmen attack Elwood and Snails, but they manage to get away with the map. Ridley and Marina exit the map and all decide to work together to find the sceptre. They apparently have to find a red ruby called the "Eye of the Dragon" that can open the door to a tomb where the red sceptre rests. The ruby is located in a den of thieves that is led by Xilus (Richard O'Brien) who'll give the protagonists the "Eye of the Dragon" if Ridley solves a maze of booby traps. Ridley manages to get the "Eye of the Dragon" when Damodar arrives to capture him and his friends. Marina is captured while Ridley, Snails and Elwood escape, meeting an elf named Norda (Kristen Wilson) who works for Empress Savina and informs the Empress about Profion's plans to get the Red Dragon sceptre. Meanwhile, Damodar interrogates Marina, using the tentacles in his head to gain her knowledge.
Ridley and Snails break into the castle to rescue Marina, while Norda and Elwood stay behind. Ridley and Snails split up and Ridley finds Marina, but Snails is confronted and killed by Damodar when he throws the map to his comrades. Ridley becomes enraged at Damodar and attacks him, but Damodar disarms him and stabs him in the left shoulder with his own sword. In the confusion Marina grabs some magic dust and uses a magic portal to escape with Ridley, leaving the corpse of Snails behind. During the council meeting, Profion and Empress Savina battle over the domination of Izmir.
Meanwhile, an elf (Tom Baker) heals Norda's soldiers and Ridley, and Marina tries to help Ridley get over the death of Snails, but Ridley angrily rebukes her. After an argument in which Marina convinces Ridley that Snails didn't die in vain, they become love interests. Ridley uses the "Eye of the Dragon" to finally get the Red Dragon sceptre, which is held by a skeleton that comes to life and warns Ridley that "anyone who wields the power of the rod shall suffer a horrible fate", but Damodar arrives to steal the sceptre and brings it to Profion, where Ridley, Marina and Elwood follow.
They travel back to the Empress' castle where Gold dragons controlled by the Empress are battling the Mages below. Profion uses the Red Dragon sceptre to summon Red dragons, which battle the Gold dragons and slowly begin to win the fight. Ridley comes across Damodar, duels him with his new magic sword and then kills him, sending his body off the castle wall, and then, after a confrontation with Profion, Ridley destroys the sceptre and a Gold dragon eats Profion.
Ridley later visits Snails's grave, where Snail's engraved name disappears, and Norda teleports Ridley to a place where "your friend awaits you", along with herself, Marina and Elwood. | good versus evil, alternate reality, psychedelic, fantasy, humor | train | wikipedia | Donny Most (Ralph Malph on 'Happy Days') and Willie Aames (Tommy on 'Eight is Enough') did the best thing for their careers by doing this cartoon.
The show strived to use all six kids evenly and not be dominated by Eric and Presto (Most and Rich) and did a good job doing this while keeping the shows upbeat and entertaining.
They meant business, and when DM told them what to do to stop Vengar, it was quiet, and he said "May I go now?" with such humility the likes of which I had never heard and have yet to hear again in a cartoon.
I just caught an episode of Dungeons and Dragons after viewing a preview of the cgi series Action Man on the Fox network.
I had forgotten their work on D & D and now wish i could get in on tape!Those shows from the 80s were so much better in story and execution than the sterile cgi shows pushed on saturday mornings these days..
It had great voice actors like Willie Aames(Charles In Charge) and Don Most(Happy Days) providing life to the characters.
The theme of the series was that a group of young teenagers and little Bobby go on a rollercoaster ride called Dungeons & Dragons it transforms them to another land in a different time.
They try to get home with the guiding wisdom of Dungeon Master(Sidney Miller) and fight off various antagonists along the way, mainly the evil Venger!
"Dungeons & Dragons" told the story of a bunch of kids who take a ride on a roller coaster and are transported to a strange world.
This was a really cool show.My favorite episodes were: "In Search of the Dungeon Master", "The Dungeon at the Heart of Dawn", and "Odyssey of the 12th Talisman"Overall I really enjoyed this show and it's a shame it didn't last on Fox Kids for that long.
I have been playing D&D for over 15 years now, and I have to say the series ran just like the old D&D.
Check out foxkids.com for more details.Regarding my Harry Potter theory, all the advertisements feature Presto, the magician of the group, so that's why I'm betting it's their way to cash in on the hero of the English kids books.Anyway, they've run two episodes as far as I can tell and they were "The Illusionist" and "The Day of the Dungeon Master." Both surprised me at how fast-paced the stories were, giving little time for establishing shots or explanatory information."The Illusionist" was the worst of the two, a story about Presto rescuing a girl from Venger's clutches.
"Day" was very entertaining, mostly because it was so character driven.Regarding animation, it isn't as good as I remember it, but still passable when you look at "Pokemon" and "NASCAR racers." I would say it's just one step below "G.I. Joe" quality.Don Most, the actor from "Happy Days", is by far the best voice actor and really carries the rest of the cast.
But Willie Ames, Peter Cullen and whoever does the Dungeon Master are right on the mark.Remembering my love for the series, I must say it's cool to see it again, because I so rarely saw it during it's original run.
when younger i never missed an episode the cast behind the scenes worked well with each otherthe story lines behind each episode were well thought out(if sometimes a bit corny)(sometimes prophetic)tugging at heart strings on the odd occasion(when Dianne fell in love with the prince before he "saved" his people and transported to another dimension)(when "presto" helped save the village girl from venger,uttering the line in the swamp "don't leave i need you" enter dungeon master with some advice.for some good old-fashioned entertainment good guys VS.
Now as a 26 year old I have to say it's still great.The animation is a little dated and it has that Captain Planet style 'moral every episode' theme but that to me is what makes it so classic and I just don't understand why more episodes weren't made.The voice acting was superb and certain episodes had a dark element to them which makes it that much more appealing to me as an adult.
Their struggle to get home drew some real emotions from the characters at times meaning even now I still rooted for them in every episode.My favourite character is still Eric (as a kid I actually had a crush on him which is pretty sad), I think he acts just like I would if I was in that situation, making jokes to make light of a bad situation and running like hell when a huge monster appears.Not only do I still love this but 2 people I work with want to borrow the set, 1 because she remembers it and the other because her kids love it.
I don't doubt they will appreciate seeing it again as much as I have.Its a shame there are no plans to make a movie of this like they're doing with other 80's classics but I can't imagine any actors bringing justice to the characters because I love this show too much.Top marks!.
Just seems like those Saturday morning cartoons have a short shelf life as the ones that came on during the week would at least last two or three years while the ones on Saturday only lasted a year.
This show chronicled a group of kids who ride a dungeon and dragon theme ride and end up stuck in a realm of magic and mystery.
A dungeon master grants these youths powerful weapons to help them survive this land as they try to find a way back to their home.
I liked the thief best as a kid I had sort of a crush on her and her red hair.
They made it home in one episode only to have to return back to the realm as their weapons did not work in their world and Venger had followed them.
Kind of wish they made a turn based role playing game with these characters and at the end they made it home, which finally there would be some closure to this series and I love a good rpg..
Brilliant Cartoon Dungeons and Dragons.
This in my opinion is the best cartoon I have ever seen.Everything about it oozes quality, the acting (especially the voice of Venger, Peter Cullen) the sound effects (wow) and the writing, is brilliant.However they are a few mistakes in a couple of episodes, like in The Last Illusion where some of the speech is spoken in the wrong character.
But this is only a minor mistake, in all you could say that its almost perfect programme to watch.I watch this when it first came out, I was only about 12 or 13 and I watch it with my mother, brother and sister which we all were addicted to it.It's such a shame the last episode (Requiem) wasn't released or produced, I loved to watch what happened to the characters and if they got home.I really enjoyed this cartoon and I have recently watched all the episodes again on you-tube.Brilliant..
I agree that the radio version last episode was never aired because I definitely would have remembered that.I saw disc 5 where one of the writers said despite 1000s of emails saying they remembered a last episode, one was never aired.Well I am telling you I guess I am one of the 1000s of people who remember it.As I have been watching these 27 episodes with my son, waiting for the final episode where they go home- I told my son a couple of the scenarios of the final episode I SAW as a kid.They made it home (at the AMUSEMENT PARK) and Presto sees his girlfriend he met in one of the episodes.
I don't remember all the other parts of the so called missing final episode.BUT I KNOW I SAW AN EPISODE WHERE THEY MADE IT HOME AND PRESTO SAW HIS FRIEND- the one captured by VENGER and was held captive that also had magical abilities.
THERE IS NO WAY 1000s of people remember a final episode (just on emails- not like me who didn't email) so there are probably 10s of thousands who remember one- and it not have happened..
I was a kid from the 80's and I was really into the fantasy genre to me it just had everything, beautiful worlds out of the ordinary, magic, creatures, secrets, treasure, action, and most importantly adventures and possibilities that could come true.
The animation I think is very good and I personally think holds up today, I like the character animation of the humans and creatures, but what really impresses me is the background animation which really give the fantasy world a sense of vastness and wonder; each episode I was always excited to wonder what the next place would be.I really like the plot/set up which makes sense if you think about the principles of the game, in the RPG the characters in the books are all roles/archetypes you play which is why each of the characters are assigned their roles.
It was also kinda a dream come true for me seeing kids having magical abilities and journeying into a fantasy world, that's the kinda of thing I always daydream about.Each of the plots in the show are different, yeah their random but there's nothing wrong with that as long as there interesting and they are, just like in the RPG game each are a different quest which gives the show a sense of unpredictability and mystery; you just never know what they'll run into next and how they'll deal with it.
The music is great, I really like the theme song at the end of the show it has a touching and adventurous tone.
And I really like the characters, there was actually a small sense of depth to them and they all had emotions which made you actually care and even feel sympathy for their desire to go back home.
But most importantly I love the fact that this group of kids act and feel like regular kids, there not some stereotypical annoying all smiles or dumb their all smart human people with wants, needs, and feelings of their own.My first favorite character if you can believe it is Eric (voiced well by Danny Most, yes I've seen "Happy Days").
Yeah it's true he's a spoiled rich kid, but I like that he's doesn't let that get to his head, he is a bit of an underdog because he's not a smooth guy, he doesn't get the girl, nor all the luck.
But to me what I like about him is that he does care about his friends and is borderline selfish/selfless which makes him capable of helping his friends in need and doing the right thing whether he wants to or not.Second is Diana, I know a lot of kids had a crush on Sheila but me it was Diana.
It's just cool hearing him in a villain role, that voice could almost make anyone nervous, it's a shame the actor didn't play the villain role often.It would be awesome if there was another animated series based on this RPG franchise.
It would be cool seeing more popular creatures, magic powers, and other roles which are in great abundance as the franchise has progressed to this day.
OK, I have been a major fan of this series, since I watched it, while I also played D&D/AD&D, with my older brother, since I was like 5yrs old, and he and I started playing with the 1st and 2nd editions, and since, now, if you want the complete set(27 episodes), they have it on the shelves at Wal-Mart, BUT, I noticed, they have it in my Wal-Mart, in an off-the-way shelf, but in the same area, as the other movies/shows, so, if you want it, it cost me just under $10.00, for the complete set!!!!
Dungeons and Dragons ranks as one of the best cartoons ever, it makes me glad I grew up when I did as there were so many fantastic shows.
I can remember being miffed as a youngster to discover the show never had a concluding episode, I was surprised to learn it only spanned three series, I would have thought it had a huge following.
So many wonderful characters and great episodes, the best for me being The Dragon's Graveyard, which is brilliant.Now in my thirties, and not usually into animation, I'm stunned by how much I've really enjoyed watching the show from start to finish, great viewing for all ages.
Six friends are riding the Dungeons & Dragons ride at the amusement park when they are sent to another world.
Spoiled rich kid Eric is the Cavalier given a shield.
They must battle Venger, the Force of Evil, while trying to find a way home.I did see this Saturday morning cartoon back in the day.
Yes D&D was on the air for the summer, but like all good things, it had to come to an end.It is no longer on FOX.
Worse yet FOX changed the schedule for it , many times , making vcr recordings for it very sporadic.Luckily I managed to tape almost all the episodes (about 4 missing).I am managing to get a hold of the remaining episodes.Oh yes , it's a great cartoon.
The credits looked fairly impressive for the time (Marvel Entertainment produced, while Toei Studios in Tokyo handled the animation), but the results were no better than many comparable fantasy series aimed at very young children.
Also, the story complications and twists do not surprise, and there is no overall story arc carried from one episode to the next beyond the characters' desire to get home.
It seems as if less creative energy went into this series than that which found its way into many, many game scenarios being played at the time by people typically older than the target audience of this show..
Quite possible the best fantasy cartoon ever.
While the animation isn't always the best (as this is one of the last cartoons of the Stock Footage Era of US animation), it does its job very well on many occasion.While all 27 episodes are enjoyable, the episodes to seek out (preferably as aired on CBS, as the Fox versions have edits of varying intrusiveness in order to fit in with the need for more commercials) include "The Dragon's Graveyard", "Treasure of Tardos", "Dungeon at the Heart of Dawn", "The Hall of Bones", "Servant of Evil", "The Girl Who Dreamed Tomorrow", and "Child of the Stargazer".
Plus, once you see the 27 episodes, go to Michael Reaves' (writer of many of the best episodes) website and read the third season finale that CBS approved-but never allowed to enter production.Dungeons & Dragons is a true classic, and is unfortunately forgotten by many, even though it aired on the dominant network (CBS) for Saturday mornings at the time.
When I was a kid, I remember loving it but being aware of what I disliked about it at the same time.
It's still as good as I thought it was, if not better.The plot follows the story of 6 kids who while riding the Dungeons & Dragons ride at their local theme park are transported into the mythical realm of Dungeons and Dragons.
Here they quickly make enemies with Venger, the Vader-esquire Dark Lord of the realm but are aided (some might say hindered) by the help of the all knowing Yoda-esquire Dungeon Master who aids them in their quest by giving them magical weapons, which Venger also requires to be all powerful.
The best thing about this series is the characterisation of the 6 kids.
With each and every passing episode, you get a little bit more insight into each character.
For example, the episode "The Dragon's Graveyard" had the kids almost turn to the dark side after another opportunity to get home ruined by Venger.
After this incident, the kids set out to find a way to kill Venger once and for all.
Good and clarity of thought win the day in the end, but it was a brave move for a kid's cartoon.
Kind of like an ongoing Empire Strikes Back.The series ended prematurely, with the final episode, although scripted, never completed due to the series being cancelled.
In a way, this, although annoying and saddening at the same time, is what helps push the series into legendary status.
As it is, it ends with my favourite character, the cowardly, selfish cavalier, Eric, coming to terms with their predicament.
What saddens me as an adult watching back on it, is that these characters that I grew to love, never did make it home.Overrall, the best thing I ever saw on Saturday Morning TV as a kid.
Only 1 thing bothered me about this show, that was the character of "Eric" the cavalier.
This is one of the best animated series on TV, even today.
I watched it as a kid, and I loved it so much.
I've been watching it again as an adult, and love each episode.
The characters are exactly what I remember them to be like.
The characters are kids from Earth who are at a fairground, and go on a magical dragon ride, then transported to another world.
I wonder, sometimes now but never back when I was a kid, if the world they ended up in is from "A Song of Ice and Fire"?
Presto is the Harry Potter look-a-like who has a magical hat.
The next character is a baby unicorn who happens to be like a My Little Pony sweety landed there.
there are unicorns native to Dungeons and Dragons world.
I often as a kid wondered why he never sent them home.
Its a fun cartoon and not like the fantasy movies that were released more than a decade later. |
tt2494280 | Stretch | A man nicknamed Stretch is thrown out of his car after a traffic accident in which the other driver, Candace, ignores a red light. Miraculously uninjured, he confronts Candace, only to fall instantly in love with her. A year later, Stretch is inspired to give up his addictions to cocaine and gambling. As Stretch considers proposing to her, Candace abruptly tells him that she wants to break up. Hurt by the sudden rejection, Stretch's life spirals into self-destruction and failure, which he blames on Candace. A failed actor, he works in Los Angeles as a limo driver. Though he has quit gambling, he retains a $6000 debt to Ignacio, who demands the debt be paid by midnight. At the same time, Stretch begins hallucinating the bitter ghost of another failed actor and limo driver named Karl, who committed suicide in front of a customer.
His boss, Naseem, calls him to his office and tells him that their chief competitor, a mysterious man known only as The Jovi, has been stealing their clients. Unless they can steal clients away from The Jovi, Naseem will be forced to fold his business. Although unsure how he will retain his job or pay back his debts, Stretch takes time to set up a blind date with a woman from an online dating site. At the same time, he begs Charlie, a sympathetic employee, to direct any high-paying customers his way. When The Jovi steals his first client, actor David Hasselhoff, Charlie sends Stretch to intercept one of The Jovi's clients, Ray Liotta. Liotta tasks Stretch with returning a pistol and prop badge, but before he can do so, Charlie sends him another client, Roger Karos, an eccentric playboy with a reputation for extremist hedonism. Karos parachutes down naked to the arranged location and offers to pay Stretch's gambling debt if he serves without question.
As Stretch drives Karos to exclusive nightclubs and hotspots of dubious legality, Karl berates him for putting himself at increasing risk, both personally and legally, for such a small sum of money. Karos' final destination is a secretive sex club. Karos gives Stretch 100 minutes to return to the sex club with an important briefcase and a supply of cocaine. When Stretch attempts to retrieve the briefcase, he learns from Laurent, a French blackmailer, that Karos has promised to trade a ledger for the contents of the briefcase. Using Liotta's props, Stretch successfully cons Laurent and his men into believing that he is a police officer, and they surrender the briefcase. As he leaves the nightclub, he sees Candace and nonchalantly insinuates that he is both successful and important now. When Candace expresses interest in him, he turns her down. Unimpressed, Karl continues to harangue him for his inadequacies.
Stretch procures the cocaine from a reality television star, who then steals the limo. Meanwhile, Liotta complains to Naseem, who fires Stretch. Undeterred, Stretch reacquires the limo, which has been trashed, only to lose it to The Jovi's brother, Boris, who operates a tow truck. Stretch once again retrieves the limo, though it has been reported as stolen. Stretch fast talks the security system operator into believing that he is a cop whose life is on the line during a gunfight, and he returns to Karos, who complains that he is a minute late. Ignacio also complains that he is late in his payment, and Stretch instructs Ignacio to meet him at Karos' destination. There, Karos abandons Stretch to The Jovi and Boris, though Ignacio intercedes. Laurent, revealed to be an American cop, also appears and arrests Karos, who is wanted for embezzlement. As Karos prepares to kill Laurent in a sneak attack, Stretch creates a diversion, saves Laurent's life, and escapes.
Later, at a diner, Stretch gives the ledger to Laurent, who declines to arrest him and compliments his acting skills. As Stretch looks around the diner, he realizes that he has ended up at the meeting point he set up with his blind date. He is surprised to find that the woman is there; when she is revealed to be Charlie, the two laugh and passionately kiss. | flashback | train | wikipedia | The Movie "Stretch" Takes place over the course of one night, and is about a man whom is a Limo Driver that owes six grand by the end of the night.At times this movie reminded be a bit of "eyes wide shut" and "Hanna," with similar colouring and locations to the movie "cosmopolis," but with a much more light hearted and humorous tone.
I did not view the credits beforehand, but was surprised with several cameos, and quite a few recognizable faces throughout the movie.Some parts are a little mediocre, but as a whole the movie is a fun ride, and offers some good entertainment while contemplating on things like fate and taking action.It was beginning to feel like Chris Pine was becoming a bit type cast, but in this movie he effectively breaks those bonds, portraying a wild, unpredictable man with a sense of mystery and insanity.At first appearance, it looks like it will be another run of the gun, 'wild night' movie, but instead "Stretch" offers some truly unique aspects, with plenty of creative and funny scenes throughout.Definitely a good movie to watch if your looking for some fun entertainment that doesn't take itself too seriously.
I thought it was a perfect action-comedy - right up there with 'The (original) Hangover', 'Horrible Bosses' and the like.Here's how it hit me..Story: Tight, to-the-point, succinct and actually, pretty plausible.
Chris Pine gave a performance that was much, I mean much, like Rob Lowe's character on Californication, except he played 10 times the character for almost the duration of the movie.
Norman Reedus was in the movie for about 90 seconds, so it was Patrick Wilson followed by Pine as the focal points of this wildfire.Of course I would love to see more of Jessica Alba & Ms. Decker in any movie, but I understand that this was not a romcom, it was a thrilltacular/comedy.
Stretch is a story of unlucky person and unlucky gambler who lives in LA, he wanted to be an actor but instead he's limo driver and fate never been on his side, it always has been until he meets Roger Karos (Chris Pine) and his life changes in one day.Stretch is so entertaining and every second of it is enjoyable with intense events that will make the viewer happy and satisfied, it's funny, edgy and a wonderful experience, Joe Carnahan knows what he's doing and that's why Stretch is a very great and entertaining movie to watch with great performances from Patrick Wilson, Chris Pine and Ed Helms with a very nice appearances from Norman Reedus as himself, Ray Liotta and David Hasselhoff.I won't ruin the movie for anyone who didn't watch the movie but my final words are..
I liked the film Narc very much, and even though director Joe Carnahan's following movies (Smokin' Aces, The A- Team and The Grey) were far from being at that level, I still found them competent.
There are some nice additions to that (Ray Liotta as "himself") and some others (Chris Pine going completely over the top, though he's playing someone different than himself).The action is really good and the dialog is finely tuned.
One of the craziest, most courageous risk takers in Hollywood responsible for such crazy wild rides as Smokin' Aces and The A-Team or the thinking man's action film The Grey and mastered the art of blending drama and comedy.
Since Carnahan is such a fun, creative and provocative he fills this film with so many crazy, wacky ideas and characters.Patrick Wilson gives the performance of his lifetime.
i don't know where to start writing my opinion on this movie the fact that the budget of this movie was 5 mill explain universal studio stupidity making this movie the story and the acting was the worse i have seen in years, i have seen thousands of movies in my life i must say this one really was the worse especially the language was used in the movie oh my gosh i hate this every second word in the movie the F word used no surprise the ACTORS who ware playing in this movie lost their touch playing in the big screen or even the small screen like David Hasselhoff he his so bad like 3rd league actor as far as i m concern he is finish after the bay wash was over i give 1 star to this movie because it;s not worth more then that.
When I first watched the trailer of the movie, it seemed like another Transporter movie, but instead a comedic action film with Patrick Wilson in the place of Jason Statham.
This movie includes a lot of language used unnecessarily, random scenes that don't quite make sense, and a crazy guy: Chris Pine who plays as Roger Karos, that does drugs, who also says and does stupid things throughout most of the movie, asking Patrick Wilson to do errands for him, in which Patrick Wilson changes his personality and becomes the "tough guy." Hoping to receive the amount of money he owes so he can pay off a gambling debt.
I tried to give this movie a chance, but I was sadly disappointed, the film kind of felt like the Hangover 3, the first two movies were good, but on the third the writers just came up with random things in an attempt to make it funny.
A fine director who burst onto the scene with the terrific yet underseen Tom Cruise backed Narc, then went onto direct the so-so big budgeted A-Team redo and one of the most underrated thrillers of the modern era in the form of the pulse pounding The Grey, director Joe Carnahan has had an eclectic career behind the camera, no more personified by Stretch, a film virtually dumped by its studio and left to live a life of relative obscurity in the libraries of forgotten movies.Aiming to find the success and balance of humour, violence and darkness that pulses through the veins of films like Snatch, Crank and the oddball exercises of the Coen Brothers, Stretch sees Carnahan try his hand at satirical insights into the world of Hollywood and the dark underbelly it entails but under the guise of Patrick Wilson's hard luck wannabe actor turned gambling debt riddled limousine driver Stretch, Carnahan finds himself on shaky ground and while the director has found success with action orientated thrillers in the past, his skill set is not used to great effect here.Stretch often feels forced and uneasy, Wilson in particular seems unsuited to the role that continues his long line of disappointing acting choices when films like Watchmen and Little Children show off his potential while supporting actors such as Jessica Alba, Ed Helms and the horribly over the top Chris Pine can't score a touchdown for a film that was searching for its greatest win from its cast.
Wilson's Stretch isn't also a creation that seems overly enjoyable and while films of this ilk often harbor a fairly dire central figure, Stretch isn't funny enough or stupid enough for us to really care whilst the narrative's "what a crazy night" type scenario never takes off even though it throws jockstraps, big bodied Russian's and celebrity cameos (another winning Norman Reedus moment a highlight) our way in abundance.Stretch is without a doubt a wild ride and a unique one in many respects but Carnahan's misdirection and the films unbalanced tonal shifts certainly don't help its causes and at the end of the nights adventures it's not hard to see why the studio dropped this film like its hot, as it's not exactly clear at who Stretch was aimed for or what it was trying to achieve.2 angry Hasselhoff's out of 5.
Am still finding it hard to believe that all the great actors that appear in this movie agreed to act in such a horrible film.The main actor Patrick Wilson was a boring miserable main character who failed to make me or my partner laugh even just once.
However, once the first few minutes are out of the way it just becomes crazier and crazier and more and more surreal.After establishing Stretch (Patrick Wilson) as a down on his luck pathetic figure the film then flits and bangs around all over the place - complete with lame cameos from David Hasselhoff and Ray Liotta.
Aside from the dumb cameos, the first half of the film lacks any real focus and takes an awful long time setting up the plot (which in itself was mind-boggling given how slim the material is with this film).I also couldn't shake this feeling that the picture was also trying way too hard at times to be funny; Chris Pine's performance is very good here and he is funny (for about 5 minutes), but his over-the-top antics actually start to become annoying very quickly.
Ed Helms (who was excellent in the Hangover franchise) is given the thankless role as being some kind of dead adviser/conscience character for Stretch - again although I can't fault Helms performance his character annoyed the hell out of me and I never felt that he was necessary to the story.Even when the film does get going it's rather generic plotting was never strong enough to hold my interest.
With regards to plotting then one could also address the vague and silly sub plot regarding Stretch and the PinkMinx - this felt like a dumb thing to tag on to the story and although the mystery (I'll use this term lightly) to this sub plot is revealed I never really cared for it to be honest because I never felt that I was given a reason to.Although the film clearly tries to be funny I just found it a little too wacked out, ridiculous and rather stupid, but sadly all of this came at the expense of anything remotely funny or interesting.
Director Joe Carnahan returns to the big screen after a long stint away, showing he's still got a great sense of gritty action, and dirty storytelling.I was really impressed with this film about L.A limousine driver, who after a life of making bad luck and even worse decisions, ends up on the receiving end of Fate after an absolutely insane night of depravity, criminal actions, and violence.
This entertaining wry comedy thriller has plenty of action and mishmash of good and bad guys chasing after Patrick Wilson's character who still obsesses over his ex-girlfriend while finding himself as a limo driver who ends up with a billionaire with strange tastes played by Chris Pine of the rebooted Star Trek fame.
One can find some elements of the comedy spy action movie Red (2010) played by an aging ensemble of A-listed stars, Eddie Murphy's Beverly Hills Cop (1984), and John Cusack in War, Inc (2008).Stretch beings a masochistic and weird tone into the mainstream as Patrick Wilson's weaves his away around many threats to his life with at times a witty voice over and periodic fateful occurrences.
The acting isn't bad but I personally think that the movie would have been better if there was a major star playing the lead.
Patrick Wilson seems to act the same in all of his movies, even if he's playing a superhero in Watchmen or starring in a horror like Insidious and the Conjuring.
I think it works because Carnahan has characters play it straight in situations which are beyond ridiculous and that is a harder act to pull off than any number of mindnumbingly stupid gross-out 'comedies'.There is in Stretch a certain internal logic which, although it doesn't make a drop of sense in the real world, does make sense in context, and Carnahan is skillful at pulling that off.
Just like Landis, director Joe Carnahan packs his movie with a few cameos like Ray Liotta and David Hasselhoff.Stretch (Patrick Wilson) is a wannabe actor in LA but reduced to driving a limo and heading to be burnt out.
Carnahan, ever the inventive maestro, channels the feverish action and intensity he brought to his awesome Smokin Aces in this non stop night ride about a hard luck limo driver who's forced to take on a variety of weird, crazy clients in the hopes of one big tip that will help him pay off his sizeable gambling debt, due in 24 hours.
A definite throwback to those no-nonsense days of '80s action comedies like 48 Hrs & Beverly Hills Cop. A movie that doesn't really care if you like its characters or even it for that matter...it's just gonna have fun doing its thing.
Of course it's extremely predictable and it's certainly a story we've all seen many times before, but at the end of the day you can tell a well-worn story and have it work as long as you have all the right ingredients (a game cast, a solid script and a no-bullshit director like Joe Carnahan) and I believe that 'Stretch' definitely does..
If you are in for a good Action movie/mind breaker with some parts of comedy than go see Stretch!.
'STRETCH': Four and a Half Stars (Out of Five)Action-comedy flick from writer/director Joe Carnahan (the man behind such popular action movies as 'SMOKIN' ACES', 'THE A-TEAM' and 'THE GREY').
Patrick Wilson stars in the film; as a failed actor turned limo driver, named Stretch.
I love the film and if you're a fan of Carnahan's, I'm sure you will too.Stretch (Wilson) is a failed actor, now working as a limo driver, who was also recently dumped by his girlfriend, Candace (Decker).
He also has imaginary conversations with another actor turned limo drive, named Karl (Helms), who recently committed suicide.The film is crazy, hilarious and action-packed; everything you'd expect from a Joe Carnahan movie.
Stretch is a well-scripted, well executed and humorously satirical comedy thriller film directed by Joe Carnahan and written by himself starring Patrick Wilson, Jessica Alba, Chris Pine and Ed Helms among others.In its opening, we meet a guy named Stretch (Patrick Wilson) who is a failed actor with a little less than five hundred dollars on his bank account.
As a limo driver now, he tries to make a quick buck by chauffeuring a few celebrities such as David Hasselhoff aka The Hoff (this client is stolen by 'The Jovi') and Ray Liotta who gives Stretch a two hundred dollar tip to return his handgun and prop badge.As his night gradually spirals into a chaotic frenzy, Stretch meets a handful of colorful characters among them a psychotic, coke-snorting, sadomasochistic hedonist and playboy who lands on the roof of the Limo half naked exposing his oversized scrotum, an over muscled Russian/Serbian macho who is The Jovi's brother, a half-assed druggy pop star who sings terribly and a French blackmailer who turns out to be an infiltrated fed.The film's plot is well-driven and executed with humorous and clever dialogue, and Patrick Wilson's acting is top notch.
The movie Stretch is a fun and entertaining ride.
It's fast-paced and Chris Pine gets to play a really fun role (I imagine actors love roles like that!) The ending is predictable but it doesn't matter because it's the right ending.
This Post-Modern, Self-Aware, Irreverent, sometimes Crude and Lewd Black Comedy is Wheelhouse for Writer-Director Joe Carnahan.Life isn't Fair ...for the Movie's Protagonist "Stretch" a Limo-Driver Loser that through some "Fateful" Events has a Chance to "Man-Up" and take Control of His Life that Spins out of Control on a Regular Basis.He barely makes a Living Chauffeuring Hollywood Types and Fat Cats as They make Whoopee with Their "Ill Gotten Gains" and are Cruel Carnivores.
The first 30 minutes or so of this black comedy sucks, big time, before rather weirdly picking up with the appearance of an uncredited Chris Pine as the mad, bad and very dangerous to know billionaire limo driver Patrick Wilson is tasked with driving around LA.
I like Patrick Wilson and in this film he was pretty good.
The film was entertaining and strange, but I am sorry to say that it wasn't a good movie.
That is too bad, since I enjoyed the film and it had the potential to be really great, maybe reaching the cult status of Dude, Where's My Car?The plot is easy enough to describe: a limo driver needs money to pay a debt and he takes a strange character as a client.
But that is really the only loose link and other than that Stretch is the kind of crazy, funny ride that never makes you bored.Personally, Jessica Alba really surprised me as for once she played a character that did not seem to be as dumb as a rock.Stretch is consistently good for what it is, an action comedy.
Stretch is the central character, in every scene, and the movie lives or dies on Wilson's performance.I must give him credit, he is great here, as an actor in the L.A. area trying to get work, but also working off a big gambling debt while trying to stay sober.
The editing, lighting, and camera work all look fantastic and the film has a very funny story and the performances from everyone in it—all the cameo roles, Chris Pine and especially Patrick Wilson—are incredible and really make a great film even better.
Stretch begins fine, a humorous flick about a day in the life of a limo driver...well acted by Patrick Wilson.
But after Wilson's limo driver character becomes involved with Chris Pine's eccentric character the film begins to deteriorate into the absurd to a point of needless slapstick contrivance that just wouldn't happen in life to a street smart guy who's not stupid.Too often sit-coms like this one are ruined by bad script development with scenes that could have been cut.
We had a solid start to the quintet with Mercy, and it continues gloriously with Stretch, writer/director Joe Carnahan's follow-up to his 2012 hit The Grey.As the title character, Patrick Wilson does a great job. |
tt0095602 | Matinee | In Key West, Florida in October 1962, boys Gene Loomis (Fenton) and his brother Dennis (Lee) live on a military base (N.A.S. Key West); their father is away on a nearby submarine. After hearing the announcement of an exclusive engagement of Lawrence Woolsey's (Goodman) new sensational horror film Mant! ("Half man! Half ant!" "in Atomo-Vision and Rumble-Rama!"), including Woolsey's appearance in-person, they arrive home to President Kennedy's television interruption, stating the presence of Soviet missiles in Cuba. Woolsey finds this atmosphere of fear to be the perfect environment in which to open his atomic-radiation-themed film.
Woolsey brings along Herb Denning (Miller) and Bob (Sayles) to stir up the yokels by protesting the film, but Howard, the theatre manager (Picardo), assures him that "the people of Key West are not yokels." Indeed, the progressive Jack and Rhonda (Clennon and Butler) make a strong free speech argument for allowing the film to proceed.
New to the local high school, and not getting along with the similarly-aged Andy (Nick Bronson) on the base, Gene ends up associating with Stan (Katz), and becomes infatuated with Jack and Rhonda's daughter, Sandra (Jakub), after she takes a detention for protesting the uselessness of an air raid drill and yelling the truth of the false protection at the students in the hall. In attempting to get a date to the dance, Stan goes for Sherry (Martin), who was seeing a prison poet, Harvey Starkweather (Villemaire), who regularly bothers Stan about his interest in her (and hers in him).
The film is structured in halves: the first half leading up to the screening, and the second half depicting the screening and what goes on at and around it. The film also showed the differences in two young women who eventually become the girlfriends of the two boys. The girlfriend of Gene had progressive ideas of what a woman might become, whereas the eventual girlfriend of Stan was very much in line with what society at the time of the film's setting thought a young lady should be. | murder | train | wikipedia | Canadian Made-For-TV Horror.
Two years ago the local movie theater had a horror film festival, during which a local teen was murdered at the same moment and manner as the on screen character.
Now another horror movie festival is set to happen, and some people feel history will repeat itself.I was fairly amused with the film starting out with the Kevin Bacon death scene from "Friday the 13th" (though without Bacon himself and the movie renamed "Murder Camp").
This seemed to bode well for how the rest of the film would go.And then, well, the film goes nowhere...
we have a few amusing scenes with a guy dancing on a skateboard, and you get to see a blonde, curly mullet and Major Briggs from "Twin Peaks".
But, yeah, being made-for-TV it is pretty tame and not the bloody slasher it should be..
You want first-rate seats?.
This made-for-TV Canadian production was an acceptably entertaining, if predictable whodunit thriller using horror references (posters and images) and backdrop tools (horror movie festival) to suck in genre fans.
Well those novelties do amuse.
As it is, it holds your interest, but can be plodding and flat with its flabby material covering the conventional basics and having an overly talky script.
You got the usual red herrings (the movie geek, weathered cop, seamy newspaper reporter, repressed mother, two rebellious teens and the list goes on
and on) and dramas (forbidden love to lurking secrets) in a more bounded by reality than most stalk and slash items that are screening at the movie festival.
However some certain plot aspects seem to be just there or just non-effective (like the police investigation).
Everything is done in a subdued manner (from the minor list of off-screen killings to the performances) and drills out a sombre vibe.
Disposable performances are passable and there are some recognisable faces in the way of Don S.
Davis and William B Davis that add some class.
Director Richard Martin slack handling doesn't build much in the way of suspense or etches much style.
Despite being steadily well presented (the score is competently suited), it's wooden all round and shows it TV origins..
More murder mystery than horror, average at best..
Matinée starts in the small Canadian town of Holsten B.C. as it's annual horror film festival is taking place at the Paramount theatre, it's the big night of the premiere of 'Murder Camp Bad Blood' & the audience is in a frenzy as scenes of murder & mutilation (knowingly similar to the original Friday the 13th (1980)) are projected on screen for their entertainment.
However one audience member named Kelly (Kerry Sandomirsky) has her evening ruined when she looks across at her boyfriend (Boyd McConnachie) & discovers that someone has stuck a great big knife straight through his throat...
Jump forward 'Two Years Later' & Holsten is reviving it's horror film festival after it's years hiatus, Detective Al Jason (Ron White) is already receiving letter from concerned members of the public about it not being a good idea to restart the festival.
Unfazed by both past & present events the theatre's manager Earle Gardener (Don S.
Davis) pushes ahead with the festival & the premiere of 'Bad Blood II' but it's not long before lightening strikes twice & the dead bodies begin to pile up...This Canadian production was written & directed by Richard Martin & is an average murder mystery at best.
The script is a little on the slow side for my liking & doesn't seem able to decide whether it wants to be a homage to classic horror as it recreates various scenes from the likes of Friday the 13th, The Texas Chainsaw Massacre (1974), Psycho (1960) & a few other's as well as sticking lots of horror film posters up all over the theatre where the story takes place.
Despite all these horror film references & nods Matinée is a cop thriller at heart as the murders are very few in number & aren't like those from your typical stalk'n'slash horror, there more restrained & there's a reason why people are killed in Matinée rather than there just being a psycho killer on the loose.
The eventual identity of the killer isn't that surprising & I doubt much effort was put into their motives, it all seemed rather sedate & a bit dull.
Matinée would probably have worked better as an hour long TV film rather than 90 plus minutes, it's one of those films that I don't think anything is particularly wrong with it but at the same time it didn't exactly impress me either & it's OK for what it is no more, no less.Director Martin doesn't give the film any sort of life or style, it's all rather bland, flat & instantly forgettable.
The character's are as you would expect for this type of film, the tough cop, the sleazy reporter trying to stir up trouble, the obvious suspect who you just know is innocent because everything points to him & the disposable teenage victims.
Forget about any gore as there isn't any worth mentioning, Matinée is a very tame film.Technically Matinée is a competently made-for-TV film but has all the blandness you would expect from such a production.
The acting was OK but nothing spectacular, The X-Files (1993 - 2002) cigarette smoking man regular William B.
Davis has a small role.Matinée is an OK murder mystery film, it's more of a thriller than a horror film & has little that you would associate with the genre apart from the horror festival setting & the films that play on screen during them, for me that simply wasn't enough.
Average at best, watch only if your desperate or your a fan of dull cop thrillers..
Maybe pick something else..
Supposedly, this is a made for TV movie, but there is enough violence and f-bombs that I wonder.
Perhaps our friends in Canada are allowed to swear that much.
That said - they seem so polite, I kind of doubt it.The movie starts with a movie within a movie (can I say movie again in this sentence) ending with a murder in real life that echoes the movie (I can say it again).
And that movie has a scene in it which is a complete ripoff of Kevin Bacon's death in the first Friday the 13th.That tragedy shuts the town and the theater down, My Bloody Valentine-style.
Yet when the theater opens up again, people start dying again.
And oh hey - say hello to William B.
Davis, who the Cigarette Smoking Man from The X-Files, playing a horror director.This is the directorial debut of Richard Martin, son of Laugh-In's Dick Martin.
And now you know.
That said, of all the Canadian horror I have watched, this was the most boring.
So perhaps you should avoid this one..
Classic Canadian slasher, deserves a better reputation.
9/10, I'll bet you never suspected anyone to rate this film 9/10.
It's extremely low-budget, has out-of-date soundtrack and cheap special effects.
But that's what I love about it!
I'm a big fan of Canadian slasher films, from My Bloody Valentine (filmed in my hometown in 1981), to The Little Girl Who Lives Down the Lane, American Gothic, Prom Night, Black Christmas, The Paper Boy, Happy Birthday to Me...
alright, you get the picture.Matinée takes place on the opposite side of Canada from where I am, out in British Columbia.
It's your average slasher plot, but still manages to be captivating and original, with some nostalgic soundtrack and great acting, surprising for a low-budget film.
My favorite actor, William B.
Davis (The Cigarette Smoking Man on the X-Files), was the minor but effective role of Heath Harris, a popular horror director and estranged father of one of the main characters.I understand that there is varying popularity between movies, but Matinée is much better than it's given credit for!
Sure it's not perfect by any means, but given what they had to work with I really enjoyed it.
The Canadian scenery was beautiful and dreary, perfect for a horror film, and although it definitely didn't scare me, it was entertaining and at times funny, at times creepy, everything I love about these 80's slasher classics. |
tt0455566 | James Bond 007: From Russia with Love | One of the most obvious changes to the plot of the video game is the absence of the villainous organisation SPECTRE, who played a vital role in the film. Due to legal issues that have plagued the James Bond film series since 1963, the organisation was renamed "OCTOPUS" and appears to lack a central leader in the same vein as Ernst Stavro Blofeld. The SPECTRE name was tied up in a long-running dispute over the film rights to Thunderball, between United Artists/MGM and the now-deceased writer Kevin McClory.
The game begins with a standard pre-title sequence in which Elizabeth Stark, the Prime Minister of the United Kingdom's daughter, is kidnapped by OCTOPUS while attending a party. Fortunately, Bond was assigned to attend the party for just such an event, and he defeats OCTOPUS and rescues Miss Stark.
Similar to the film, OCTOPUS has conceived a plan to embarrass British secret service agent 007 for the death of Dr. Julius No from the film Dr. No, in which No was an agent of SPECTRE. The plan involves the theft of a Soviet encoding machine known as the Lektor with the help of a defecting Soviet agent, Tatiana Romanova. However, Romanova is being used by OCTOPUS to lure James Bond into a trap; their ultimate goal is to let him obtain the Lektor and then ambush him for it, killing him in humiliating fashion as well. Romanova is sent by Rosa Klebb, an agent of the KGB (in both the novel and film, an agent of SMERSH) who has secretly defected to OCTOPUS. Her immediate subordinate, Donald "Red" Grant, protects Bond through the first half of the game and attacks him in the second. The game ends with a final assault on OCTOPUS headquarters, during which Grant is fatally shot by Bond. | violence | train | wikipedia | The Most Amazing Experience...
For a Bond fan.
The goal of any James Bond game is to make the player feel like he is fulfilling an ultimate fantasy: step into the shoes of Agent 007.
"FRWL" comes closer to this goal than any other game, because this time you control the real James Bond.
No offense to Pierce Brosnan, who made a fantastic Bond and loaned his voice and likeness to "EON", but Sean Connery was the original James Bond, and there will never be anyone who comes close to his level of cool.I must say at this point, like many others who have reviewed this game, that Sean 70 year old voice doesn't fit his 30 year old image on screen, and this takes some getting used to, but it's certainly worth it.
He makes lines like "Bond
James Bond" and "Shaken, not stirred" into a big deal again.
But controlling Sir Sean as he takes on the evil organization known as OCTOPUS is, as Bond said in "Octopussy", "only the tip of the tentacle." The awesomeness of the game begins with the opening gun barrel.
It's the original gun barrel from the movies.
Then you take on first mission, rescuing the Prime Minister's hottie blonde daughter from terrorists at Parliament, and everything from the cars to the clothes is perfectly retro.
The world of the game is truly the world of the original James Bond, right down to the classic rock-n-roll rendition of the James Bond theme that finally plays during a key moment late in the game, as Bond infiltrates a secret factory.After the game's opening, the plot faithfully follows the plot of the movie "FRWL." James Bond is sent to Turkey to retrieve a Lektor device from a Russian cipher clerk who claims she has a crush on him.
In Turkey, Bond teams up with lovable sidekick Kerim Bey. Bond must retrieve the device, protect the damsel in distress, and get both safely back to London.
Bond screenwriter Bruce Feirstein worked on the script, and he's done a good job of making the game the same but different to the movie.
The characters from the movie are all recreated well, but some are better than others.
The impersonators voicing villains Rosa Klebb and Red Grant are uncanny.
And there's a moment early on in the game where you interact with a Miss Moneypenny, M, and Q who all look and behave as they did in the original Sean Connery 007 movies.What puts this game miles ahead of the other Bond games, besides Sir Sean's voice and likeness, is two notable features in the game play.
One is Bond focus.
While you can dispatch villains simply by locking onto them with one button and killing them with the other, an additional button push will allow you to zoom in closer on a target and choose between spots Bond would shoot at, such as a grenade attached to a belt that will dispatch an enemy and a few of his friend or a rappel cord that will cause a suspended enemy to plunge to his death.
The other notable feature is the stealth and mêlée kills.
When you're in close enough range, just hit a button to beat down an enemy with the raw brutality that only Sean Connery's James Bond displayed.Sean Connery's Bond relied mostly on his raw wit and talent, so you only have a few gadgets, but they're good ones.
The Q-copter is a remote control helicopter that can self-destruct and explore areas Bond can't reach, like the Q-spider in "EON", only better.
The classic laser watch is useful, not just for getting into sealed rooms, but dispatching enemies when you have no other weapon available.
Sonic cuff links and a serum gun are the most fun to play around with, but you must experience them for yourself.
Besides the gadgets, you can go dress Bond up in a number of retro costumes found during the game, including the gray suit from the movie, the standard black tuxedo, a retro stealth suit, and that classic white tuxedo, all which look exactly like they did when Sir Sean wore them in the movies.
When you drive in the game, you drive the Aston Martin DB5 straight out of "Goldfinger." It can't turn invisible, but it has a gadget for popping tires like in the movie.
And when you're not flying down the streets of Istanbul in the "Goldinger" car, you can fly through the air in the "Thunderball" jet pack.Then there's the multi-player.
Of course, it has to be compared to the standard of the "GoldenEye" game, and it fails.
Also, you can only play Bond villains rather than Bond himself or the other heroes of the game.
But the multi-player is amusing, and a decent bonus since the awesomeness of the single player campaign alone makes the game worth playing.
The basic game does have other flaws.
Some of the movie's most exciting moments, particularly the gypsy camp shootout, Bond's brawl with Red Grant on the Orient Express, and a confrontation between Bond and Rosa Klebb's bladed shoe, aren't done justice in game form.
And the game is a fast play, even on the hardest difficulty.
But overall, this game is the best James Bond experience so far..
Good game.
I bought this game on an impulse buy from walmart.
I am glad I did.
It was very entertaining listening to Sean Connery and playing the game.
I thought the graphics were the best I have ever seen in a movie/game remake.
The bonus levels were very hard!
The sniper one I think was too hard, it made me so frustrated I didn't play the game for a week and a half.
There were too many people shooting at you with nothing to hide behind or life to handle it.
The only thing I might change was the upgrade system.
I didn't notice any difference from un-upgraded equipment to the upgraded, such as buying an armor upgrade didn't seem to make the armor stronger or more filling on my life meter.
I really liked the Q copter.
I think the developers did a good job..
Bond at the top of his game..
Good: Engaging cinematic firefights, great presentation, vehicles are actually fun to drive, fairly appealing multiplayer, faithful to the movie, and the list goes on.Bad: Main missions are a bit short.This game defines what a "good" third person shooter(not necessarily a spy-game) is.
Great firefights carry on the story and make you want to complete EVERY single mission through, and unlock all the genuine bonuses the game has to offer.
The hype this game had, was lived up to, and I personally think you should buy it, and hook up with a couple of friends and play this one.
Loads of fun.
The sound in this game, is a rip-roaring achievement from a few previous bond games, and firing a weapon, really feels like you're firing a weapon.
It ties in with the aspect that you are a deadly and ruthless spy.All in all, this game makes you excited and satisfied after you make it through, and some multiplayer that can compete with the standards of the crafty James Bond "Nightfire" game for gamecube..
Best bond game so far..
This James bond game is the best bond game i have played in my life it is my favorite James bond game so far because: The missions in this game are really fun they can be really hard that makes it more fun to play the missions have lots of actions the weapons you use are really good.
The cars in this game are awesome the car missions have lots of action and are really fun to play.
The voice over actors are really good and it is cool that Sean Connery does the voice for James bond also the way bond looks is really cool because it looks just like Sean Connery when he played James bond in the movies and the other character look pretty much the same as the look in the movie.
The graphics a pretty good in this James bond game.
Also the game follows the movie pretty much but not all the but most of the time it does which is cool.overall score ********** out of **********.
James Bond OO7 has arrived on the PS2.
I got this game many years ago when it came out, and i'm still playing it today(6 years on!!).It's brilliant and one of the best video games ever and i will never forget it, the graphics are quite good but that's not what matters, it's all the different levels in which you can play bond and get involved in all sorts of all guns blazing action.The game has several levels, in each level you can shoot and kill enemies using pistol,machine guns,rifles,grenades and bazookas, in some levels you can also take control of bond's aston martin DB5 and recklessly skid it around the roads while taking out enemies and getting away from enemies.
Unlike the movies,the aston martin is equipped with rockets and machine gun.
In other levels you can take control of speed boats which are mounted with a machine gun which has unlimited ammo, you get to destroy tanks,shoot down helicopters,destroy other boats and destroyer a tanker, you can also take control of jetpacks which fire machine gun rounds and rockets, what an awesome game!!!
You can get multiplayer in which you battle it out with your mates in a variety of different locations from the movie, which is excellent as you can select a lot of different modes and secenarios.
Yoc can unlock several bonus levels if you do well in another.This is a brilliant game and i recommend it to newcomers,action and bond fans alike.
Some of the levels are pretty hard, but look up cheats and you will have the game completed in no time..
from ea with love.
EA have shown us that they can make a classic 007 agent and make you feel in the 60's world.
The graphics of the game are outstanding and also the voice recording is very professional.
I got this game April 2007 (two years after release), and I am still impressed with the gameplay.
It's a shame that EA will no longer make 007 games.I give this game 10/10 for the levels it contains, especially the "consulate" level.
I would recommend this game to anyone from the age of 13 and over.
The only thing I didn't like in the game is the Russian boat level, it was too much pressure.
On the whole I like the game A LOT!!.
Not as good as the film bust still a good game.
When i first heard that from Russia with love was being made into a game i was quite excited especially because Sean Connery was doing the voice of James bond and they Had taken the voices of the other actors living or dead and added them to the game this was for what i was hoping to be an original gaming experience an that i was to enter the classic world of James bond.
however when i actually played it i found some of the story had been changed and new characters added that never in the film also the villains in the film spectre were renamed octopus as the game progressed my hopes were being restored but by the end of the game they used part of you only live twice and the villain red grant came back where as he died in the film on a train this was a great disappointment as was the opening all though the ability to change costumes was a benefit in this flawed game but when compared to rouge agent it was far better..
Great single player means a good game.
** WARNING - CONTAINS SPOILERS!
**First of all, I would like to say that I really liked this game.
I got it for Christmas after two months of dropping hints to my parents.
I am glad that I did that.First off, I would like to say that the single player was very good.
The first level is probably one of the best in the game, when you are at a party in London, and some evil guys ruin it by kidnapping the Prime minister's daughter.
Of course you have to rescue her, and it is quite a big level, but should probably take you at least five minutes.
The best part, and I think also the funniest part, is when you are in the jet-pack, and people are rappelling down Big Ben. Just equip the jet-pack's most trusty rocket launcher and blast the clock faces and the enemies down.
Pure fun!The rest of the levels are very good, but pretty short.
There are four mini-levels you can unlock, and that is one of the let downs, because only the first two of them are actually fun, and the last two to unlock are just 'kill 25 enemies' objectives, I mean, c'mon!
We got loads of points to unlock these missions and the last two bonus missions are really bad!The multi player, me and some of my friends agree, is very good and challenging, even if there are no bots.
Halo didn't have any bots but that is still some fine multi player games!
You can be a load of bad guys, and you go against each other, and you can also set traps, which is the best way of killing people without going into view of their character.Gameplay - 8.5/10 (levels can be quite repetitive and bonus missions could be improved).
Graphics - 9/10 (there is the odd bad graphic, but that isn't extremely often).
Multiplayer - 10/10 (needs no comment, just great, you get to drive in jet-packs and vehicles).
Sound - 8/10 Replay value - 7/10 (the only levels I go back on are the Loondon level and Istanbul Part 1).I give this game: 8.5/10Could have a bit of improvement, but it's still good. |
tt0280707 | Gosford Park | In November 1932, Constance, Countess of Trentham (Maggie Smith), and her lady's maid, Mary MacEachran (Kelly Macdonald) travel to Gosford Park for a weekend shooting party. On the way, they encounter actor Ivor Novello (Jeremy Northam), American film producer Morris Weissman (Bob Balaban) and Weissman's valet, Henry Denton (Ryan Phillippe), who are also attending the hunting party. At the house, they are greeted by Lady Trentham's niece, Lady Sylvia McCordle (Kristin Scott Thomas), her husband Sir William McCordle (Michael Gambon), and their daughter, Isobel (Camilla Rutherford). The other guests include Lady Sylvia's sisters, Louisa, Lady Stockbridge (Geraldine Somerville) and Lady Lavinia Meredith (Natasha Wightman) and their husbands, Raymond, Lord Stockbridge (Charles Dance) and Commander Anthony Meredith (Tom Hollander). Also in attendance are the Honourable Freddie Nesbitt (James Wilby) and his wife, Mabel (Claudie Blakley); Isobel's suitor, Lord Rupert Standish (Laurence Fox) and his friend Jeremy Blond (Trent Ford).
The servants' hall is divided by a strict social hierarchy, dominated by the head housekeeper, Mrs. Wilson (Helen Mirren). She maintains a hostile relationship with the head cook, Mrs. Croft (Eileen Atkins). Mary is immediately intrigued by Lord Stockbridge's valet, Robert Parks (Clive Owen), who has recently changed his job to work for Lord Stockbridge, but was previously with the Earl of Flintshire, and who was raised in an orphanage. The head housemaid, Elsie (Emily Watson), takes a kindly interest in the naive Mary and guides her through the complexities of being in domestic service.
Sir William is an extremely rich industrialist, and much of the company are dependent on him in one way or another. Commander Meredith is in on the verge of bankruptcy and is outraged when Sir William announces he intends to withdraw his investment in Meredith's latest business venture. Lady Sylvia reveals to her aunt that William may stop paying Lady Trentham's allowance. Freddie Nesbitt was having an affair with Sir Williams' daughter Isobel, and is blackmailing her to keep the secret of an aborted pregnancy. Likewise, Rupert Standish is trying to romance Isobel for her money.
Lady Sylvia makes an assignation with Mr Weissman's valet, Henry Denton, for 1am that night, and it becomes clear that she is in the habit of having brief sexual liaisons with visitting male servants.
The next morning the men go out early on a pheasant shoot, and Sir William is slightly injured by a stray birdshot. Later, the ladies join the gentlemen for an outdoor luncheon on the estate grounds, where Commander Meredith pleads with Sir William not to back out of the investment.
Dinner that evening is tense and sombre. As the conversation progresses, tempers flare and Lady Sylvia attacks Sir William, implying that he was a First World War profiteer. Elsie rises to his defence, breaking the class barrier, and thus revealing her affair with Sir William to everyone at the table. Everyone watches in shocked silence at this indiscretion, and Elsie hurries from the room—knowing that she will be dismissed.
Sir William abruptly storms away from the dinner table and goes to the library, where Mrs. Wilson brings him coffee. He demands a glass of whisky instead. Lady Sylvia asks Mr. Novello to entertain the guests. During the concert, George (Richard E. Grant, first footman), Parks, Mr. Nesbitt and Commander Meredith disappear. An unknown person goes to the library and stabs Sir William as he sits slumped in his chair, apparently sleeping.
Minutes later, Lady Stockbridge goes to the library to entice Sir William to return to the party and her screams bring everyone to the room. Commander Meredith and Mr. Nesbitt do not offer an explanation of their disappearances, while George says he was fetching milk for the coffee service and Parks claims to have been fetching hot water bottles.
Inspector Thompson (Stephen Fry) and Constable Dexter (Ron Webster) arrive to investigate the murder. Dexter suggests that Sir William was already dead when he was stabbed. It is eventually discovered that Sir William was poisoned before being stabbed. Inspector Thompson uncovers a complex web of resentments between the guests and Sir William, realizing that almost everyone had a motive to murder him.
Mr Weissman's valet, Henry Denton, then reveals that he is in fact an actor who has been masquerading as a valet in order to improve his acting in the forthcoming film Mr Weissman is about to start filming.
Mrs. Croft, meanwhile, tells her kitchen staff that Sir William was known for seducing the young girls working in his factories. If a woman became pregnant, Sir William offered two choices: keep the baby and lose your job, or give the baby up and keep your job. Those who gave up their babies were told that the adoptions were being arranged with good families. In reality, Sir William paid squalid orphanages to take the children. Mary goes to Parks' room and tells him that she knows he is the murderer. Parks tells her that he discovered Sir William was his father, entered service and attempted to gain employment with someone in his circle. Parks tells Mary that he only stabbed the corpse, someone else had already poisoned Sir William beforehand.
Mary overhears a conversation between Lady Trentham and Lady Sylvia, who discloses that both Mrs. Croft and Mrs. Wilson were once workers in Sir William's factory. Lady Trentham asks if Mrs. Wilson was ever married and Lady Sylvia replies that her name was once Parks or Parker. Mary makes the connection and goes to Mrs. Wilson, who admits that she poisoned Sir William after realizing that Parks was her son, assuming correctly that he was there to murder his father. She also reveals that she and Mrs. Croft are sisters. Mrs. Croft kept her own baby from Sir William, who later died from scarlet fever, while Mrs. Wilson gave hers up, creating a lifelong rift between the two sisters.
Inspector Thompson decides to let everyone leave, as he has their addresses anyway. The guests depart one by one, while Mrs. Croft comforts her grieving sister in private, putting to rest their feud. | dark, mystery, murder, atmospheric, satire, romantic | train | wikipedia | Robert Altman's long, fragmented and very hit-or-miss career reaches another of his periodic highs with this clever and beautifully realised dissection of the English class system and skit on the classic Agatha Christie whonunnit.Altman's preferences for kaleidoscopic social observation has sometimes failed in the past due to the weight of its own ambition: multi-plotted and multi-charactered snapshots of time and place held together by loose ties or a general thematic framework.
Add to that an exemplary cast of (mostly) British character actors and a knowing script by Julian Fellowes that gives Altman's keenly observant camera plenty of time to make its own points.Rightly, Altman is less concerned with the murder mystery, which is almost an aside, than with the opportunity given by a shooting party at a 1930s stately mansion to observe the English aristocracy and their servants in social interaction.Never happier than when involved in a bit of human anthropology, Altman lightly dissects the complexities and hierarchies which go on both above and below stairs; in which many subtle and unsubtle rituals are played out among groups of people who clearly dislike each other but are forced through circumstance, need or employment to observe the fundamental social practices required.1932 is also a time of intruding change into the nature of the old English ruling classes, slowly disintegrating in this between-wars period and, in this case, largely reliant on the wealth of one particularly reluctant patron to keep them in furs and flunkies.
Only at the very end, when fundamental change has occurred and many characters are left to face up to very different destinies do we see a bit of sunshine creeping in, heralding the dawn of a new era.The cast are all excellent, with special mention deserving of Maggie Smith's effortless scene stealing as a bitchy but broke old Countess; the ever reliable Jeremy Northam as matinee idol Ivor Novello, well aware of his place in the great scheme of things and young Kelly Macdonald in the pivotal role of Smith's harassed maid who's inquisitiveness rattles a whole load of family skeletons..
When Robert Altman makes a new film, it's always a noteworthy event that gets the attention of critics and audiences alike: large productions with huge ensemble casts of major Hollywood movie stars, playing real people with full, fleshed out characters, each with their own subplots that intertwine only subtly, until the end when it all finally makes sense.
In Gosford Park, Altman makes only two changes to this formula: Hollywood stars are replaced by Top British talent that may be unfamiliar to most American audiences, and a straightforward murder mystery supplants his traditionally complicated plot line.
While the story was reminiscent of Agatha Christie's Ten Little Indians, where it's the mystery that captivates the audience, Altman goes beyond the mystery with Gosford Park by using the murder as a vehicle to draw attention to the human condition and class hierarchy.On the downside, but to no surprise to fans of Altman's work, the movie is often hard to follow.
The story begins to focus on Mary, who discovers secrets among the visitors and leads the audience to solve the mystery.The great aspect about this film is Robert Altman's abilities to bring the past to life.
If viewers think that Gosford Park is "boring" or "confusing" or even "the worst movie ever", it may be that you're not willing to see what really is portrayed: the authenticity and its story.
The brilliant story as well as excellent character development are like no other: only Robert Altman could do a film such as this.
Greats of English theatre like Derek Jacobi have small but memorable roles and there is not a bad note struck from any of the predominantly English cast.I was slightly puzzled by the character played by Ryan Phillipe (although his perforamce was fine) but felt that the intrusion of two Americans into this English mix worked well to highlight the entrenched class roles played by everyone in the house.Whilst perhaps not his best work, this is a very good Altman film - we move in and out of conversations whilst never losing their import and the cimematography has a fluidity that few other film makers can match.A classy piece of film-making that rewards careful attention from the viewer..
Stories and characters play out but whenever a murder takes place, the police move in and everyone is a suspect.My plot summary suggests that this is a sort of murder mystery and that this will act as the driving force behind the narrative, however this is not the case and in reality the film is much more about the characters and relationships than it is about the murder.
The direction is great; the use of two cameras in group scenes means that the actors seem to flow around as naturally as their dialogue would suggest few seem forced to act to a fixed point and seem more realistic.Considering the talent on board, it is not surprising that nobody really upstages anyone in particular and the ensemble feel is strong.
Some viewers will find it frustrating that it takes so long to get to the point where the mystery kicks in but I actually found this to be the weaker aspect of the film and the most enjoyable parts were the well written characters and dialogue, which deservedly won Fellowes his Oscar..
The film also slowly demonstrates the disintegration of the English class system (that started around the war).Altman has assembled a mountain of talented actors that include a bitchy Maggie Smith, a pompous Michael Gambon, an obnoxious Kristin Scott Thomas, a vulnerable Camilla Rutherford, a desperate Tom Hollander, a devil-may-care Geraldine Somerville, a knows-where-he-stands Jeremy Northam, a douchebag Bob Balaban, a horny Ryan Phillipe, a stupid Stephen Fry, a loyal Sophie Thompson, a principled Helen Mirren, an enigmatic Clive Owen, a no-nonsense Emily Watson, a not-to-be-messed-with Richard E.
It thrills me to say that after a string of stinkers ("Dr. T and the Women," "The Gingerbread Man") and so-so light films ("Cookie's Fortune"), Robert Altman has an unequivocally excellent film on his hands with "Gosford Park." It's a film that works on many layers and needs to be seen more than once for one to fully appreciate its resonance.The film admittedly stinks as a murder mystery---it's almost funny how little Altman himself seems interested in the who-dunnit.
This movie isn't about a murder in a country house; it's a movie about class differences and people connecting (or not connecting) with one another.It seems futile to mention stand out performances in a film filled to the rafters with stand-out performances, but I did especially like Emily Watson as a cheeky maid, Helen Mirren as the "perfect servant," and Kelly MacDonald as the novice lady's attendant who grows more than anyone else over the course of the film.The film is at its best when it's probing the emotional depths of the story---it comes across as a bit too glib when the satire gets especially acidic (mostly with the Kristin Scott Thomas character), but like the best of his movies ("Nashville," "M*A*S*H," "Short Cuts") Altman knows how to control his own cynicism and doesn't let sarcasm rule.With his on again-off again track record, we can expect the next Altman film to tank, so let's enjoy this one while we can..
Gosford Park is one of those movies.Robert Altman certainly shows that he is a very competent film-maker here.
However, those who really appreciate and understand the movie know more than clear that the film itself focuses on the life of the upper-class people (and the life of the time) rather than a bloody crime.
The movie didn't make me care for any of the characters, want to learn more about them and what motivates them, or give any further attention to their boring tea parties, hunting trips or twisted relations with their butlers and maids.At one point of the film I just began looking at my wrist watch, trying as hard as I can not to fall asleep, waiting for the promised murder mystery to occur so there would be some sort of force of interest to push the plot forward.
I imagine that he would have more vigorously interrogated potential witnesses had the murder occurred in a poor or middle class district, but he behaves submissively when dealing with the guests at Gosford Park.Attending a shooting party like this one is an exercise in straddling that line between intent and image.
Yet I feel as though a fellow English speaker, even a thoughtful and aware individual, could spend a weekend at Gosford Park and walk away thinking only of how charming the affair was, but having no clue as to what was really going on.Despite all of this I can't agree with the film's outlook, an outlook I would call altogether cynical.
It's also brilliantly written, directed and performed and is probably Roger Altman's best film after "MASH".In 1932, Sir William McCordle (Michael Gambon) and his trophy wife Sylvia (Kristen Scott Thomas) invite a number of guests over for a shooting weekend.
Hopefully, Inspector Thomson (Stephen Fry) and his constable companion Dexter (Ron Webster) can crack the case before all the guests have to return home...Like most murder mysteries, "Gosford Park" spends a lot of time filling the screen with details both relevant and irrelevant.
The script, penned by "Downton Abbey" creator Julian Fellowes, leaves just enough to keep you guessing but because it spends so long setting the crime up, you sort of feel as though he's more concerned about writing a period piece as opposed to a mystery.Although it won't be to everyone's taste, "Gosford Park" feels like a big-screen outing for Mrs Marple but without the silver-haired sleuth in attendance.
It's not just because I have seen virtually every Merchant-Ivory/A & E/BBC/PBS costume drama and period mystery and spent a summer in junior high reading every Agatha Christie mystery that I think "Gosford Park" is terrific.Robert Altman commissioned Juilian Fellowes ("Lord Angus" for "Monarch of the Glen" fans so of course he could also advise on etiquette during filming) for a script with very specific guidelines to work within the bounds of a genre satire.
(We are spared one of the usual easy target pickings, the Fascist sympathies of the aristocracy, by fixing the shooting party weekend as taking place very specifically in 1932.)The ensemble character acting and camera movement are simply masterful -- with Altman's mandate that we only see scenes that the "downstairs" folk pass through or are in, equating them with the spying camera, and us, too, of course.
While Maggie Smith seems to stand out because her character is noisier, a fellow actress protested in an interview that Smith did not in fact get the best lines -- she just did more with them -- like what she does to the phrase "day-old marmalade." Spotlighting particular performances could be endless -- though of course I got a kick out of two of my favorites, Clive Owen, who fairly radiates sexuality here, and Ryan Phillippe, playing for both teams, plus Richard Grant's smirks are priceless.
I was initially drawn to this movie by the excellent cast, mainly British, and period setting, 1930's English country estate, of this powerful film.
There were enough tongue-in-cheek lines to keep me entertained from start to finish.The movie also shows the world and attitudes of the old order British aristocracy clashing with the new money class from the American film world.
Other excellent performances come from Helen Mirren as the head servant, Kristin Scott-Thomas as the snobbish, world-weary lady Sylvia, Stephen Fry as the Inspector (although his incompetence is stressed a little too heavy in my opinion) and Alan Bates as Jennings the (alcoholic) butler.As a true anglophile, this film was really 'my cup of tea', as the British would say, and I rate it a perfect 6 out of 6 on my dice.
I did somewhat enjoy Nashville, BUT, his particular style does not leave sufficient time or space on film to develop the characters in any depth, nor do we see any real growth.I had a similar reaction to this film, but found Gosford Park even less satisfying, thanks to the very high hopes I had based on the writing of Julian Fellowes, which has been so magnificent in Downton Abbey, and on the sheer number of extremely talented actors/actresses in the cast.
Mr. Altman seems not to have sufficient regard for his audience to feel that it is necessary to actually tell a story.The result for me is a film which doesn't know what it wants to accomplish - will this be a rich, rewarding drama of lives affording us the opportunity to care about intriguing characters, or will this be a brain-teasing British mystery?
For the sake of entertainment they give us some broad comedy and a silly murder mystery by way of Agatha Christe presided over by a bumblingly daft Inspector of Clouseau-like incompetence played by Stephen Fry. But you know instinctively that this is not the real reason for "Gosford Park".
Then the story also sprawls into the realm of murder mystery, but like other Altman films, the characters are paid more attention to than the plot which could be tricky yet it is pulled off making this a stylish, joyous semi-comedy.
Large cast includes the likes of British veterans and newcomers including: Michael Gambon, Maggie Smith, Kristin Scott Thomas, Derek Jacobi, Clive Owen, Emily Watson, Kelly MacDonald (her best performance since Trainspotting), Ryan Phillippe, Stephen Fry, Helen Mirren, Jeremy Northam and Balaban himself as a movie producer.
And all the King's horses and all the King's men (to say nothing of the knights, ladies and other A-list British actors who mostly comprise the sterling cast) couldn't put Gosford together again.The idea of creating one movie from several familiar English story lines no doubt seemed tasty to Altman and his collaborators Bob Balaban and Julian Fellowes.
The direction is spot on, Robert Altman can be hit and miss, but when he is in the hit category he is very good, which is the case here.I also love Gosford Park for its witty dialogue especially seen with Maggie Smith, its beautiful autumnal setting though I love the cinematography and costumes just as much and the appropriately jazzy score.
Watson I think does a really good job playing a maid who seems to want more from life than just waiting on people, but at the same time is tied to her employer for a very different reason.Summing it up, Gosford Park delivers.
Forget for a second the stellar cast, the remarkable acting, the well-crafted script and the stylish directing and enjoy it for the way it paints little character portraits and draws you into the era.If you enjoy good film-making, I defy you not to take something away from Gosford Park..
A wonderfully non-Hollywood movie which concentrates on characters and plot and the subtle interaction of those people rather than the usual tired buildup to a smorgasbord of violence.Altman's plot and direction were a contemporary look back at the way films were assembled during the actual time of the setting of Gosford Park.
In my opinion he was making a film about the early Thirties at the same time that he was making a movie that harkened back to that period: the product was delightfully refreshing in every way!The actors in the film relished the lines and the plot subtlies that Altman presented to them: because of their consummate acting abilities they were able to add substance to a large assortment of characters which meant that the viewer was able to, in effect, watch many little films rather than simply watching one or two principle actors rolling over many smaller roles-as happens all too often.
It was, therefore, something of a surprise to see Robert Altman, a director with a reputation for being forward-looking and experimental, making a film based upon what could easily have been a Christie plot, although Julian Fellowes's screenplay was in fact an original one.Yet in some respect Altman's style is suited to a murder mystery.
It is a much more unlikely character who actually solves the mystery.The film's cast list reads like a "Who's Who" of the British acting profession.
There is not space enough here to praise all those who deserve it, but I must single out exceptionally fine contributions from Maggie Smith as Lady Constance, Helen Mirren as the housekeeper, Kelly Macdonald as the Scottish maid, Alan Bates as the drunken butler Jennings, and Clive Owen as Robert Parks, a young man who harbours a long-standing grudge against Sir William.The film also features another of Altman's trademark devices, the use of overlapping conversations.
Robert Altman has made a truly superb film about life in a 1930's country house house with all the upstairs/downstairs prejudices and snobbery.The first hour is mainly taken up by perfectly paced character development.Then the murder happens and the guessing begins.
I love most of the very talented actors in Gosford Park, but this film rates as one of the most boring movies I have ever seen.
The story line is convoluted in the extreme, perfect for such a "murder mystery." I put that in quotes because homicide is only an excuse for screenwriter Julian Fellowes, director Robert Altman, and a brilliant contingent of actors to provide some of the most captivating dialogue and characterization that you are likely to see in any film anywhere.
I knew it received some Academy Award nominations and that's about it.What started like just any other period drama turned out to be one of the best written and amazingly acted films I've seen.I love movies with characters talking.
I saw the movie thinking it was a murder mystery comedy film.
Granted, it was my first experience watching a Robert Altman film, and knowing that Altman is known for his large ensemble cast movies, I should have expected this.
Robert Altman did an excellent job with the character interaction that takes place throughout the movie. |
tt0442286 | Kakushi ken oni no tsume | The film takes place in Japan in the 1860s, a time of cultural assimilation. Two samurai, Munezo Katagiri (Masatoshi Nagase) and Samon Shimada (Hidetaka Yoshioka), bid farewell to their friend, Yaichiro Hazama (Yukiyoshi Ozawa), who is to serve in Edo (present-day Tokyo) under the shogunate of that region. Though the position is desirable, Katagiri voices his concern that a man of Yaichiro’s character is likely to run into trouble. His doubts are assured when the married Yaichiro expresses an intention to indulge in Edo’s sensual pleasures while stationed there.
During dinner that evening, Katagiri’s mother reminds Samon of the financial hardships the family has endured since the death of her husband (who committed ritual suicide after a construction job gone wrong). She desires a match between Samon and Shino (Tomoko Tabata), Katagiri’s sister. Also present is Kie (Takako Matsu), the Katagiri’s housekeeper, who is schooled in etiquette and literacy. In a voiceover, Katagiri hints at an affection for Kie, but then mentions that around the same time Shino married Samon, Kie married a man of the merchant class and left the Katagiri household.
Three years go by during which Katagiri's mother passes away. While walking through town, he sees Kie in a kimono shop where she assures him that she is well. Weeks later, however, Shino tells Katagiri that from the start of her marriage, Kie has been forced to perform all manner of duties to the point that she is little more than a slave to her new family. Concerned, Katagiri visits Mrs. Iseya (Sachiko Mitsumoto), Kie’s mother-in-law, and finds her incoherent with illness. Outraged, he demands that Kie’s husband file divorce papers then carries her to his own house to recover.
In the midst of everything, the changing times have forced Katagiri and his fellow samurai to learn the art of Western weaponry, a thing that the elder members of the clan treat with disdain. Word arrives from Edo that government officials thwarted an uprising against the shogun and that Yaichiro, Katagiri’s friend, was involved. After being brought back to the village in a prisoner's cage, Yaichiro is denied the honor of ritual suicide and must live out the remainder of his days in a cell. Believing that Yaichiro’s friends are complicit, Hori (Ken Ogata), the clan’s chief retainer, demands that Katagiri identify them, but he refuses, citing his honor as a samurai, and is violently dismissed.
Meanwhile, Kie has since recovered and is once again Katagiri’s housekeeper. Though their fondness for one other is evident, both are keenly aware of their difference in social class and act accordingly. Despite this, gossip prompts Katagiri to send Kie back to the countryside to live with her father. Shortly after, Yaichiro breaks out of prison and takes a family hostage. Hori demands that Katagiri dispatch him.
Knowing that Yaichiro is the better swordsman, Katagiri visits their former teacher (Min Tanaka), who is now a farmer, and learns a dangerous maneuver that involves turning ones back on the enemy. The next day, Katagiri arrives on the outskirts of the village and attempts to persuade Yaichiro to surrender. When the latter refuses (accusing Hori and the other leaders of incompetence), the two engage in single combat during which Katagiri uses the new technique to deliver a mortal blow. A dying Yaichiro attempts the same, but is gunned down by foot soldiers hiding in the woods. Knowing that this is a blatant dishonor to a samurai, Katagiri is dismayed. On returning to the village, he runs into Yaichiro’s wife (Reiko Takashima) who reveals that she paid a visit to Hori the night before and exchanged sexual favors for his promise to keep Yaichiro alive (a promise that was never fulfilled). Bound by an oath to commit suicide should Yaichiro die, she takes her own life.
Unsure of his fealty, Katagiri approaches Hori with his treachery, to which he crudely admits. Realizing that the Hazamas were victims of a corrupt system, Katagiri avenges them both by stabbing Hori in the heart with a thin blade (the technique known as “the hidden blade” which leaves almost no trace of blood (in the original Japanese version the technique is actually called "the demon's claw/scratch", the wound was so small it appeared to be caused by nonhuman sources) ). Katagiri buries the blade at the Hazama’s grave as a form of atonement and relinquishes his samurai status. Resolved to become a tradesman, he leaves the village for the island of Ezo (modern day Hokkaido), but not before seeing Kie. With custom no longer a breach, Katagiri proposes marriage and Kie accepts. The film ends with them sitting on a hill holding hands, pondering a future together. | revenge, murder | train | wikipedia | null |
tt0188674 | Human Traffic | The film is an ensemble piece in which the five protagonists plan, enjoy and come down from a weekend out in Cardiff; all motivated at least in part by the need for a weekend escape from the difficulties and contradictions of their daily lives. Jip is suffering from sexual anxiety brought on by a series of unsuccessful liaisons. Koop, Jip's best friend, is jealous of his girlfriend Nina's popular and happy-go-lucky nature. Nina is being sexually harassed in a job she had no choice but to take after having failed a college interview. Lulu, Jip's best female friend and "dropping partner", has suffered infidelity in her last 3 relationships. Moff, the newest member of the group having met Jip at a warehouse party after moving from London to Cardiff, is an unemployed slacker who scrapes a living as a small-time dealer, despite his father being a senior policeman. The five friends become very close, take drugs such as cannabis, ecstasy and cocaine, and "live for the weekend".
The film follows the exploits of the five friends as well as various characters they meet along the way. They go to pubs and clubs on Friday, taking along Nina's 17-year-old brother Lee whose waning enthusiasm for his first drugs experience is played out in a cameo debate between Jip and a doctor. Jip gives up his ticket to Lulu, whom he has talked into coming out and is forced to talk his way into the club as the group are a ticket short. The club scene is then examined through a series of cameos including two attempts by older journalists to understand the club scene. The ensemble then joins a house party, where Lulu and Jip finally kiss and attempt unsuccessfully to make love; whereas the established couple, Koop and Nina, argue over Koop's perceptions about her behaviour. Later, as expected by the group, "what goes up must come down" sets in as the effects of their drug use begin to hit home leaving them coping with feelings of illness and paranoia. They recover Lee from a group of younger partygoers he has spent the night with and make their way home.
On returning home, some of the group's issues are resolved whilst some are thrown into sharper relief. Jip makes love to Lulu, overcoming his sexual paranoia. Koop and Nina's issues are set aside. Lee has made it through the weekend without any of his concerns being realised. Moff, however, is still caught up in the paranoia caused by his extensive drug use. He argues with his parents again and is seen walking alone around Cardiff looking disheartened. However, Moff joins his friends for an end of the weekend drink and having raged about his difficulties with drugs is soon joking about his excesses with his friends. The film finishes with Jip and Lulu kissing in the street in the manner of classic Hollywood films. | romantic, entertaining | train | wikipedia | Human Traffic is going to upset the majority of film critics who will view the lack of plot, the drug induced dialogue and the futile outlook on Nineties Youth culture as a miserable and desperate view of how weekends are spent by ravers and clubheads across the UK.
Moreover, they will spot camera work borrowed from Boogie Nights and even try and associate the whole film with 'Trainspotting' theme (because, lets face it, a Scottish Heroin addict trying to clean up his act and a Welsh clubber looking for a good time with his mates is pretty much the same thing, right?)Well wrong.
Human Traffic has landed - along with one and a half quality hours of clubs, drugs, pubs and parties - and its time to leave behind your preconceptions of what a film should be like (where's the plot?
or any other such American rave film with clear cut margins and please-the-crowd conclusions - it is one that forces us to question whilst at the same time enjoy the at times hilarious, touching and other times exciting events of 48 hours with a group of five 'friends'.And for the die-hard British youth among you, this might not be reality - but it's a bloody brave effort at depicting it..
And of course the chat in the pub when Moff tries to explain to his mates that he's coming off the drugs is a sure reminder that when the come down's out-way the good times, you know the party's over!This is at times a very clever film in it's use of the camera, lighting, etc.
It was a realised piece of cinema, and a great feel-good tale of mates, love, clubs, and drugs.Get outta the 'rat race' people!!!8/10Enjoy!.
The odd time it tries to give the characters specific issues or lives it tends to hurt itself but for the majority it works.The script is funny with nice imaginative touches blended with real life club/drug culture/pub culture references and settings to make it identifiable and interesting.
It's definitely a great film if you want to watch characters who lead even more pointless lives than you.
This movies is obviously the most realistic movie about clubbing ever made, but this is true for us in Europe becuase in America, they have a Chopped up version of Human Traffic, Yes, I just sent this movie to my brother who lives in America, he's seen it already the U.S, and this is want he wrote me, after seeing the british tape I send him: "There's basically new stuff throughout the whole movie.
Any film which contains an affectionate tribute to the prophet Bill Hicks (the best, most astute and concerned stand-up comedian that ever lived), and an inspired cameo from Howard Marks surely demands a bit more substance.But HUMAN TRAFFIC never allows you to linger on its flaws.
At the end of this really good time on Sunday, the feelings are the following ones: tiredness, melancholy, just the memory of a crazy night...Surfing on the wave of the notorious success of "Trainspotting" (1996), this debut movie written and directed by Justin Kerrigan brings and develops a new variation about the notion of hedonism.
Indeed, as I have previously written, for the 5 main characters of the movie, the week is hell and the weekend is the only time they can free themselves and have a wild time without the single pressure (besides, Jip in one sequence talks about the positive aspects of shooting oneself: you are numb, you don't feel any pressure, you are like an astronaut in orbit above the earth.
There's little inventiveness at the level of the narrative structure and the introduction of the characters and one can note down a few useless digressions (Jip who, in the nightclub goes in the manager's office and tells him a cock-and-bull story so as to enable Moff to enter the club but that's no use because the latter succeeds in coming without problems).
The same remark could also be said when Coop has a fit of jealousy because Nina broaches a guy.It may not be the last great film of the nineties as it is billed on the DVD cover but "Human Traffic" is to be taken as a good and incisive little movie which conveys with the styles and the fashions of the end of the twentieth century, a will to have fun without ulterior motives and trouble.
Yep, I couldn't find anything witty to say about this piece of junk, other than its crap.Leaving aside the drugs issue, this film has nothing remotely resembling a story, there are no meaningful scenes anywhere, nothing resembling interesting dialogue, no characters of any substance, nothing.
To quote the Grauniad: "The last great film of the nineties"As if.As a tale of a group of Cardiff teenagers who are obsessed by the drug and club culture, this actually bored me from start to finish, and took something like 15 attempts to finish seeing it.As far as glorification of drug culture goes, this is as predictable as it gets.Just not very good.
The characters are annoying, the story is boring, and the worst part is the director's obvious attempt to "make a movie like Trainspotting and Groove", both excellent films.
Any clubber in the UK can quote a myriad of the memorable, hilarious and representative scenes that fill the film.If you like to rave and you were born in the early eighties you have probably seen this movie already and know it well, for new comers to clubbing, this is a history lesson, this is how it used to be, and still can be on occasion.There is little plot other than heading out for the weekend, but that is why this film thrives, with deep archetypal characters that we can recognise and empathise with, who love to get mashed up and on occasion pay for it with a steadily loosened grip on reality.Pretty much everyone I know who was raving in the late 90's and early 2000's knows this film inside out and loves it.
I bought this on DVD after missing out when it was released and was expecting a witty but terse affair much like the excellent trainspotting, from the mindless drivel of the opening monolgues I knew that it was 10 pounds wasted.Okay lets put the facts straight this film probably shouldn't hit the heights of the junkie limbo atmosphere of trainspotting but rather be a more light hearted affair with flamboyant characters, as even a treacharous plot-line as human traffic blatantly is could be rescued by a gang of young charismatic cast-members, human traffic fails and dies in every aspect with drab performances all round by a bunch of twenty-somethings who seem to be picked off the street for their complete lack of talent in this movie not to mention lack of chemistry between them.Much like Renton is our narrative guide in Trainspotting, the protaganist Jip(John Simm) leads us into this movie telling us he has certain problems in the bedroom, it is a relief once he has finished his mind-numbingly mundane drivel about mr softy to see some of the other characters but the disappointment is that some are as bad or even worse.We meet Koop(shaun parkes) an entertaining character at first-look who works in a music store but as he continues you get the feeling this movie is not going to have much impact when he spouts more or less the same trying to be "hip, young and cool" quota that Jip has just told you, by no means does the misery of the introduction end there.Nina, the fast-food waitress is one of the worst characters I have ever had to endure with the need to say f**k in pretty much the start, middle and end of every line she says, ok i blame the script for that but it's just not worth watching her character at all in this film it makes Jip and Koop seem like the most charismatic people you've ever met.Nina's best friend Lulu comes next, the powerful blonde has so much potential to become "the witty one" in this film but just falls down like all the others before her into the bottomless pit of unfunny flashbacks and notoriously sterile conversations with her counterpartsApart from Nina's brother Lee who is another banale poor character, this is where my criticism of the characters end for there is one gem amongst the cast and it comes in the form of cheeky cockney pill-popper Moff played by Danny Dyer who is actually very very funny, witty and most importantly believeable which the rest of the cast completely fall short of being.
Moff's rants make this film somewhat bearable as you look forward to his stories of getting drugged up, calling a porn line and spouting his life story and subsequently running up a whopping phone bill!Don't get me wrong I enjoy a good comedy and probably even more-so a good british comedy but i can't defend or compliment this film in any great deal because it does not serve the purpose of a comedy- it is not funny!
My advice to anyone who wants to watch this film is to rent it rather than buy it because I am desperatly looking for a prospective buyer as this will be used as a surface to put my remote in future.Overall I had good expectations of this film but after watching it realise none of those expectations were fulfilled: a poor script, probably a bunch of the most un-magnetic actors(with the exception of Moff) ever assembled and a dire plot make for a bitter one and a half hours where you'll be constantly checking your timer to see if your anywhere near the end of the film.I would give this film a generous 2 out of 10 which are for Danny Dyer's humourous character Moff and a reasonable soundtrack.
As it happens the clubbing experience is great fun but this movie makes it appear both witless and irrelevant.Still, the soundtrack was pretty good..
Human Traffic is a very specific film in the sense it is going to appeal to a direct audience; the illusion that the audience are seeing something better than what it is lies in the surrealistic content that has wormed its way into the film thanks to other recent attempts at the time such as Trainspotting and The Acid House.
What they get up to is slightly uninteresting at the best of times, their activity only demonised on the rare occasion Danny Dyer narrates what it's like to come down off drugs at a bash full of random people all doing the same thing.
For watching ravers, it'll add to the disillusioned sense they might already have while watching but for everyone else, it's just quite ordinary and often comes across as a bit of a gimmick.Very near the film's immediate beginning is a short monologue about how a 17 year old boy hopes to have sex for the first time on a night out with the characters.
Human Traffic is purely a `been there, done that' experience only this time it's quite limp.Major themes explored are paranoia, male impotence and jealousy but only mildly and poorly.A lot of the movie seems to want to imitate Trainspotting (drug / `clubbing' culture) but it fails to include the low times / come-downs that Trainspotting deals with (eg: issues with death / dependence, etc).
It includes the likes of Fat Boy Slim and CJ Bolland come on people good dance music IS be better than this!The characters become grating and annoying (especially half way through the movie) and the lack of care-for-the-characters soon dawns.There are a couple of funny scenes but they are few and far between.
I've got no idea why this is called Human Traffic.The plot just follows a group of friends clubbing and partying for a weekend; the style felt like I was clubbing and partying with them.
There's little in the way of a plot - only a few scenes are crucial, and even they stumble a bit - but what drives the film is the style.Human Traffic is enveloped in a style that expresses the feelings and thoughts of clubbing in an engaging and funny way.
I love films without plots, but whilst La Haine (probably, like my 2nd favourite film) and Fear and Loathing in Las Vegas (in the top 15) wrap up their character development swiftly and successfully, Human Traffic doesn't quite reach a conclusion fit for the entertaining experience of its core.
Through the Ecstacy-induced high to the alcohol-assisted comedown to the feelings of the morning after, their lives are on the brink of changing forever When 'Human Traffic' was released, many critics claimed that this was the last great British film of the nineties – and how right they were.
The film did have its cringe-worthy moments (perhaps the Alternative National Anthem being one) but it's saved by other moments of clever insight into Human interaction such as the scene where Jip has to talk to a guy who he admits isn't actually an unpleasant person but he just doesn't like him and the dialogue, direction and performances perfectly convey the thoughts that have run through everyone's head at some stage in life when we are desperate to extricate ourselves from a strained conversation which we wish we hadn't had to enter into in the first place.
An interest and very surreal piece of film making set in the capital of Wales.Human Traffic focuses on a group of five friends, Jip (John Simm), Lulu (Lorraine Pilkington), Koop (Shaun Parkers), Nina (Nicola Reynolds) and Moff (Danny Dyer), a combination of wage slaves, unemployed people and a student.
The gang to blow off some stream by having one wild weekend of clubbing to dance and techno music, drinking and consuming drugs, particularly ecstasy as Jip and Lulu discover their feeling for each other.Human Traffic is a very surreal film, with a big of number of fantasy sequences.
"I guess you had to be there!" That's Human Traffic in a nutshell, if you weren't there in some capacity then it is just about a bunch of young d*ckheads running around talking sh*t and taking drugs, but if you are the low side of 40 then perhaps at one time it is quite likely that YOU were one of the young d*ckheads running around and talking sh*t, drugs and/or alcohol may or may not have been a factor too.My "clubbing" era was reasonably brief, maybe 19 through 24ish, but during that span I had 15 nights that at least vaguely resembled the night the 5 main characters have in Human Traffic, without much of the snappy dialogue and cutscenes though.The five characters should be irrelevant and largely interchangeable, but in this film the casting is great and they all have sufficient time that we learn about who they are and what makes them tick.They are: Jip – the Everydude.
Perhaps it is because as I was watching the movie I was in fact recalling similar events from the period that I was doing the same stupid sh*t that these guys were, I dunno.In any case Human Traffic is the rarest of rare, a concept movie that takes a lot of risks yet actually works.It was written and directed by a young bloke too, because I don't think a 40 year old would be able to make this film and accurately convey the vibe that comes across.I know I couldn't, (I'm still a little ways away from 40).
I mean, the scene at the end between Lulu and her Auntie actually made me laugh out loud.Now maybe I am just a cynic, but the way Jip leads us through this tale is like listening to THAT Acid frazzled guy you once met at a house party, who talks to you about how "the man" is holding us back, and how Acid has released him from the strains of modern society.
This film just shows ciphers when clubbing is about as revolutionary and interesting as going down the disco in the late 70's/early 80's...Read 'Energy Flash' and watch Flowered Up's 'Weekender' to get a glimpse at the world 'Human Traffic' completely fails to capture..
I just saw Human Traffic and it was one of the worst movies i have seen that revolved around clubs and the party scene.
It was my life at one point and I would rely on coming home to watch Human Traffic ever night before I could even think of going to bed.
Viewers can deny the political and social implications of the subtext of Human Traffic as a drug film, Trainspotting wannabe, important peg in British youth culture circa 90's, BUT....they can't deny that these are engaging characters.It's frantic, its brutally honest, it's sobering, it's over the top, but its a great comedy.
Human Traffic is a really interesting film about a group of friends in Wales and what happens to them on a typical friday night.The relationships , the music, the drugs and conical way some kids try to live up to the stereotypes there friend expect of them.
"Human Traffic" is set in Cardiff, Wales, UK and tells the story of British drug and club culture during the nineties.
it also does a pretty good job of not totally glamorising drugs, a little like trainspotting.the problem i had with this film is what other people have mentioned about the over use of flashy camera techniques in order to help you connect with the feelings the characters are experiencing whilst on drugs.
This film reminded me of, me and my mates as soon as a friday comes 'THE WEEKEND HAS LANDED (all that exsists now is pubs club, drugs and parties'.
A well filmed, very funny insightful look into the world of the Cardiff Club and Drug cultures.
Any film that attempts to capture the essence of a movement/time has to connect with the viewer and make them feel that its talking about their own experiences.With Human Traffic the director, Justin Kerrigan, really succeeds in capturing the highs and lows of a lost weekend nineties style.
After watching this film I felt like I had been out partying all weekend. |
tt0172234 | Chaahat | Roop Rathore (Shahrukh Khan) is a singer in Rajasthan just like his father (Anupam Kher), who is now sick and needs immediate medical care in Bombay. One day, while he is singing at Ajay Narang's (Naseeruddin Shah) hotel, Ajay's sister Reshma (Ramya Krishnan) falls in love with Roop. Reshma is a spoiled girl and Ajay looks through all of her wishes. Unfortunately, Roop is in love with a doctor named Pooja (Pooja Bhatt). Meanwhile, Reshma is obsessed with Roop, and asks her brother to call him again to sing in their hotel. But when she sees that all the girls are flattered over Roop, she gets very angry, and asks him to sing only for her now onwards. However Roop prefers to work for the rival, Patel (Shri Vallabh Vyas) than take this offer. Ajay's obsession with keeping his sister happy at all costs comes into play and Patel is brutally beaten by him until he agrees to throw Roop out of his hotel. Desperately in need of money for his father's operation, Roop has no option but to agree with Reshma. Roop breaks up with Pooja.
The operation of his father is successful, but his father is saddened by his situation and decides to leave Bombay. Roop later tries to leave Bombay himself, along with his father and Pooja, but his plans are interrupted when Reshma tries to commit suicide. Nevertheless, Pooja and Roop get married. Frustrated with such turn of events, Reshma and her brother Ajay devise many plans to make their life miserable.he puts Roop's father on gallows with Roop on his feet and leaves with pooja and asks Roop to save Pooja or his father.Roop's father kicks Roop,sacrificing himself so that he could save Pooja.Roops crashes into Ajay's Party where Pooja is also held strapped.While on fight Reshma brings Pooja and threatens to kill Pooja if Roop won't stop fighting with her brother.Ajay tries to shoot Roop but Pooja; who just see him pushes Roop and Reshma gets shot,getting killed.Narang is left with shock and catatonic state while Roop and Pooja escapes. | romantic | train | wikipedia | Ayoung Shahrukh, but still a good combo of vulnerable and erotic.
I enjoyed this balanced performance by a young Shahrukh.
It is not the greatest movie, but it is a good Shahrukh; young, vulnerable, exotic, naive, and learning.
I especially liked the songs.
I am a non Hindustani, yet I was quite taken with this talented actor.
It is easy to see why he is and has been so popular.
The dance sequence for "panasonic presents" shows him at his intense best.
I think even in a "small" movie like this, his talent is showcased well, and fans will find him delightful.
Shahrukh grows on you with each performance, and this movie deserves a few viewings.
When you're in a "Shahrukh" mood, this movie fits the bill..
Not that bad and not that good.
Chahat is a movie about an obsessed rich woman who wants to make Roop (Shah Rukh Khan) her own, but he loves someone else.
The rich girl's brother will do anything for her and tries to secure her happiness with criminal methods.
The idea is not too bad.
SRK is not the actor he is now, but his performance is still worth seeing(especially for fans).
Although the theme is good and the plot too, the movie is not able to catch the viewer.
I think this is because of the Dialogues and settings.I would probably describe it as a typical 80ies Movie.
Due to design, story and acting.If you are a fan of Sharukh, it's not a mistake to watch it.
I would not buy it though..
Shah Rukh's one of the best films..
The film is about a rich girl's (who's the sister of a big don) obsession with a poor boy (Shah Rukh).
Unfortunately, this poor boy loves an ordinary girl so much that he defies every move of the rich girl and her brother that would bring this poor boy closer to the rich girl.Shah Rukh has acted one of his best performances in this film.
It's really surprising that the film wasn't a commercial success as it had basically every element that is required for pure entertainment.
This film was definitely better than some of the other hopeless Bollywood films.Overall, I would recommend everyone (especially Shah Rukh's fans) to watch this film if you haven't.
The songs of the film are pretty decent too..
Passion.
I quite enjoyed Chaahat.
It is obviously one of Mahesh Bhatt's worst commercial films, not because it is a very bad film but more because this director was responsible for some films which rank amongst the best of Hindi cinema and this one really pales in comparison, which is inevitable.
Anyway, the film is pretty watchable, much more when one does not tend to take it too seriously.
For the most part, the film flows very well and has its moments, but it gradually goes down as the writing gets more exaggerated.
The film stars Shahrukh Khan as Roop, a guy who becomes the love interest of his cruel employer Ajay's young sister, named Reshma.
She gets completely obsessed with him while he plans to marry Pooja, a simple nurse who looks after his ill father.
The main problem is with Ajay, who warns Roop that he will go to any extents to make his sister happy.
Yeh, quite a fairytale, but it's not that bad.
Shahrukh Khan is brilliant as Roop as he was in most of his films of that time.
Pooja Bhatt is charming and cute, Naseer is excellent as always in this ultra-negative role, and Ramya Krishna is absolutely beautiful and damn too hot to ignore.
The music is nice and the title track "Chaahat Na Hoti" is very melodious.
Chaahat must have had a wider message to it which for some reason I did not manage to understand (or maybe I just did not try to), but it was pretty engaging nonetheless.
The last 15 minutes of the film with Khan going all mad and supernatural are ridiculous and plain embarrassing, but let it be, it is a nice Hindi entertainer and should provide a good time-pass for Shahrukh fans..
excellent, Fantastic and Superb.
Chaahat is a fabulous movie directed by Mahesh Bhatt who has given us good films in the past.
It stars Pooja Bhatt daughter of Director Mahesh Bhatt, who usually is casted in his movies.
This is a serious movie with action, little comedy, romance, serious stuff.
You have seen shahrukh khan as the obsessed lover, this time its vice versa.
The actress played by Rambha is obsessed with Shahrukh khan.
Naseerudin Shah plays the villain in this film and delivers a terrific performance.
Pooja Bhatt is decent in this movie, she needs to lose weight.
Rambha is outstanding as the obsessed psychotic, disturbed and spoilt girl who gets what she wants by her gangster brother.
She wants a man, and that man is Shahrukh Khan who gives a dynamic performance.
Anupom Kher is wonderful as Shahrukh Khans father in this film.
i love the ending of this film, both father and son give a superb performance.
The final fight scene is excellent and thats why Shahrukh khan is a superstar..
Pretty decent.
I totally enjoyed watching this blockbuster movie and movie was great I like the songs there were nice and entertaining songs shahrukh has done excellent in his performance pooja is decent naseeraduin is superb as the villain good story-line anupam was brilliant as the father of shahrukh it's a not disappointment in the box office my rating is 9 out of 10 what a masterpiece movie it was.
God awful movie.
This is one of worst movies I've ever seen.
I thought naseeruddin shah, anupam kher, pooja bhatt & Shah Rukh Khan(well he was a better actor those days) and a movie directed by Mahesh Bhatt can't be that bad.
But boy was I mistaken.
It was the most idiotic movie I have seen.
Really bad!
Don' waste your time attempting to watch this movie.
Instead go for a walk or even take a nap.OK, I need to continue writing in order to submbit this.
The script is written by a 5th grader.
Why would someone like Mahesh Bhatt who actually is a decent film director want to make this movie?
Had he lost his mind?
Why would an actor as talented as Anupam Kher want this role of a buffoon?
This was the same man who did Saranksh.
Naseeruddin Shah despite everything manages to have class.Why does Bollywood churn out these idiotic movies?
It was boring, cerebrally challenged and didn't even have the usual galmor of a regular Hindi film..
Not the best, but still Good.
Okay...lets start off by saying the movie is pretty good and holds the standard of a good bollywood movie.
Shahrukh Khan pulled off his part "excellently".
Naseerudin Shah has also pulled off his part pretty nicely.
Anupem Kher, even though, wasn't the one of main characters, but, stands out.
Pooja Bhatt's acting was poor-ish.
Some of the parts of Pooja Bhatt's were nicely pulled off, but mostly she was pretty bad.
She shouldn't have been chosen to do this movie.
I would have recommended someone like Rani Mukherjee, Juhi Chawla or maybe even Kajol.
Here's how the story goes (gotten directly from wikipedia): Roop Rathore (Shahrukh Khan) is a singer in Bombay just like his father (Anupam Kher), who is now sick and needs immediate medical care.
One day, while he is singing at Ajay Narang's (Naseeruddin Shah) hotel, Ajay's sister Reshma (Ramya Krishnan) falls in love with Roop.
Reshma is a spoiled girl and Ajay looks through all of her wishes.
Unfortunately, Roop is in love with a doctor named Pooja (Pooja Bhatt).
Meanwhile, Reshma is obsessed with Roop, and asks her brother to call him again to sing in their hotel.
But when she sees that all the girls are flattered over Roop, she gets very angry, and asks him to sing only for her now onwards.
But Roop would rather work for rival Patel (Shri Vallabh Vyas) than take this offer.
Ajay's obsession with keeping her sister happy at all costs comes into play and Patel is brutally beaten by him until he agrees to throw Roop out of his hotel.
Desperately in need of money for his father's operation, Roop has no option but to agree to Reshma.
Roop breaks up with Pooja.The operation of his father is successful, but his father is saddened by his situation and decides to leave Bombay.
Roop later tries to leave Bombay himself, along with his father and Pooja, but his plans are interrupted when Reshma tries to commit suicide.
Nevertheless, Pooja and Roop get married.
Frustrated with such turn of events, Reshma and her brother Ajay devise many plans to make their life miserable.
At the end of the movie, Roop's father is killed by Ajay, and when Roop tries to save Pooja, he and Ajay get involved in a fight.
Reshma threatens to kill Pooja if Roop won't stop fighting with her brother.
When he stops, Ajay tries to shoot Roop and Pooja, but misses and hits Reshma instead. |
tt0044753 | The Iron Mistress | In the early 19th century, Jim Bowie leaves his home in the bayou to sell lumber in New Orleans. He inadvertently offends Narcisse de Bornay by defending the artist James Audubon and is challenged to a duel, but charms his way out of it, and Narcisse becomes his friend.
Narcisse notices that his sister Judalon has caught Jim's eye and is concerned, knowing how haughty and spoiled she is. Henri Contrecourt, a man who has been courting her, kills Narcisse and challenges Jim to a fight, his sword versus Bowie's knife. To the surprise of everyone watching, Jim kills him. Later on, a blacksmith creates a special new knife for Bowie, partly made from the remains of a meteor.
Judalon rejects his proposal to marry wealthy Philippe de Cabanal instead. A disappointed Jim returns home and gets into the cotton business, upsetting Juan Moreno, a wealthy Mississippi cotton grower. He soon encounters Judalon, who says she wants to divorce Philippe and hints she would then marry Jim, if only he could help them erase a huge gambling debt Philippe has incurred to dangerous Bloody Jack Sturdevant.
Jim learns he has been betrayed by her again, that Judalon actually intends to wed Moreno for his money. In a fight, he kills Moreno, upsetting her. Jim is wounded and nursed to health by Ursula Veramendi, daughter of the Texas territorial governor. And when both Philippe and Sturdevant come to kill him, they accidentally end up murdering each other. Realizing once and for all that Judalon only wants money, not love, Jim begins a new life with Ursula. | violence, murder | train | wikipedia | Jim Bowie sets off to sell lumber in New Orleans, but once there he is captivated by the beautiful Judalon de Bornay and finds that life here is vastly different to that of home.
Getting himself into many scrapes on account of his feelings for Judalon, Bowie invents a new kind of Knife, the Iron Mistress, and from here a legend is born.Nobody should go into this picture expecting a Jim Bowie biography, in fact Western fans who haven't seen it should be advised that it barely registers as a Western piece.
It's full of dandy men fighting and duelling with honour and guts, beautiful women that are surely worth fighting for, and of course it introduces us to the legendary Bowie Knife.It's based on a Paul Wellman novel, and by all accounts the film is pretty loyal to Wellman's ideals, it doesn't however take us all the way to the Alamo.
Alan Ladd takes the lead role of Bowie, shiny blonde hair and brooding for all he is worth, fans of his performance in Shane should definitely check this one out, it's a great performance from Ladd, the kind that makes the gals go gooey and the boys to thump their chests.
Virginia Mayo is Judalon and positively simmers with sexual beauty, the character is akin to a viper, and the pot boiling sexual tension is palpable in the extreme, she is in short, a woman men will die for.Some scenes are just terrific, a duel in a darkened room that is only lit by the odd flash of lightning thru a window, a knife fight as two men with one arm tied to each other face off in a circle of honour, and of course Jim Bowie in every encounter, his violent gutsy bravado fearsome as his reputation escalates.
Alan Ladd heads a fine cast in this film biography of Jim Bowie, a life that was marked by thrilling adventure and violence which ended at the Alamo.
Bowie's travels take him to New Orleans where fate takes a hand and changes the course of his life and American history.
A central figure in the film is a beautiful but vain and selfish Creole girl with whom Bowie is hopelessly smitten.
Bowie himself is obliged to fight duels for various reasons and his expertise with a knife becomes legendary.
His reputation, forged by the iron mistress, follows him like a shadow throughout his life as he tries to put the young woman and his violent past behind him.
The film starts showing Jim Bowie (Alan Ladd) and his brothers together with their mother at the "bayou" where they live.
Ladd goes to New Orleans to sell lumber, becomes friend with a painter, and is challenged for a duel by the aristocratic De Bornay.
They end up becoming friends and Ladd falls madly in love with his sister, beautiful, but spoiled Judalon(Virginia Mayo).
Ladd is forced to kill many people because of Mayo, who is attracted to him, but an aristocratic name is what she wants to marry.
The Technicolor is great, Alan Ladd has the best performance of his career and Virginia Mayo is very convincing.
This is an adventure story using fiction to tell about the early years of James Bowie,prior to his martyrdom at the Alamo a few years after this film ends.
This is a typical romantic adventure story with Alan Ladd giving an erstwhile honest portrayal in the role that Richard Widmark did years later in THE ALAMO.
Fact or Fiction this is still a great adventure/action film...with a clever twist at the end.
Jim Bowie as portrayed in The Iron Mistress as the true romantic and a gentlemen hero is more fiction than fact based on folklore and "he said, she said".
In real life historians have acclaimed Jim Bowie as a somewhat shady land purveyor who in 1831 after he married nineteen- year-old Maria Ursula de Veramendi, then in 1983 he lost his wife and two children to cholera and began to drink a lot and thereafter not caring anymore about his attire.But film producers do not necessarily have to note in advance and/or clarify that some parts of their film may be embellished or that the facts may not all be known.
I for one really enjoyed Alan Ladd in the lead role as the folklore hero Jim Bowie and his long lost love affair with the attractive Judalon de Bornay played by Virginia Mayo.
There were at least three (3) different scenes in the film where Judalon de Bornayand and adventurer Jim Bowie were caught in an embrace and Judalon can be deliberately seen rolling her eyes and smirking directly towards her film audiences in our seats and telling us that she does not really love Jim Bowie and is just using him to get what she wants...money, murder, and to cause more trouble.
As Jim Bowie would eventually say to his former love Judalon de Bornay "no Judalon I don't think we can be together, you have caused the death of at least eight (8) men and that is enough." I am a big fan of Alan Ladd and especially the classic westerns (Shane) and adventure films (Boy on a Dolphin) that he starred in.
There is one scene in particular in The Iron Mistress near the end of the film that is a very clever twist where by accident or by premonition Jim Bowie is indirectly responsible for the sudden fate of two of his male combatants and his former love, Judalon.
This particular scene for me wrapped up the film in a neat little and justifiable bow that reminds me that this is only a film based on a real life person whose reputation precedes him as a dashing, handsome and daring adventurer.Alan Ladd and Virginia Mayo played their parts exceptionally well so if you like good adventure/westerns/biographies then you will most likely enjoy The Iron Mistress which the title is based not on a woman, but on Jim Bowie's specially designed hunting knife.I give the film an 8 out 10 rating..
After a decade at Paramount Sue Carol negotiated a new studio contract for Alan Ladd at Warner Brothers.
But that's another story.Alan Ladd became another one of a good list of players to take on the role of Jim Bowie.
Problem was of all the legends of the American frontier, Jim Bowie was probably the one who got the biggest whitewash in history.The man was a thoroughgoing scoundrel.
He and Jean Lafitte had a fine racket for a while with Lafitte capturing runaways in Texas and bringing them back to the U.S. for Bowie to sell, not necessarily back to their original masters.He did have a knife built to his specifications as per the film and with his activities he did tend to get into a lot of violent disagreements.
That's the Bowie knife, the Arkansas toothpick, the Iron Mistress of the title.
But Ladd plays Bowie as heroically as the legends have him and as the novel by Paul Wellman has him.
He's caught between two women, the selfish French creole aristocrat Virginia Mayo and the daughter of the Governor of the province of Coahuila in Mexico which included Texas, Phyllis Kirk.Bowie was a violent man in a violent era.
Ladd plays him like he was Shane and he was being faithful to the novel if not the real Bowie.
But then we've never seen the real one on screen any time.Still for those who liked Ladd's portrayal of Shane, The Iron Mistress is a good film for you..
Average and a little boring biopic about the mythical Jim Bowie , pre-The Alamo.
Western adventure with Jim Bowie (Alan Ladd) a man with his name on a knife and two women (Virginia Mayo , Phyllis Kirk) with a weapon all their own .
This is a mini-biography of the life of Jim Bowie in which he faces off bloody duels .
It starts In 1825, Jim Bowie travels to New Orleans to sell the lumber output from the sawmill he runs with his brothers .
Jim's business interests lead to violent fights where a lot of people are killed and there takes place a struggle with local saloon owner and nasty Black Jack (Anthony Caruso) .
Then , Bowie is rescued by an attractive Mexican girl (Phyllis Kirk) , the daughter of the Vice-Governor of San Antonio .
Barely historical presentation about the mythic character , Jim Bowie , who invented the famed frontier knife .
This colorful as well as spotty picture contains action , thrills , soap opera , knife-fights , luxurious balls and results to be entertaining ; however , being also mediocre .
Passable acting by the main starring Alan Ladd , and gorgeous Virginia Mayo who subsequently reprised her film role in Lux Radio Theater broadcast , a 60 minute radio adaptation of the movie.
Support cast is frankly well , such as Joseph Calleia as Juan Moreno , Phyllis Kirk as Ursula De Varamendi , Alf Kjellin as Phillipe De Cabanal , Douglas Dick as Narcisse de Bornay and special mention to Anthony Caruso playing as crook Black Jack .
He was an expert on adventure genre as ¨Black arrow¨ , ¨Fortunes of Captain Blood¨ , both starred by Louis Hayward and Western , as he proved in the films starred by Clint Walker such as ¨Fort Dobbs¨, ¨Yellowstone Kelly¨ , ¨Gold of seven Saints¨ , Gregory Peck as ¨Only the valiant¨ , ¨Chuka¨ with Rod Taylor , ¨Rio Conchos¨ starred by Richard Boone , being considered his best Western , and about bandits legendary as ¨Doolins of Oklahoma¨ , ¨Great Missouri raid¨, among others .The real events about James Bowie's life are the followings : Texas hero and knife-fighter whose name was made world famous by the type of broad-bladed knife he used and is said to have originated .
Alan Ladd was excellent in this, as was Virgina Mayo....and he rest of the cast.Great movie.
Now in Texas, where I live, the Bowie knife is a real and really big thing.
I don't want to go any further into this but Jim, or James Bowie as he has been called in this area, is claimed as a hero.
Excellent entertainment for the movie-goer regarding Jim Bowie, his knife and a snapshot of his life real or imagined.
Furthermore I like Alan Ladd which makes for a treat.
Virginia Mayo's character was cunning in the way that Vivien Leigh's Scarlet was to that film, but not as sympathetic or likable.
This is cinema trickery, a real pleasure, not part of the real story, but it's a moment of relief from the costume drama and dueling the rest of the time.This is how this movie goes.
I'm not sure how the movie reflects the real story of James Bowie, whose name was given to the famous Bowie knife (knives naturally have a big role in the movie, including the forging of the first true Bowie knife).
The film does lay out the gradual shift in cultivation of the South to cotton farming, and brings out lots of old rules like the fact divorce was impossible in Louisiana without an act of the legislature.
Fictionalized biography of American pioneer who died at The Alamo, Jim Bowie.
Loved the Bowie knife more than the movie..
As a new collector and knife hobbyist, I was more interested in the Bowie knife than the story line.
After more than ten years with Paramount Pictures one of their biggest stars Alan Ladd signed a new seven year contract with Warner Brothers.
His first movie for that studio was the colourful biopic THE IRON MISTRESS.The star had just completed his masterpiece "Shane" for Paramount which was about to be released but THE IRON MISTRESS reached theatre screens first.Of all the pictures Ladd would make for Warners over the next seven years THE IRON MISTRESS is about the best of them!
Beautifully photographed in Technicolor by John Seitz (Ladd's favourite cinematographer) it tells the story of impoverished lumber merchant Jim Bowie (Ladd) who came from the backwoods of 1820's Louisiana and rose to become a property tycoon through land speculation, gambling and - some say - by other unorthodox methods.
Along the way he would make some bitter enemies in the resentful New Orleans business world and for his protection he designed the famous knife that bears his name and which gives the film its title.
Nevertheless, his reputation not withstanding, Jim Bowie's name has gone down in American folklore as one of the heroes who died in the famous Battle of The Alamo in San Antonio Texas in 1836.
A main street scene of the city near the beginning looks like a stage play and Bowie's family home in the Bayou marshland is so unreal it cheapens the movie.
Unconvincing also is the scene where Bowie goes to have his famous knife forged!
Virginia Mayo steals the acting honours as the scheming, spoilt socialite who sneers at Bowie's marriage proposal ("What do you want me to do - live in a cabin in the wilderness?").
A plus for the movie is a marvellous climactic set piece of a sword and knife fight in a dark room where only intermittent flashes of lightning make it possible to see the two antagonists in mortal combat.Another plus for the movie is the terrific score by Max Steiner.
Then there is the gorgeous theme for Judalon (Mayo) which the composer fashions into a ravishing love theme and we are treated to some wonderful strident action cues in the unmistakable Steiner manner for the various knife fight sequences.
THE IRON MISTRESS is not a great movie by any stretch of the imagination but it has good atmosphere and enough flair and colour to hold the interest!.
Well-done period piece starring Alan Ladd.
That said, Alan Ladd does a fine job as an "heroic" version of Bowie in this film, taken from the popular 1950's novel of the same name.
Virginia Mayo never looked better than she did in this film.
The fact that her character has very few good qualities only helps the film and her performance.
The Alan Ladd portrayal is believable, though Paul Wellman's novel takes the saga all the way to the Alamo and the film ends long before that.
However, it has the feel of a good period piece.The manufacture of the famous knife is foreshortened from that of the book, where Bowie discusses the design in detail with Black, the man who forges the knife.
The action in the forging of the iron is quite dramatic and worthy of the reputation that the knife ..
carved out.The "duel in the dark" sequence was dramatically enhanced by momentary flashes of lightning, which wasn't half as ruthless as in the novel, where the entire duel was fought in pitch black.Major spoiler: The end of the film has Bowie treat the knife in sharp contrast to what happened in the novel, and for that matter, history (he gets rid of it).
Too much soap opera, not enough of the actual life of James Bowie!.
While I am no expert on the life of James Bowie, I know enough to realize that this Warner Brothers production is pretty limp.
Instead of focusing on the man's actual exploits (and they were many and amazingly wild for a man who died so young), the film focuses too often on a soap opera-like relationship between him and some dame (Virginia Mayo)--and I assume most, if not all, of this was made up for the movie.
As a biography of Jim Bowie it fits where it touches and concludes with no reference to the Alamo - probably a bit tricky as Bowie winds up the movie married to the daughter of a Mexican official.
That aside it's a fine example of the genre with Ladd on top of his game albeit playing Bowie as a nice guy who can't seem to help killing people, mostly as a result of his involvement with super-bitch socialite Virginia Mayo.
And even the corduroy set loved The Iron Mistress for which Paramount loaned Ladd to Warner Brothers - so we're fortunate that this one has now been released on DVD by the Warner Archive!On the other hand, Saskatchewan (1954) is among the least interesting, even though it is available on an excellent Universal disc.
In this film, Alan Ladd is Jim Bowie, who comes to New Orleans to sell timber from the rural family farm in Louisiana.
He wins some money, get all decked out in the finest fashion, meets and falls for the beautiful but treacherous Virginia Mayo, and fights or witnesses innumerable duels with knives, sword, and pistols.We follow him through business deals too, in which he makes a good deal of money gambling and trading things and speculating on land values.
She was fine as a Goldwyn Girl, the heroine of light-hearted action movies, and even as floozies in "The Best Years of Our Lives" and "White Heat." This is supposed to be a dramatic role and her problem is the opposite of Ladd's.
It's Alan Ladd in fancy clothes trying to make out with Virginia Mayo and sometimes getting into fights.
Would this movie have been made if Jim Bowie's name had been Marmaduke Cherkovitz?.
Jim Bowie, Alan Ladd, is a bit of a backwoods bumpkin who meets Judalon de Bornay, Virginia Mayo, while on his first trip to the big city of New Orleans.
And the scene, big spoiler, where Phillipe de Cabanal and Black Jack Sturdevant kill each other while believing their opponent is Bowie is over the top.
At least Bowie finally has an epiphany as he states, "No woman is worth the lives of eight men." And there is even a little Titanic here as Bowie tosses his knife into the water and goes on to marry Ursula de Varamendi, Phyllis Kirk. |
tt0093220 | House II: The Second Story | Young urban professionals Jesse (Arye Gross) and his girlfriend Kate (Lar Park Lincoln) move into an old mansion that has been in Jesse's family for generations. They are soon joined by Jesse's goofy friend Charlie (Jonathan Stark), who brought along his diva girlfriend Lana (Amy Yasbeck), in the hopes of being discovered by Kate, who works for a record company.
Jesse has returned to the old family mansion after his parents were murdered when he was a baby. While going through old things in the basement, Jesse finds a picture of his great-great grandfather (and namesake) in front of a Mayan temple holding a crystal skull with jewels in the eyes. In the background is a man Jesse learns is Slim Reeser, a former partner of his great-great grandfather turned bitter enemy after a disagreement over who would get to keep the skull.
Reasoning that the skull must be buried with him, Jesse and Charlie decide to dig up Jesse's great-great-grandfather in the hopes of procuring the skull. They unearth the casket only to be attacked by the corpse (Royal Dano), who then shows himself to be friendly when Jesse reveals his identity as the senior Jesse's great-great grandson. Jesse and Charlie take the cowboy zombie, nicknamed "Gramps", back to the house, where he is horrified to learn that the skull has not rejuvenated his body as he had hoped.
Gramps and Charlie go out drinking and driving, and later the boys listen for hours to Gramps' stories of the old west and his outlaw life. Gramps explains that the house is actually a Mayan temple, and that each of its rooms act as a hidden doorway across space and time. He charges Charlie and Jesse with defending the skull against the forces of evil.
During an impromptu Halloween party thrown by Charlie, Gramps makes an appearance (though he is overlooked as it is a costume party), Kate leaves Jesse (taking Lana with her) after he is seen with an old girlfriend by her smarmy boss (Bill Maher), and Jesse and Charlie pick up two new pets in the Jurassic era, a baby pterodactyl and a caterpillar-dog.
Bill (John Ratzenberger), an electrician and "part-time adventurer", arrives to inspect the house's old wiring. While seemingly a buffoon, he pulls a short-sword from his tool case and leads the boys through "one of those time-portal things...you see these all the time in these old houses." In the mystic past, the three rescue a Mexican virgin who was about to be sacrificed, who seems to like Jesse but throws things at Charlie.
Eventually, Slim Reeser makes his appearance. Slim shoots Gramps, who then gives Jesse his guns and reveals that it was Slim who shot and killed Jesse's parents when he was a baby. Jesse jumps through a window into the Old West, and eventually succeeds in killing Slim by blasting off his head with a rifle. Gramps, who has been mortally wounded, begins to pass away. Gramps says goodbye to Jesse and tells hims he is so happy to have met his great-great-grandson. Gramps then gives a final warning about the power of the skull, encouraging Jesse to get what he wants from the enchanted object and then get rid of it. As Gramps passes, Jesse embraces him in a hug.
The film ends with the revelation that Jesse used the skull to travel back into the Old West, where he, Charlie and the rest of their strange friends drive off in a wagon, leaving the crystal skull behind, marking Gramps' new grave. | absurd, alternate reality | train | wikipedia | Don't expect Citizen Kane, but if you're looking for an enjoyable little flick, you won't be disappointed.Interestingly, this film follows in the footsteps of the original House by casting a member of Cheers in a small role.
The one that killed Jesse's parents and betrayed Gramps over a century ago.House 2 has so much careless abandon and zany plot twists that it is totally impossible not to love this movie.
John Ratzenberger (this makes both movies star one of the "Cheers" barflies) appears as a repairman/adventurer who assists Jesse and Charlie battle some Aztecs.
There is some grain during darker scenes but other than this the movie is looking great.The Mono soundtrack is not terribly engaging and most of the film's sound is centre-channel biased.
House II deserves more respect than it gets because it's a good horror/comedy (which is rare)...and your kids can enjoy it too.Note for genre buffs: Kane Hodder was the stunt coordinator for House II and did a cameo as the gorilla guy.
Arye Gross is right for the lead and has great comic timing,Jonathan Stark is very funny as Gross' wacky party buddy and Royal Dano takes the prize as Gross' zombified great-great grandfather who had discovered a crystal skull that creates all the ensuing havoc!There are also two great supporting roles for John Ratzenburger(from Cheer's) as an electrician/adventurer and Politically Incorrect's Bill Maher as a smarmy record exec.
Arye Gross is as excellent as ever as Jesse, the new owner of the house, and Jonathan Stark, best known for his voice abilities in animated shows, is without equal in his role as Jesse's quirky and weird friend Charlie.This movie will take you from the Wild West to the ancient Aztecs to the Crustaceous Period to the present time (October 30, 1986 in the movie).
Like "House I", this movie is horror with a comedy bent, and doesn't have the nudity, language, or extreme violence that categorized most horrors of the eighties.
Add to the thrill some humorous, and well-done, special effects, and some interesting new pets, and you've got a winner!If you enjoy "House II", it would be worth your while to check out "The Never-Ending Story" -- they work on a similar bent of fantasy and comedic special effects to catch your interest.
Jesse (Arye Gross) moves to his biological parents' house with his girlfriend Kate (Lar Park Lincoln) and soon he hosts his friend Charlie (Jonathan Stark) with his girlfriend.
But demons cross gateways in the house to retrieve the magic skull and Jesse and Charlie need to go to other dimensions to retrieve the skull and keep Gramps alive."House II: The Second Story" is a silly fantasy adventure based on the first House with new characters.
1987's "House II: The Second Story" really isn't that good of a horror film really more of a screwball spoof comedy that's cheap made and it doesn't follow the originals plot and the storyline is much different with unheard of actors at the time.
Soon after moving in the old mansion style home with his close friend party animal and craved sex guy Charlie(Jonathan Stark) they discover the history and treasures of the house, and that Jesse's grandfather was an old west legend with a storied past.
The original "House" probably never made anyone's list of top horror movies, but it's entertaining in its own, modest way.
It starts off promising, and is shaping up to be a good haunted-house horror film when it suddenly and inexplicably becomes a fantasy-adventure comedy, during which time the ghost that the movie once seemed to be centered around is never seen and hardly mentioned.
If the movie had begun and ended with him, it could have been an '80s fantasy comedy classic (but still wouldn't really be a sequel to "House").
Hijinks ensue when the lucky owner reunites with his undead great-great-grandfather and, along with his goofy buddy, battles baby pterodactyls, angry outlaws and Bill Maher.Although a character in "Scream 2" cites the film as a superior sequel, "House II" does little to one-up its predecessor.
Those expecting bloodshed and jump-scares will be left in the cold, but perhaps with a few drinks in hand and with the right expectations, you'll find "House II: The Second Story" a film deserving of the title "cult classic.".
Given the choice between seeing this again or re-watching the new Indie movie about crystal skulls, I'd choose this since it's at least as entertaining but doesn't let you down like Indie did.The last criticism is perhaps the most damning.
The main character (Gross) goes after the jewel-covered skull by digging up an ancestor's grave and ends up resurrecting his great great grandpa (Dano) as a 100+ year old zombie.
I Think this Film is Not Horror or Comedy as Most people Say, But more Like Fantasy.
I think this one of the not too many funny horror movies from the 80's.As a horror 'die' hard in the 80's I've seen a lot of crappy horror movies, a lot of good, scary movies but just a few horror movies with such a comedic background in th story.It is still great to look at the movie now, more than 20 years later.
Although the scary effects of the 80's are less than today.The most fun is the old grandpa who seems to find all kind of ways to get into crazy situations all the time.And the crystal skull is great!
As hard as it is to troll through all the years of terrible films I've seen, I do not think it is unreasonable to say that House II is the single worst movie i have ever seen.
I have no idea why this movie has a higher rating then House 3 (a.k.a The Horror Show) which is actually quite good.
.House 2 is on the other hand is quite possibly one on the worst horror sequels you will ever see, if you don't believe me then try watching it..1/5IMO the original House and House 3 are the only good movies in the entire series..
Jesse decides that he is going to find the crystal skull with the help of his friend Charles, but he soon finds more than he bargained for.House was a quirky horror comedy in the vain of Evil Dead, House 2 drops all the horror and bumps up the comedy and becomes more of a goofy kids movie in the vain of The Goonies.
The monsters in this one are for the most part non-threatening cute puppets and such and the comedy is mostly bizarre (why does Charles have an uzi?, Why is the electrician an adventurer?) Nothing really makes sense, but the random nature makes it funny.This film is also more of an adventure film in which the house opens up portals into other time periods which gives the film an overall episodic feel and keeps things a bit fresh and interesting.The acting isn't very good, but in a film like this it doesn't need to be.
The special effects are fairly good and I loved the cute monster puppets and stop motion effects.House 2 is a stupid movie, I can't see fans of the first movie liking the second one to well.
Originally believing "House 2: The Second Story" to be along the lines of the rest of the "House" franchise, what I thought was a horror franchise, my main reason for watching it was because one of my favourite actresses, the glamorous Lar Park-Lincoln was starring in it.
Park-Lincoln does not "star" in the film, she merely "features", and in a variety of fabulous eighties outfits I must add."House 2: The Second Story" revolves around the bizarre adventures that Jesse (Arye Gross) and his friends have in a strange house when he inherits it following the deaths of his birth parents some years ago.
The late Royal Dano plays Jesse's long-dead great-grandfather, and John Ratzenberger gives a terrific, albeit brief, performance as Bill the electrician.Even though "House 2" is rather campy, plodding and certainly not a horror, it is watchable, if not for Park-Lincoln's brief appearance, or the decent acting of Arye Gross, then for the great puppetry and special effects, which were actually quite good for the late 1980's.
The new owner (Arye Gross) of a sinister house gets involved with reanimated corpses and demons searching for an ancient Aztec skull with magic powers.Ethan Wiley (who wrote part one) wrote the story and also takes over as director, with Sean Cunningham staying on as producer.
Steve Miner, the director of part one, was too busy making "Soul Man" to return, but did make his mark just the same: he recommended the lead actor, Arye Gross.Special mention must be given to Gregg Fonseca (1952–1994) who was production designer and made a tiny budget look like a big movie.
If you'd prefer to be scared out of your wits or if you have no imagination or plan to compare this movie with the standards of horror today, then spare yourself the frustration.The acting is a bit second rate and the "scariness" of it might seem a bit cheesy but back when it came out, I remember jumping a few times.
First of all I'd like to say that when I watched this movie for the first time I was about 7 years old and it was kinda weird to me then.
I think if you wanna watch a scary movie then this is surely the wrong one, cause it's more a funny movie, but that makes it not worse...the main characters are brilliant and the story is good as well.
Even though I do not really watch horror films anymore, I will always fondly remember "House", and it's dry sense of humor, but also fairly serious plot threads of overcoming the demons of your past, it is a movie that is serious while having a very dark sense of humor, that rises far above the low-brow humor of most horror comedies.
The conclusion actually makes logical sense within the continuity of the film, and unlike more horror themed films, your not left thinking, "Yeah, but they just committed a ton of crimes in the process and getting away and will likely go to jail."The effects are better than in the original "House" and extremely well-done for the time it was made.
"House II" is watchable not because of a coherent plot, though it is more coherent than it should be, or because of deep character studies, there is none to be had, it is entertaining because that is what it seeks to do, be a fun entertaining popcorn movie, and it does well at that.Have the proper expectations and you'll be pleasantly surprised.God Bless ~Amy. A lot scarier then people give it credit for..
I prefer to think of that possibility than actually the channel's intention to play a horror movie.The thing is that "House II" is a mix of western movies from the good 80's with comedy, and horror.
Unsurprisingly, this scatter-shot approach rarely makes sense and can serve to irritate, but at the same time, it is this very eclecticism that keeps one glued to the screen; any film that features an electrician/adventurer (played by Cheers' regular John Ratzenberger), a drunken jerk who just happens to keep an Uzi in the trunk of his car, and a meal scene where the diners include a 170 year old man, a prehistoric bird, a dogerpillar (like a caterpillar, but with a dog's face), and a beautiful Aztec sacrificial virgin really has got to be seen to be believed!Also serving to make this film an enjoyably daft treat, particularly if you're fan of old-school fantasy/horror fans, are the various make-up and pre-CGI special effects: prosthetics, animatronics, and stop-motion techniques are utilised to bring a collection of supernatural creatures to life, and there are a few pretty cool matte painting shots used to help create convincing other-dimensional worlds.
A lot of those guys will tell you to watch this film because of the good and original story !!
my sister and i had all four movies in the "House" series and decided to have a "House" marathon.we had just watched the first one,and had somehow made it to the end.but it wasn't easy.it was not a good film, at all.so, we suffered through the second one in.we managed to make it through 40 minutes of this dog, before we finally had to put it to sleep.this movie made the first one seem like Shakespeare in comparison.
This pseudo-sequel to "House" has no relation whatsoever to it, but the two films do share some common qualities: they are both low-rent, the "jungle" scenes here are as totally unconvincing as the Vietnam flashbacks there, and the comic moments work much better than the supposed "horror" ones..
House II: The Second Story (1987) ** 1/2 (out of 4)Jesse (Arye Gross) inherits his family's old house and soon he learns about a mysterious legend surrounding a crystal skull.
Pretty soon his long dead grandpa (Royal Dano) is alive and they must look for the skull as well as battle the creatures who also want it.In 1985 HOUSE was released to some rather good reviews and the film ended up doing quite well at the box office.
Unlike a lot of sequels that just try to copy the formula of the first film, this one here at least tried to actually deliver a "second story" and for the most part this was an entertaining picture.As was the case with the first movie, this one here does a nice job at mixing up the horror and comedy elements.
THe supporting cast includes Bill Maher, John Ratzenberger and Lar Park-Lincoln.HOUSE II: THE SECOND STORY certainly shows its "B" movie roots but that's not a bad thing.
They dig up a grave to find the skull only to encounter the dead corpse of Gramps.The original House is one of those lesser known horrors that I actually bought into.
Due to the fact that most of the main characters didn't have any sense of charm, except for a amusingly impassive cameo role from John "Cheers" Ratzenberger (yep, that's one connection the two "House" films would share, as George Wendt appeared in the first) and Royal Dano really glows as Gramps.
Unlike the excellent 'House' this sequel doesn't rely on horror or even good comedy, it relies on adventure!
good sequel can not match the original but it is still a entertaining sequel although it gets a bit silly a times it is dopey fun royal dano is great and it is just fun to watch well worth seeing *** out of 5.
If it tried to be a horror / comedy like "Evil Dead 2" it didnt' work!I can't believe how bad this movie is.
It is fairly good as a comedy, but not as a horror movie....
moves in his deceased parents` house and his friend stays with him.They see in a old book that there is an old aztec crystal skull in his Grandfather`s grave in the cemetary near by.They go and dig it up and we find out he isn`t dead yet.He says to them they can call him Gramps.He moves in the house and puts the skull on top of the fire place.Gramps warns Jesse and and his friend that they must protect it from the forces of evil.They get to know each other become and family and Gramps tells that he fought Tex long ago and that he has been in the before.Through out the film we see acient aztec warriors,dinosaurs,the old west and among other time periods.
This has 2 more sequels and a prequel but the first two is MY favorite ones.If you like a movie about haunted houses that have lot of time travelling then is for you!.
A caveman also attacks the party guests looking for a skull and a baby pterodactyl and a caterpillar-dog come along for the ride.To compound the film's weirdness, Bill (John Ratzenberger, who like George Wendt in House was a star on TV's Cheers) comes to inspect the wiring, but he's really an adventurer with a sword in his toolbox.
Arye Gross, Jonathan Stark, Royal Dano, Lar Park-Lincoln, Amy Yasbeck, Bill Maher and John Ratzenberger star in this 1987 horror comedy.
Like its predecessor, it's not really a straight horror movie, but more of a comic fantasy, as the hero deals with a crystal skull, Aztecs, a baby pterodactyl, and dead gunslingers.
Like the first film this remains inside the haunted house theme with two young males battling all manner of ghouls and monsters but heads down the horror comedy route.If you think along the lines of 'Army of Darkness' then you get an idea what I mean.
It was OK at best, but if you like the combination of comedy and horror (or are a die-hard fan of the 80s), give this film a try..
House II: The Second Story is a pretty good sequel to the horror comedy House, Ethan Wiley who wrote the screenplay for House writes and directs House II.
The film takes place in another haunted house with a new group of people, the owner Jesse's parents was murdered by a mysterious man that wanted the Aztec Crystal Skull now 25 years later and he buys his old family's with his girlfriend who's in the music business, soon his friend Charile and his girlfriend arrives with a demo tape so that Jesse's girlfriend will get them into the business.
So in the wild west dimension Jesse buries Gramps and places the Crystal Skull on top then rides off with Charile, the Virgin, the Caterpuppy and the little Preistoric bird.House II: The Second Story may not be really scary but it is humorous and very good.
"House II: The Second Story" is a pure cheese film.**SPOILERS**Years after his parents are brutally murdered, Jesse McLaughlin, (Arye Gross) and his wife Kate, (Lar Park-Lincoln) decide to move into the house.
There's no blood or gore & the only horror element is the rotten zombie Slim who looks quite good but isn't in the film that much, I also liked Slim's zombie horse as well. |
tt0221889 | Beautiful Creatures | Sixteen-year-old Ethan Wate lives in Gatlin, South Carolina, with his widowed father. Lena Duchannes is a mysterious girl with magical powers who appears in Ethan's recurring nightmares. Though she initially rebuffs his attempts at interacting with her, they eventually become friends despite harassment from other classmates that almost gets her expelled. Lena's uncle Macon Ravenwood also attempts to keep Ethan and Lena apart to protect them. Every member of Lena's family is a "Caster" with magical powers. On Lena's sixteenth birthday, she will be "claimed" as either a Light or Dark Caster, but she is terrified of becoming an evil Dark Caster.
Meanwhile, Ethan discovers a locket at Ravenwood Manor, Lena's home, that induces visions of Lena's ancestor Genevieve Duchannes and Ethan's ancestor Ethan Carter Wate, who were engaged during the Civil War. Through the locket, they discover that Genevieve tried to resurrect Ethan Carter Wate using the magical Book of Moons. Due to Genevieve's use of the spell, the Book has the ability to determine which of the Duchannes will be Light or Dark. Ethan and Lena find the Book of Moons in Genevieve's grave and study it for ways to prevent Lena from becoming Dark. Furthermore, Lena is continuously spiritually attacked by a Dark Caster named Sarafine, whom is actually her mother. While the Duchannes cannot prevent the attacks, Ethan's presence seems to stop them.
Lena's sixteenth birthday is celebrated by Ethan, the Duchannes, and her classmates. Macon forbids Lena to attend the party set up by her classmates, but Lena sneaks out anyway and confesses her love to Ethan, who reciprocates. Sarafine reveals herself at the party, accompanied by incubus Hunting Ravenwood. Sarafine tells Lena that she will be able to Claim herself for the Dark or Light at midnight. If she chooses to go Dark, all the Light Casters in her family will die, but she would be able to have a previously-impossible physical relationship with Ethan. If she chooses to go Light, all the Dark Casters in her family will die, including Macon. A fight occurs, culminating in Sarafine escaping and Hunting nearly killing Macon. After Ethan gathers the other Duchannes for help, Ethan searches for Lena, but instead meets Sarafine, who kills him. At midnight, Lena uses her power over nature to block out the moonlight, preventing her from being claimed. She recites a spell from the Book of Moons to resurrect Ethan. The spell works, but as payment, the Book kills Macon. | violence, comedy, neo noir | train | wikipedia | I think perhaps lots of people were put off by the director's claims of it's dark humour and general shockingness whereas in reality (or unless I am unknowingly deeply psychologically disturbed) it wasn't all that bad.
Their characters of Dorothy and Petula never came close to being your stereotypical man's-eye women.
This reversal on the general way of gangster/thriller films was great stuff.
Ordinarily I would not have gone to see a film like this as I am not a big fan of British cinema (although I enjoy stuff like Lock Stock & 2SB), but I am very glad I got to see this preview.The director Bill Eagle was at the preview, and as he mentioned before the film "if you don't think that death, S&M, mutilation of dead bodies, and drugs etc are appropriate for a comedy, then you better leave now".
The sense of humour in this film is indeed quite gross in places.The basic plotline is that Petula and Dorothy both have violent boyfriends, and after one of them goes into a blind rage and almost kills Petula, Dorothy accidentally kills him.
While this may sound like a quite depressing drama, it is actually done with a very tongue in cheek humour sometimes and is actually very funny (although this is probably not the sort of thing we should be laughing at!Overall, if you enjoyed the dark comedy of Lock Stock, like the quirkiness of British movies, and can withstand a barrage of jokes in the worst possible taste (way more dark and gross than a lot of other movies labelled as "gross out comedy" or whatever), I would recommend going to see this film.
I also think it was filmed well for an small time movie.
So with great humour, original characters and an interesting plot that keeps you guessing what will happen next i think its a thoroughly enjoyable film.Not to mention the adorable dog Pluto.
I know its done in tongue in cheek but this story seems to ramble and then aimlessly wander about, especially towards the end when I had grown tired of this messy story and the film wants to trick you and not end when you think it should.
Susan Lynch and Rachel Weisz are engaging enough but its to bad that the material isn't better.
This film reminds me of Bound or Goodbye Lover but with an british ala Lock Stock and Two Smoking Barrels style.
My wife and I just got done watching this, quirky and funny movie, and loved it!
Wanting so hard to be a black comedy thriller along the lines of Shallow Grave or Blood Simple, Beautiful Creatures is ultimately little more than worthy of mid-week TV viewing..
Dark comedy-like film - nice twists , nice direction style & some really clever jokes, especially if you got a sick sense of humour, hehe.
The British have the reputation for being an eccentric race, and "Beautiful Creatures" is one of the eccentric oddities that the British film industry occasionally comes up with.
The film, which is set in Glasgow, can best be described as an attempt to remake "Thelma and Louise" as a black comedy.
A young woman named Dorothy comes to the defence of another young woman, Petula, who is being beaten up in the street by her abusive boyfriend, Brian.
In the struggle Dorothy hits Brian over the head with a length of metal piping, which leads to his death after the women have taken his unconscious body back to her flat.
Instead, they decide to pretend that Brian has been kidnapped and to blackmail his wealthy brother, Ron. The complex plot also involves a corrupt policeman, Dorothy's boyfriend (just as unpleasant as Brian) and a pink-tinted dog.The original "Thelma and Louise" took a similar theme but treated it seriously, without any attempt to turn it into a comedy.
Those two films work better than "Beautiful Creatures", largely the leading characters are much more believable and, at times, sympathetic.
Susan Lynch and Rachel Weisz do not succeed to anything like the same extent.
I wonder if she took this part because she needed to appear in an oddball independent film in order to convince herself that she was still a bohemian free spirit despite having acted in Hollywood blockbusters like "The Mummy".Black comedy can be a difficult subject to get right, either in the theatre or the cinema.
Done well, black comedy can be tasteless but hilarious; done badly, it is merely tasteless.Unfortunately, "Beautiful Creatures" falls into the second category.
There was presumably some attempt at feminist satire on male attitudes to women, but this does not really work as Dorothy and Petula come across as being just as twisted in their attitudes as any of the males on display.
There is plenty that is black, with plot developments involving drugs, violence, cruelty and various sexual perversions, but little that is comic.
Beautiful Creatures is a British dark comedy about these two women who meet up with each other under undue circumstances and plotted a scheme so that they will come out ahead.
This is an entertaining black comedy but lacks the pacing, clever script, and bizarre edge that distinguish the best of this sub-genre of films.
Weisz, sporting a blonde do, and Lynch are pretty good, playing a variation on the Thelma and Louise theme.
This is the only feature film made by TV director Eagles, and he lacks the absurdist touch of the likes of the Coen Brothers, Guy Ritchie, and Quinton Tarantino.
please!), too contrived for a crime caper (let me get this straight: the whole mess begins when a dog bites off a corpse's finger?) and too reverse-sexist (all the men are vicious, sleazy b******s) for its female characters to be even the least bit sympathetic.
What I liked about the film "Beautiful Creatures" is that the lead female characters, Petula and Dorothy, are not strong women initially.
There is an uninhibited quality about her performances that make every character she takes on totally believable.Beautiful Creatures was real fun to watch.
Susan Lynch and Rachael Weisz are superb actresses and seemed to enjoy the filming and this comes over.
just the kind of movie to fill an evening and it makes you want to watch it again and wonder what you missed the first time as it is so warped you were undoubtedly laughing and probably missed something.
It's a thoroughly routine piece of Nineties film-making, a fourth-rate Tarantino swipe with side-grabs at Bound and Thelma & Louise.
Part of what makes a movie good is that the viewer can follow the plot.
Rachel Weisz has starred in much better movies ("Sunshine", "The Constant Gardener"), so why would you want to focus on this?
After escaping an attack from her abusive man, attractive Susan Lynch (as Dorothy) decides to leave him.
He is attacking beautiful blonde Rachel Weisz (as Petula).
While not funny, the bathtub scene does suggest "Beautiful Creatures" is a comedy.
Lynch is attracted to Weisz' platinum blonde locks and plays hairdresser...The women team-up and agree about how to dispose of one lover.
In return, Pluto plays a magic trick with Mr. Glen's ring finger...Later, Weisz gets to take a swing at Lynch's husband; here and there, director Bill Eagles provides a lot of synchronicity.
It should have been the women.**** Beautiful Creatures (8/23/00) Bill Eagles ~ Rachel Weisz, Susan Lynch, Alex Norton, Iain Glen.
And "Beautiful Creatures" just happens to have a fun flow, along the film noir lines.
A simple mixture of a black comedy & a mild crime thriller, ultimately making up for a an effective 90 minutes of entertainment, wrapped up on a comfortable budget, supported by a decent enough cast.
A grain of that noir-comedy touch the Coen Brothers sometimes use, done UK-style (but without Guy Ritchie's hectic pacing & editing) and more in sync really with films like "Head Above Water" (1996) and the more recent "The Ice Harvest" (2005).
If you've liked any of the stuff I just mentioned, you'll probably have some fun with "Beautiful Creatures" too.
It stars the perfectly capable Susan Lynch & Rachel Weisz, both forced by coincidence into the role of a femme fatale duo, desperately trying to solve & ultimately exploit the messy situation they've gotten themselves into..
This is a refreshing & darkly humorous, albeit violent, film about women who bond together when things go from bad to worse after they try to help one another.
None of the men these women in "Beautiful Creatures" are involved are at all redeeming, however.
Still it's a not often look at the underside of smart women getting involved with some yukky guys and trying hard not to end up destitute & beaten down..
A feel-good movie with an interesting plot and ending.
An unusual mixture of three things: British comedy, Violent thriller, Role reversal - where the women really are the main characters and all the surrounding men are two dimensional stereotypes - violent and/or lecherous who get their just rewards.
We sat through "Beautiful Creatures" in the hope that it would get funny or at least get better.
I suppose it is meant to be a comedy but I could find nothing amusing, as the film-makers seem to think is, with violence again women which it at the crux of this movie.
The moments which could have shocked or otherwise moved us were lost since they were cliched and predictable.I can't let this go without making one crucial observation; I saw this movie primarily because of Rachel Weisz.
Thankfully DNA has bought us a British film that has the conviction to look further than `Lock, Stock and Two Smoking Barrels' for its cues and is more than the sum of its parts of it's soundtrack.Adapted from a script by Simon Donald, this is the first feature directed by Bill Eagles who was last seen directing housewives favourite T Robson Green in the highly acclaimed TV thriller `Touching Evil.'Since the mid nineteen-nineties British cinema has done little for the Scottish tourist board and with a heady mix of violence, drugs and dubious sexual practices `Beautiful Creatures' is unlikely to reverse this trend.
They struggle to maintain control of a situation that spirals out of control culminating in kidnapping, murder and a severed body part.In fact, as a low budget Scottish-set ensemble piece led by the darkest humour, it is pretty inevitable that there are going to be comparisons made to `Shallow Grave.' On balance this wouldn't be entirely fair, whilst Danny Boyle may have got there first, `Beautiful Creatures' is undoubtedly a more ambitious film.The film puts a wilfully perverse spin on the noir thriller by transplanting the women who normally exist at the peripheries of the plot and foregrounding them as the action leads.
They contrast sharply with the female leads played by Susan Lynch and a peroxide-wigged Rachel Weisz who offer precious moments of humanity and warmth in the relentlessly dark, and at times shocking, script.A twisted humour propels the story, which at times sits uneasily with the overall noir tone of the film, particularly when the jokes are at their most throwaway.
However, the black comedy gives the film an edge and offers the audience guilty laughs when the plot is at its most oppressive.
DNA should be applauded for backing what is a brave attempt at originality in what has become an increasingly lazy British movie scene and for producing a film that should appeal to Coen Brothers and David Lynch fans as much as to those of Guy Ritchie and Danny Boyle..
"Beautiful Creatures" is a light-hearted dark comedy which tells of a pair of chance meeting babes who have had trouble with the men in their lives.
Dorothy (Susan Lynch) is out to the movies when she encounters Petula (Rachel Weisz) being abused by her boyfriend Brian McMinn.
Dorothy doesn't want to go to jail and Petula comes up with a plan to dispose of the body.
The dark humor in this "comedy" attempts to mimic films like Trainspotting or Lock, Stock and Two Smoking Barrels but never even comes close.
Ripped off ideas from other films, cliches, bad jokes, sexist stereotypical characters, and a plot where the writers obviously wrote themselves into a wall so had to invent some outragous new thing to keep the story going.I heard someone say "Dorothy and Petula never came close to being your stereotypical man's-eye women." Thats the problem.
know when to stop!Some good things about the movie, but mainly it was a terrible idea masquerading behind a big budget look: big actresses, big sound, big look, no plot..
I was excited at the opportunity of seeing Beautiful Creatures as a special preview screening, as the film won't be out on general release until January of next year.
I now find myself having to write a review of the movie, both for the IMDB and my student newspaper, and I am unsure where to start.Director Bill Eagles attended the screening and told the audience before the film that the humour within it would be realtively dark.
This did not prepare me, however, for exactly how dark a sense of humour you would need to have in order to find the film funny at all.The story itself seemed to be a promising one - 2 women, Petula and Dorothy, are the victims of domestic violence at the hands of their respective partners.
A chance meeting ends with Petula's boyfriend dead, and the rest of the film follows the women as they try to cover up what they have done, albeit in self defence.
The film proved to be one of stereotypes - Petula as the blond pretty one who all the blokes want to sleep with and Dorothy as the dark haired ugly one.
There is not one single male in the film with any good qualities (perhaps the point of the film), and the continual sexual violence that they show towards the women comes across as a complete and unrelenting indulgence of male fantasy.
The moments which were supposed to be funny involved such things as drug taking and violence towards animals.
Still riding high on the Guy Ritchie bandwagon, this falls into the same category as Circus, Rancid Aluminium, Love Honour and Obey, and Hard Men.These were all films with major flaws, but for some reason, apart from Hard Men, they were all highly watchable, with some very kooky elements to them.You really had to be around at the time of the films releases to appreciate this particular sub genre, and this one is no different, having been critically panned on initial release, there was something screaming in the film stating 'I am a very good idea, but poorly executed'.And while the film has a very poor narrative and so many clichés, it's hard not to enjoy it.Basically Thelma and Louise for generation X, Lynch and Weisz are really very good in their roles, but the writers have made a fatal error in making all the male characters rogues, and all the females victims, right up until the third act.There's red herrings galore come the final act, but it's just too bonkers to be a bad movie, its never boring, but makes very little sense.Luckily for me, I loved this sub genre, looking forward to all the wannabe crime dramas with style us Brits churned out.a great companion piece with High heels and Low Lifes, basically a carbon copy of this movie..
BEAUTIFUL CREATURES blatantly tries to fit in among dozens of British underworld action flicks starring the likes of; e.g., Bob Hoskins, Ewan McGregor, Ray Winstone, Clive Owns, etc., only this time with females in the lead roles.
Beautiful Creatures is one of those British crime dramas.
Anyway, Beautiful Creatures tells the story of Petula (Rachel Weisz) and Dorothy (Susan Lynch), two women brought together by fate who try to navigate their way through murder, lies, betrayal and happenstance.
The story starts with Dorothy getting her apartment trashed by her abusive boyfriend.
Dorothy follows to find Petula getting beaten by her boyfriend.
That brings in a detective inspector who wants a cut of the action and the return of Dorothy's abusive boyfriend, leading to one of those everybody-rushes-to-the-same-place-and-almost-everybody-ends-up-dead sort of endings.
Except for a strange, 5 minute stretch when it morphs into a stalker movie, Beautiful Creatures is a fine movie that sets itself above other British crime dramas in two ways.
This film involves people coming up with desperate plans by the seat of their pants that go wrong because they weren't that well thought out to begin with.
One of the other notable things about Beautiful Creatures is that it is probably the film where Rachel Weisz is the most attractive and sexy she's ever been and ever will be in a movie.
Though it's not as good a film, Beautiful Creatures could also be ranked alongside The Silence of the Lambs as one of the best, little-f feminist crime dramas that doesn't fall into the big-F Feminist trap of letting its take on sexual and gender politics overpower the story and turn it into "a woman needs a man like a fish needs a bicycle" propaganda..
You'll have to settle for her butt in Enemy at the Gates.This movie wasn't sure if it wanted to be a comedy or a drama.
In the end, it's just not one of Rachel's best movies.
And it partially succeeds.Dorothy is Susan Lynch, who comes to the aid of Petula (Rachel Weisz).
Weisz is all gussied up like a blond tart but she looks striking, with her black eyebrows, dark gypsy eyes, and flattish nose in that wan environment.Nobody acts quite the way you'd expect them to, and if they try, the trick often fails.
It's rather like that, all the way through, so I can understand TV Guide's not quite knowing how to handle the movie.
You know, "Beautiful Creatures" is one of those ironical thrillers that makes you enjoy the criminal, since they are portrayed as the good guys in the story. |
tt0094336 | Withnail & I | The film depicts the lives and misadventures of two unemployed young actors in late-1969 London. They are the flamboyant alcoholic Withnail and "I" (named "Marwood" in the published screenplay but not in the credits) as his relatively more level-headed friend and the film's narrator. Withnail comes from a privileged background and sets the tone for the friendship. They live in a filthy Georgian flat in Camden Town. Their only company at the flat is the local drug dealer, Danny.
The roommates squabble about housekeeping and leave to take a walk. In Regent's Park, they discuss the state of their acting careers and a possible country vacation, settling on a visit to Withnail's uncle Monty, who has a cottage near Penrith. After a near fight with a large and belligerent Irishman, they return home to prepare for their trip. They visit Monty that evening at his luxurious Chelsea house. Monty is a melodramatic aesthete and Marwood realises he is homosexual. The three briefly drink together as Withnail casually lies to Monty about his acting career and lies that Marwood went to Eton. Before leaving, Withnail arranges to borrow the cottage.
The countryside is beautiful, but the weather is cold and often inclement, the cottage is without running water or light, they have no food and the locals are unwelcoming – in particular a poacher, Jake, whom Withnail offends. They see Jake prowling around their cottage. Marwood suggests they leave for London the next day. Withnail in turn demands that they share a bed in the interest of safety, but Marwood refuses. During the night, Withnail becomes paranoid that the poacher is going to come after them and climbs under the covers with Marwood, who angrily leaves for a different bed. Hearing the sounds of an intruder breaking into the cottage, Withnail again joins Marwood in bed. The intruder turns out to be Monty, who has been stranded with a punctured tyre.
Monty has brought supplies and persistently comes on to Marwood. He offers to take them into town to get fitted into rubber boots, but they end up spending the money he gave them on drinks. Monty is hurt, though he puts it out of his mind quickly during a boozy round of poker. Marwood is terrified of what else Monty might try on him and wants to leave immediately. After much argument, Withnail insists on staying. Late in the night, Marwood keeps trying to evade Monty but he eventually corners him in the guest bedroom. Monty reveals that Withnail, when arranging to borrow the cottage, had told Monty that Marwood was a closeted homosexual and that he himself had rejected Marwood's advances. Marwood claims that Withnail is the closeted one and that the two of them have been in a committed relationship for years. He claims that Withnail is only rejecting him because Monty is around, and that this is the first night that they haven't slept together in years. Monty, a romantic, accepts this explanation and apologises for coming between them. In private, Marwood furiously confronts Withnail and insists that he will pay.
The next morning, Marwood finds that Monty has left for London, leaving a note of apology wishing them happiness together. They continue to argue about their behaviour and Monty. When Marwood receives a telegram about a callback from an earlier audition, he insists they return to London.
As Marwood sleeps, Withnail drunkenly speeds and swerves until pulled over by the police. Withnail is arrested for driving under the influence, and tries to falsify his urine sample. The pair return to the flat to find Danny and a stranger named Presuming Ed squatting there. Marwood calls his agent and discovers that he is wanted for the lead part in a play. The three, and Presuming Ed, get high smoking a huge cannabis joint. The celebration ends when Marwood learns they have received an eviction notice for unpaid rent, while Withnail is too high to care.
Marwood prepares to leave for the station, turning down Withnail's request for one last drink. In Regent's Park in the rain, Marwood confesses that he will miss Withnail, but does not allow him to accompany him further to the station. Bottle of wine in hand, Withnail declaims "What a piece of work is a man!" from Hamlet to an uncomprehending pack of wolves behind a fence in the London Zoo. The camera watches as he turns and walks away into the gloomy distance, swinging the bottle, as the credits start to roll. | comedy, boring, bleak, cult, psychedelic, autobiographical, romantic | train | wikipedia | null |
tt0071281 | Carry on Dick | In the year 1750, England is rife with crime and highway robbers. To stop the wave of chaos, King George sets up the first professional police force named the Bow Street Runners, under the command of the bellowing Sir Roger Daley (Bernard Bresslaw), and seconded by Captain Desmond Fancey (Kenneth Williams) and Sergeant Jock Strapp (Jack Douglas). The Runners are apparently successful in wiping out crime and lawlessness – using all manner of traps and tricks to round the criminals up. However their main target is the notorious Richard "Big Dick" Turpin (Sid James), a highwayman who has evaded capture and succeeded in even robbing Sir Roger and his prim wife (Margaret Nolan) of their money and clothing. After this humiliation, Turpin becomes the Bow Street Runners' most wanted man, and thus Captain Fancey is assigned to go undercover and catch the famous Dick Turpin and bring him to justice.
The Bow Street Runners nearly succeed in apprehending Turpin and his two partners in crime, Harriet (Barbara Windsor) and Tom (Peter Butterworth), one evening as they hold up a coach carrying faux-French show woman Madame Desiree (Joan Sims), and her unladylike daughters, "The Birds of Paradise." However, Turpin manages to outsmart the Runners, sending them away in Madam Desiree's coach.
Outraged by Strapp's incompetence, Captain Fancey travels with the sergeant to the village of Upper Denture near to where the majority of Turpin's hold-ups are carried out. There they encounter the mild-mannered Reverend Flasher, who is really Turpin in disguise, with Tom as his church assistant and Harriet as his maidservant. They confide in the rector their true identities and their scheme to apprehend Turpin. They agree to meet at the seedy Old Cock Inn, a notorious hang-out for criminals and sleazy types, and where Desiree and her showgirls are performing. Fancey and Strapp pose as two on the run crooks – and Strapp dubs his superior "Dandy Desmond" – and they hear from the greasy old hag, Maggie (Marianne Stone), a midwife who removed buckshot from Turpin's buttock, that Turpin has a curious birthmark on his manhood. Strapp wastes no time in carrying out an inspection in the public convenience of the Old Cock Inn.
When the rector arrives, he discovers their knowledge of the birthmark, and sweet talks Desiree into assisting him with the capture of "Turpin", whom the rector has told Desiree is actually Fancey, who is sitting downstairs in the bar. She lures him to her room and attempts to undress him, with the help of her wild daughters. The girls pull down his breeches but fail to find an incriminating birthmark, and Desmond staggers half-undressed into the bar. Strapp is also dumped into a horse trough for peeping at the men in the toilets.
Strapp and Fancey send a message to Sir Roger about the birthmark, and are accosted by Harriet in disguise who tells them to meet Turpin that night at ten o'clock. Meanwhile, Tom tells the local constable that he knows where Turpin will be that night – at the location Harriet told Strapp and Fancey to wait. Thus, they are imprisoned as Turpin and his mate, and Sir Roger is yet again robbed on his way to see the prisoners.
However things fall apart when the rector's housekeeper, Martha Hoggett (Hattie Jacques) begins to put two and two together when Mrs Giles (Patsy Rowlands), apparently sick and used for a cover-up story for Dick's raids, is seen fit and well at the church jumble sale. Later that day, Harriet is caught at the Old Cock Inn where Fancey, Strapp and Daley are meeting and Fancey recognises her as the "man" who conned them into being caught. She is chased into Desiree's room and is told to undress to show the infamous birthmark. However, they soon realise she is a woman and are prepared to let her go, but lock her up after Lady Daley recognises a bracelet that Harriet is wearing as one Turpin stole from her.
With the net tightening, the Reverend Flasher gives an elongated sermon before outwitting his would-be captors and making a speedy getaway, with Harriett and Tom, across the border. | historical fiction | train | wikipedia | null |
tt0048569 | Rumpelstilzchen | In order to make himself appear superior, a miller lies to the king, telling him that his daughter can spin straw into gold. (Some versions make the miller's daughter blonde and describe the "straw-into-gold" claim as a careless boast the miller makes about the way his daughter's straw-like blond hair takes on a gold-like lustre when sunshine strikes it.) The king calls for the girl, shuts her in a tower room filled with straw and a spinning wheel, and demands she spin the straw into gold by morning or he will cut off her head (other versions have the king threatening to lock her up in a dungeon forever). When she has given up all hope, an imp-like creature appears in the room and spins the straw into gold in return for her necklace (since he only comes to people seeking a deal/trade). When next morning the king takes the girl to a larger room filled with straw to repeat the feat, the imp spins in return for the girl's ring. On the third day, when the girl has been taken to an even larger room filled with straw and told by the king that he will marry her if she can fill this room with gold or execute her if she cannot, the girl has nothing left with which to pay the strange creature. He extracts from her a promise that she will give him her firstborn child and so he spins the straw into gold a final time. (In some versions, the imp appears and begins to turn the straw into gold, paying no heed to the girl's protests that she has nothing to pay him with; when he finishes the task, he states that the price is her first child, and the horrified girl objects because she never agreed to this arrangement.)
The king keeps his promise to marry the miller's daughter. But when their first child is born, the imp returns to claim his payment: "Now give me what you promised." She offers him all the wealth she has to keep the child but the imp has no interest in her riches. He finally consents to give up his claim to the child if she can guess his name within three days. Her many guesses fail, but before the final night, she wanders into the woods (some versions she sent a servant in the woods instead of going herself to keep the king's suspicions at bay) searching for him and comes across his remote mountain cottage and watches, unseen, as he hops about his fire and sings. In his song's lyrics, "tonight tonight, my plans I make, tomorrow tomorrow, the baby I take. The queen will never win the game, for Rumpelstiltskin is my name'", he reveals his name. Some versions have the imp limiting the number of daily guesses to three and hence the total number of guesses allowed to a maximum of nine.
When the imp comes to the queen on the third day, after first feigning ignorance, she reveals his name, Rumpelstiltskin, and he loses his temper and their bargain. (Versions vary about whether he accuses the devil or witches of having revealed his name to the queen.) In the 1812 edition of the Brothers Grimm tales, Rumpelstiltskin then "ran away angrily, and never came back". The ending was revised in an 1857 edition to a more gruesome ending wherein Rumpelstiltskin "in his rage drove his right foot so far into the ground that it sank in up to his waist; then in a passion he seized the left foot with both hands and tore himself in two". Other versions have Rumpelstiltskin driving his right foot so far into the ground that he creates a chasm and falls into it, never to be seen again. In the oral version originally collected by the Brothers Grimm, Rumpelstiltskin flies out of the window on a cooking ladle. | fantasy | train | wikipedia | Spooky!. This is not a good film, but it does have a certain ephemeral charm. I remember seeing it at a matinee in the late 60s or early 70s, and the title character really scared me! Don't knock yourself out looking for this film unless, like me, you like oddities, and not even particularly good ones at that.. ORDINARY AND LIFELESS. Very ordinary, lifeless and below-average directed adaptation of the fairy tale with Rumpelstilzchen himself as an annoying dwarf, an uncaring cast and a very poor song. Very inadequate in the execution of the simplest of special effects, as if the makers did not care (was it too low budgeted?). Judging from the result one would not expect that professionals like director Fredersdorf (specialist in children's films) were involved in making this film.. Saw this at theater as a kid I think. I remember seeing a Rumpelstiltskin movie as a kid in the 60's or 70's at the theater also and thought it was pretty good. I even went back and saw it again because it was so good. I couldn't find any info on the internet or anywhere else though about it. Then I found this one and read that it was re-released in the US in theaters in 1965 and again in 1974. I bought it on Ebay hoping it was the same one I saw as a kid but like the previous reviewers said it is not a very good movie. It seemed like the one I saw at the theater was well produced with a higher budget and better effects. Is there another Rumpelstiltskin movie or is this the one and things just seem like they're better when you're a kid. |
tt0060566 | The Jokers | Michael Tremayne is booted out of Sandhurst. He and his brother David want to do something "big". They decide to do a crime as a "grand gesture". The brothers take Inge, David's new inamorata, on a tour of London, including the Tower of London. At a dinner party they learn that you cannot be charged with theft unless you intend to permanently deprive the owner of their property. David proposes stealing the crown jewels and sending letters out beforehand, showing they aren’t intending to permanently deprive. Michael is somewhat jealous of David, as David is considered the ‘good’ son and him the ‘bad’ son. They write and deliver the letters. They plant a bomb at the Albert Memorial and observe the police procedure. Next they put a bomb at the lion cage at the London zoo. Then they blow up a ladies lavatory. David gets a laser. They put a bomb at the stock exchange and David goes to the army base, and using a tape recorder records the procedures.
Finally the day comes. Michael goes to the jewel room in the Tower and hides a bomb there. David and Michael go to the base and tie up the duty officer. They take the place of the bomb disposal expert and his assistant. They ride with the army to the Tower. The pair go into the bomb room and knock out the rather silly Colonel who went in with them and who commands the army base. David and Michael have had the alarms turned off, due to the danger of "vibration", and use the laser to cut into the cabinets and steal the Crown Jewels. The pair set off a small bomb and a smoke bomb. They stagger out pretending to be hurt, then escape from the ambulance taking them to hospital along with the jewels.
A worldwide search is undertaken for the robbers. David and Michael enjoy the media frenzy. One week after the robbery on 23 June 1967, the letters are opened and delivered to the police. When they go to get the jewels from their hiding place they are not there. The police arrive to arrest David. Michael says he doesn’t know anything about the robbery. Michael never delivered his letter. David is identified as the bomb expert, but the witnesses can’t identify Michael. The police investigate, but can’t break down Michael’s alibi of being at a party. Michael is released. David is indicted and bail is refused. The police set up a plan to make Michael think his alibi is breaking down, but Michael evades police surveillance. We then see him digging up the jewels from where he buried them at Stonehenge. Michael calls on a telephone he knows is tapped to say he’s returning the jewels at Trafalgar Square at 4 a.m. The police set up a cordon, but Michael uses their concentration on the square to put the jewels in the scales of justice on top of the Old Bailey. We close with both brothers imprisoned in the Tower, plotting their escape. | satire | train | wikipedia | null |
tt1198207 | The Godfather II | In 1901, the family of nine-year-old Vito Andolini is killed in Corleone, Sicily, after his father insults local Mafia chieftain Don Ciccio. Vito escapes to New York City and is registered as "Vito Corleone" on Ellis Island.
In 1958, during his son's First Communion party at Lake Tahoe, Michael Corleone has a series of meetings in his role as the Don of his crime family. Corleone caporegime Frank Pentangeli is dismayed that Michael will not help him defend his Brooklyn territory against the Rosato brothers, who work for Michael's business partner Hyman Roth. That night, Michael leaves Nevada after surviving an assassination attempt at his home.
In 1917, Vito Corleone lives in New York with his wife Carmela and son Sonny. He loses his job due to the nepotism of local extortionist Don Fanucci; he is subsequently invited to a burglary by his neighbor Peter Clemenza.
Michael suspects Roth of planning the assassination, but meets with him in Miami and feigns ignorance. In New York, Pentangeli attempts to maintain Michael's façade by making peace with the Rosato family but they attempt to kill him.
Roth, Michael, and several of their partners travel to Havana to discuss their future Cuban business prospects under the cooperative government of Fulgencio Batista; Michael becomes reluctant after reconsidering the viability of the ongoing Cuban Revolution. On New Year's Eve, he tries to have Roth and Roth's right-hand man Johnny Ola killed, but Roth survives when Michael's bodyguard is discovered and shot by police. Michael accuses his brother Fredo of betrayal after Fredo inadvertently reveals that he'd met with Ola previously. Batista abruptly abdicates due to rebel advances; during the ensuing chaos, Michael, Fredo, and Roth separately escape to the United States. Back home, Michael learns that his wife Kay has miscarried.
Three years later, Vito and Carmela have had two more sons, Fredo and Michael. Vito's criminal conduct attracts the attention of Fanucci, who extorts him. His partners, Clemenza and Salvatore Tessio, wish to avoid trouble by paying in full, but Vito insists that he can convince Fanucci to accept a smaller payment by making him "an offer he won't refuse". During a neighborhood festa, he stalks Fanucci to his apartment and shoots him dead.
In Washington, D.C., a Senate committee on organized crime is investigating the Corleone family. Having survived the earlier attempt on his life, Pentangeli agrees to testify against Michael, who he believes had double-crossed him, and is placed under witness protection.
Now a respected figure in his community, Vito is approached for help by a widow who is being evicted. After an unsuccessful negotiation with Vito, the widow's landlord asks around, learns of Vito's reputation, and hastily agrees to let the widow stay on terms very favorable to her. In the meantime, Vito and his partners are becoming more and more successful, with the establishment of their business, "Genco Pura Olive Oil".
Fredo is returned to Nevada, where he privately explains himself to Michael: resentful at being passed over to head the family, he helped Roth in expectation of something in return—unaware, he claims, of the plot on Michael's life. Michael responds by disowning Fredo.
Unable to get to the heavily-guarded Pentangeli, Michael instead brings Pentangeli's Sicilian brother to the hearing. On seeing his brother, Pentangeli denies his previous statements, and the hearing dissolves in an uproar. Afterwards, Kay reveals to Michael that her miscarriage was actually an abortion, and that she intends to take their children away from Michael's criminal life. Outraged, Michael takes custody of the children and banishes Kay from the family.
Vito visits Sicily for the first time since emigrating. He and business partner Tommasino are admitted to Don Ciccio's compound, ostensibly to ask for Ciccio's blessing on their olive oil business. Vito exacts his childhood vengeance by knifing Ciccio after revealing his old identity, but Tommasino is shot in the leg and suffers a permanent disability during their escape.
Carmela Corleone dies. At the funeral, Michael appears to forgive Fredo but later orders caporegime Al Neri to assassinate him out on the lake.
Roth is refused asylum and even entry to Israel and is forced to return to the United States. Over the dissent of consigliere Tom Hagen, Michael sends caporegime Rocco Lampone to intercept and shoot Roth on arrival. Rocco, however, is shot dead by federal agents after completing his mission.
At the witness protection compound, Hagen reminds Pentangeli that failed plotters against the Roman Emperor often committed suicide and assures him that his family will be cared for. Pentangeli later slits his wrists in his bathtub.
On December 7, 1941, the Corleone family gathers in their dining room to surprise Vito for his birthday. Michael announces that, in response to the attack on Pearl Harbor, he has left college and enlisted in the United States Marine Corps, leaving Sonny furious, Tom incredulous, and Fredo the only brother supportive. Vito is heard at the door and all but Michael leave the room to greet him.
Michael sits alone by the lake at the family compound. | violence, humor, murder | train | wikipedia | null |
tt2249221 | Zulu | In 1879, a communiqué from Lord Chelmsford to the Secretary of State for War in London (voice-over narration by Richard Burton) details the crushing defeat of a British force at the hands of the Zulus at the Battle of Isandlwana. In the aftermath of the battle, the victorious Zulus walk amongst the scattered bodies of dead British soldiers and gather their rifles. At a mass Zulu marriage ceremony witnessed by missionary Otto Witt (Jack Hawkins) and his daughter (Ulla Jacobsson), Zulu King Cetewayo (Chief Mangosuthu Buthelezi) is also informed of the great victory.
A company of the British Army's 24th Regiment of Foot is using the missionary station of Rorke's Drift in Natal as a supply depot and hospital for their invasion force across the border in Zululand. Receiving news of Isandhlwana from the Natal Native Contingent Commander Adendorff, who warns that an army of 4,000 Zulu warriors is advancing to the British position, Lieutenant John Chard (Stanley Baker) of the Royal Engineers assumes command of the small British detachment. Lieutenant Gonville Bromhead (Michael Caine), an infantry officer, is rather put out to find himself subordinate to an engineer due to the latter's slightly earlier commission. Realising that they cannot outrun the Zulu army with wounded soldiers, Chard decides to make a stand at the station, using wagons, sacks of mealie, and crates of ship's biscuit to form a defensive perimeter. Witt becomes drunk and demoralises the men with his dire predictions; the soldiers of the Natal Native Contingent desert. Chard orders Witt to be locked in a supply room.
As the Zulu impis approach, a contingent of Boer horsemen arrives. They advise Chard that defending the station is hopeless. They retreat in haste, despite Chard's desperate pleas for them to stay. The Zulu army approach and then charge. The British open fire, but Adendorff informs them that the Zulus are only testing the British firepower. Witt again predicts the soldiers' inevitable fate, before escaping the battle with his daughter. Chard is concerned that the northern perimeter wall is undermanned and realises that the attack will come from all sides. The defenders are surprised when the Zulu warriors open fire on the station with rifles, taken from the British dead at Isandlwana.
Throughout the day and night, wave after wave of Zulu attackers are repelled. The Zulus succeed in setting fire to the hospital, leading to intense fighting between British patients and Zulu warriors as the former try to escape the flames. Private Henry Hook (James Booth) takes charge and successfully leads the patients to safety.
The next morning, the Zulus approach to within several hundred yards and begin singing a war chant; the British respond by singing "Men of Harlech". In the final assault, just as it seems the Zulus will finally overwhelm the tired defenders, the British soldiers fall back to a small redoubt constructed out of mealie bags. With a reserve of soldiers hidden within the redoubt, they form into three ranks and seamlessly fire volley after volley, inflicting heavy casualties; the Zulus withdraw. After a pause of three hours, the defenders are still recovering when the Zulus re-form again on the Oscarberg. Resigned to another assault, the British are astonished when the Zulus instead sing a song to honour the bravery of the defenders before departing.
The film ends with another narration by Richard Burton, listing the eleven defenders who received the Victoria Cross for the defence of Rorke's Drift, the most awarded to a regiment in a single action up to that time. | murder | train | wikipedia | However, the script more than makes up for that minor problem by revealing complexity to the Whitaker and Bloom characters in a subtle way that makes us truly care about the two cops they portray.Whitaker is very good, establishing a character then staying true to what he presents initially.
If you like watching the mature Forest Whitaker do his thing then you will enjoy this movie.However, to me this is Orlando Bloom's movie to carry, and he scores big time.
All of that time he has spent adding to his bank account with fluffy roles has also brought him to this point where he can truly pull off a major role with skill.Zulu is set in modern day South Africa and the portrait of that nation isn't pretty at all.
Zulu isn't just a who-done-it, but a powerful indictment of the causes of the subject crime embedded deep in 20th century history.Like all good cop movies there is some redemption at the end so fear not in the middle, if you find yourself a little depressed.
Problematic I guess is distribution of a cop film set in South Africa with some pretty harsh elements, at least to American audiences.
i don't know what film the idiots who review this movie here watched, i can say in all honesty this is one of the best Drama of 2013 and very good production money well spend.
director is not known to me but he can be proud of the job he has done, style of camera use in action scenes reminded me POINT BREAK but way better, gun fights felt of those in western movies and was very tense.
character development was the best thing about this movie you felt for every one most of all Orlando Bloom he has done a great job portraying a failed tortured soul as same as Mel Gibson did in first Lethal Weapon.
i am guessing most people did not understand Forest Whitaker, his suffering and the way he acted at the and of the movie i did, this is why i loved the ending character Forest Whitaker played suffered in silence for 40 years then at the end he realised everything he suffered was due to certain evil man and he decided there was only one way to stopped them then he took action to do so with no remorse.
This time Orlando Bloom and Forest Whittaker are sent to South Africa - into a dark the sinister Apartheid leftovers.Great acting by both of them.
Forest Whitaker and Orlando Bloom made quite an impression on me being they have been in a lot of big hits I thought they might remind me of other characters from another movie.
The story is set in Post-Mandela South Africa, with blacks and whites working side by side as both criminals and cops.
You can watch Zulu several times, and continually catch more and more minute plot twists, amazing scenes depicting the beauty and squalor of South Africa and the importance of walk on characters that contribute to the depth of the movie.
A movie with well developed characters, telling a gripping story, that leads to a meaningful ending.This is the type of product that comes from integrity, professionalism, and hard work.
Orlando Bloom is quite exceptional playing a lost cop with his captain Forrest Whitaker, another lost soul trying to find his forgiveness for crimes against South African blacks.
I really like movies that take place outside of the u.s. I have been lucky enough to have seen all of our fifty states And it pleases me not to be forced to see subway McDonald and shopping malls in every film.Bloom and Whitaker both did a Believable performance.Some of the gun fight scenes could have been better I could see that this film had some cash flow limitations.But i loved the shock and aw so to rap this up i will just say that i truly would recommend this film to people that want to escape and see how people live with technology and no real rules to govern it.And when i feel like it i will watch it again with the right group of friends.Some films need a higher level of understanding to take in what the director is trying to say IT'S ALL ABOUT STORY TELLING..
Just stumbled upon it and the movie sets a notion to prepare it's audience to slowly, gradually and surely lead them into a realist, heart wrenching tale of present day reality in South Africa with such defined details on delivering the story, the character's are more than convincing.
Officers Ali Sokhela (Forest Whitaker) and Brian Epkeen (Orlando Bloom) begin investigating the death of a young woman who has been killed by an illegal drug that has recently been supplied to her.
Both officers believe that there is a link between the woman's death and the deaths involving black people and set about trying to establish how all the deaths are connected....Given South Africa's rather turbulent and fraught history regarding its 'race-relations' policy a film like Zulu can either be seen as brave or misguided.
As an open-minded person myself I tried to view this film objectively and basically take it for what it is and sadly even going in with this forgiving mind-set I still left feeling rather disappointed....For a start the story is unbearably slow and just isn't that compelling (all this despite the fact that it is possibly interesting when looked upon from a recent historical perspective).
I haven't read the book and therefore I can't comment on how the characters are perceived in the original source material, but in this film with Whitaker and Bloom I felt like the screenwriters were attempting to portray their characters similar to Murtagh and Riggs from Lethal Weapon - this is more noticeable with Bloom who is the unhinged, gung-ho police officer with a drink problem.
Forest Whitaker gives another good performance and his character is slightly better developed, but again he isn't a particularly interesting character (the most interesting thing about watching his performance was seeing his Idi Amin accent come out of retirement once more).Once I'd made the analogy between the two cops here and the two cops in Lethal Weapon it only reminded me of how dull this film is in comparison.
Whilst it may be set during a rather important period in South Africa's history the film sadly is held back by dull and uninteresting characters, and a story that isn't as compelling as it may seem due to its rather plodding nature..
Zulu (2013) starring Orlando Bloom and Forest Whitaker in this film festival, limited theatrical release dates in several countries.
Zulu starts off as a typical crime drama thriller introducing the characters and the back story.
Zulu doesn't offer anything new, though fans of the genre should enjoy the film for its decent acting (Orlando Blooms is great here, while Forest Whitaker uses a forced accent), and a great scenery.
This is a bit peculiar for me, I thought overall the story is pretty good but it just lacks emotional punch for some reason.I'm not sure if it's the acting or what it is, Whitaker is pretty good I guess and although Bloom is not bad he's not that great either but I don't buy them as being friends in this.They also have another friend called Dan and he even more seems out of place and not like 'one of the guys' of which he is supposed to be.The characters I believe are supposed to be multi-layered but that doesn't really come across in the film, Whitaker's character is a slight exception.
And some of the dialogue feels forced.Yeah I don't know what else to add in all honesty because it is sort of a mystery-crime-drama-thriller so it's hard to say anything without spoiling stuff so I'll just keep it short I guess.Based on a book and although I haven't read the book I think it's safe to assume that 'not as good as the book' rings true in this case..
Forest Whitaker and Orlando Bloom give decent performances and the setting of a crime ridden South Africa is refreshing.
The plot centering around a new mysterious street drug is compelling until the second half, where corny one liners and overblown conspiracies ruin what could have been a slow paced, dark and compelling crime thriller.The film is available right now on Sky Movies in the UK and most other on demand services to rent and is worth a watch on the cheap during a boring evening.
I was interested enough to watch this movie for several factors, like the cast (Orlando Bloom and Forest Whitaker), the South African setting, and the fact that the filmmakers were not American - the last two factors promising that the film would feel a lot different than Hollywood product.
Also, while the South African backdrop does definitely provide some color and originality, at the same time the movie more often than not feels and looks like a television show.
This movie couldn't be further from the truth.It is very clear that this is a story conceived with American culture in mind and then adapted to the racism, drug trafficking of South Africa.The performances are unrealistic to real life in Cape Town (and lets bear in mind that Cape Town is a social beat unlike any other South African city), it is a mess.People do their best to avoid each other or getting involved with the law.
That is just utter fantasy.What I am getting at here is that this story it terribly forced, it it clearly written by someone who has never lived in South Africa or if they have, they do not have a very keen eye and sense for what makes South African people South African people.Apart from the star cast of Mr Bloom and Mr Whitaker, The rest of the cast is a bevy of B grade actors that made it into the film compliments from the ever-present Capetonian nepotism.If you look up the SA cast you will find a very intricate web of people that went to school together or are directly linked via blood or some close friend.Unfortunately the cast director for Zulu was not presented with a list of the best actors it could buy, but a list of 'who thinks they are who' on the Cape Town social/film scene.It makes me very sad as I was looking forward to watching this film and seeing somebody tackle this subject, but it is clear to me that this film is an even worse botch than The Tourist ever was..
Tell you the truth I was surprised by Orlando Bloom,I have seen him in various films and TV shows but this role was completely opposite of what he usually does, I wasn't 100% sure it was him until the credits rolled, well impressed indeed.I would recommend this film.It a great mix of action, emotions and hard truths..
Orlando Bloom and Forest Whitaker are both actors that seem to have starred in movies that did not let their real character shine but Zulu brings out a lively and believable performance from both actors as well as the cast.
Harsh, brutal and realistic display of fighting crime in South Africa definitely one to watch if you get tired of all those New York cop dramas..
Zulu is a decent crime thriller with a lot of gore and a good script and very well acted performances from the crew in general ,especiallt from Forest Whitaker and Orlando Bloom, who finally made a come back after a long time out of the spotlight.So the story follows two cops in South Africa, one is Ali ,a Zulu dependence cop and the other is Brian ,of Africaans decedent and they are now against a murder of a girl, which seems to be caused by a new ,unknown up to now, drug with grim effects to the user.
Since the ending of apartheid very few films have been made actually set in South Africa.This feels like Cape Town, the opening scenes at Kirstenbosch gardens on the foot of the Table mountain.
A slimmed down Forest Whitaker plays Ali a person haunted by events in his past and working in a multiracial police force even though his bosses were the racists under the old regime.Orlando Bloom plays Brian, someone who has relationship issues and money issues.Bloom and Whitaker make a good pairing, the screenplay tries to imbue the complexities of the novel to the characters but it gets silly at the latter part of the film where the film resembles more like a wild west shootout and neither of our police officers have heard the concept of calling for back up as they go guns blazing on their own or in the finale with a pump action shotgun against a private army..
This film tells the story of two policemen who hunt down drug lords in South Africa, paying a high price for something they belief in along the way.Set in a country scared by inhuman policies, the film is unnecessarily but understandably very violent.
His promiscuity is thought provoking in a country with a huge AIDS epidemic but HIV is largely sidestepped in the movie which is weird given the film presents South Africa quite realistically.
Excellent movie that mixes today's modern South Africa with the story of repression over black people through the apartheid and the way it has left scars in the collective memory.Orlando Bloom plays a excellent role that reminds his family's past and the loneliness of a kid involved in the struggle of liberty.
Forest Whitaker plays all his talent as a cop carrying all the sadness of the apartheid, packed of emotion with the exact restraint that brings his character to perfection.This movie is one of the best I have seen in a while, photo, sound, details, all is perfectly balanced between action and emotion.Warmly recommended!.
nothing fancy or really new here except 2 things:South Afrika as a playground which is cool, of course it's not a tourist tour, but it change for good second, Forrest Whitaker and Orlando Bloom as an unexpected team, F.W is rock solid as an old cop playing ' by the book'' walking on Mandela's path.
the biggest surprise is O.BLoom, it was the first time i was seeing him in something else than a elfe or a knight and he is absolutely brilliant playing a wreck, taking pills and drinking all the time.It start with dealers and a young women who get killed, hum beaten to death, bad luck it was the daughter of an ex soccer star, they soon discover that it's bigger than expected, nothing new but it works, South Afrika, gang, drugs, of course everything is connected to the apartheid era and well done.not a must see, but you won't waste your time.
Forest Whitaker plays the usual straight cop who has some personal issues but Orlando Bloom really surprised me as the crazy cop who drinks, takes drugs and sleeps with anything that moves.
Anyway, it's definitely worth a watch, just for Orlando Blooms crazy character but it could have done with some more action and less investigating.
Budget: $16million Worldwide Gross: N/AI recommend this movie to people who are into their drama/action/thrillers about two South African cops whose investigating the murder of 2 young girls.
It's funny (sort of), that after watching this movie, I felt like this could've been a story arc in a really good TV show.
Forrest Whitacker and Orlando Bloom help elevate this movie quite a lot (the depiction of brutality also does, if you are not appalled by it of course).The story is easy to follow, with family problems thrown in for good measure.
There are many violent scenes and it pretty much states that in South Africa; human lives do not have any real value.A young girl is find dead in a beach; a ZULU police captain (Forest Whitaker captivating) and two other cops; a very good Conrad Kemp (doing his best with an underdeveloped character) and an outstanding Orlando Bloom; get to investigate.
Forrest Whitaker and Orlando Bloom (neither one of which is African, sadly) play detectives who are investigating a vicious killing.
Zulu is set in modern post-apartheid-South Africa and evolves about two main characters played by Forrest Whitaker and Orlando Bloom.I guess this title never made it to theaters, not in my native country Denmark, at least.
But star names like Whitaker and Bloom, I think give this movie the necessary attention in order to be exposed to a large audience.
I one is familiar with your typical action thriller one can very easily predict that Bloom's character is soon going to appear later on and safe the character of Whitaker from a close call.But overall, Zulu is a decent movie.
This little boy is Ali Sokhela (Forest Whitaker), one of the two detectives and head of "Cape Town's Serious Violent Crime Unit" who is in charge of the murder investigation.
Along with the crucial battle between cops and gangster the movie also focuses to tell the story of the personal lives of the lead characters like marital problem and sexual struggle.
I have not been a huge fan of Orlando Bloom nor of Forest Whitaker, but after seeing this movie, I admit my appreciation of both has significantly improved.
This is a movie set in Cape Town, South Africa.
Orlando Bloom plays Brian Epkeen, a detective in the Cape Town Serious Crimes Division, a man deeply burdened by his family's involvement in the oppressive white rule, a failed marriage and problematic relationship with his teenage son.
It was an unexpected pleasure to watch Orlando Bloom play the character of Brian Epkeen.
In South Africa, Ali Sokhela (Forest Whitaker) is chief of the Serious and Violent Crime Unit in Cape Town. |
tt0097888 | Minnamurra | A white koala named Johnny is teased about his color so he joins a traveling circus with the help of Hamish, a Tasmanian Devil, and Higgens, a monkey photographer. He is disappointed that he is part of the freak show instead of the main acts in the big tent. The top act is "Wild Bushman" who takes all the audience from the freak show. Johnny checks out the act and ends up part of the act by accident and saved by The Wild Bushman.
While traveling to a new location, their wagon train car becomes unattached and crashes in the desert of "The Outback". On their quest to go to the next location of the traveling circus, "Precipice Lake", they come upon a billabong. They witness from their cliff location that a pack of dingos (and a thylacine) are chasing a bilby but rescued by a kangaroo, a wombat army, and Miranda, a vine-swinging female koala talented at throwing a boomerang. Boris, a vulture, reveals that Bog, a giant crocodile intends on taking over the billabong. When their rescue goes wrong and the dingos threaten to take over, the rock Johnny is on breaks free and he slides down the cliff and ends up rolling on top of a boulder that chases the dingos away. Hamish introduces the now-famous white koala as "Koala Kid". Miranda is not impressed but Johnny watches her from a tree as she practices. When noticed, Miranda breaks the branch he is on with her boomerang and complains about him watching in secret. He tries to lie his way out of that accusation but ends up suggesting he is an expert at the boomerang and proven wrong when offered to try it himself.
Hamish's plan is to take photos of Johnny doing heroic stuff and make him famous as Koala Kid so when they get back to the circus, they can get in the main act rather than the freak show and earn Hamish more money. Bog is not impressed with his gang getting chased by a koala so orders them to capture Koala Kid. In the chase, Miranda's younger sister Charlotte gets covered with cosmetic powder and mistaken for the Koala Kid and kidnapped. The billabong residents plan to rescue Charlotte but must cross the dangerous "Bungle Bungles" on their way to Precipice Lake. This convinces Hamish to go along with Johnny's conscience and join in the team to rescue Charlotte.
During the trip, Johnny accidentally saves the day a few times but Miranda is still not impressed. Johnny and Miranda fall into a sinkhole and tell the rest of them go on ahead. They are being hunted by a giant lizard with a thorn in its foot. Johnny saves Miranda but soon realizes the lizard is suffering and pulls out the thorn. The lizard, Loki becomes friends with Johnny and the two koalas ride it out of the caves. Just as Miranda starts to take a liking to Johnny, Boris the vulture reveals that Johnny is just a freak show act and the "Koala Kid" thing is just a lie. Miranda tells him to leave but finds out that the gang will need to bring a koala to Bog instead of the real Koala Kid and Charlotte will have to do. Miranda offers to take her place. Charlotte goes to find Johnny while the kangaroo and the wombat army manage to distract and capture all the gang but the vulture.
Charlotte finds Johnny along with Hamish, Higgens and a prophetic peg-leg wombat and they decide to finally help Johnny get what he really wants, Miranda. Johnny calls Loki and rides off and saves Miranda. Bog shows up and gives chase so they head to the circus hoping the Wild Bushman will be able to tame Bog. Bog proves too powerful until Johnny uses the boomerang to bring down the big top on top of Bog (and himself). Johnny, Miranda and Loki become the main attraction and the bad guys get sold as pets. Johnny asks Miranda if she likes her new life and she is not so sure. Plan B is they ride off into the sunset together. | revenge, romantic | train | wikipedia | Surprisingly Good Little Gem. In 1899, in Australia, Alice May Richards (Tushka Bergen) is the daughter of the horse breeder James Richards (Frederick Parslow), who is the owner of the ranch Minnamurra. Alice has a crush on the wrangler Jack Donaghue (Steven Vidler) and the wealthy trader Ben Creed (Jeff Fahey) has an unrequited love with her. James is in a bad economical situation and his despicable neighbor Allenby (Shane Briant) wishes to buy his real state, but he does not accept the offer. Meanwhile Donaghue associates to a man called Bill Thompson (Richard Moir) to convince his neighbors to give money to raise a league of horse breeders of their own. Creed uses his company to secretly help James while Alice is sent to the house of her aunt to learn good manners. Creed decides to investigate Thompson and finds that he is a con man and he warns his neighbors and Donaghue becomes his enemy; however Thompson flees with their money and Donaghue's reputation is ruined. Out of the blue, James dies and Alice returns home and learns the financial condition of her family. Alley uses his henchmen to blow-up Creed's cargo leading his company to bankruptcy and buying the mortgage of Minnamurra that belonged to Creed from the bank. Now the only chance for Alice to keep her family property is selling the horses to the British army. But she needs the help of Creed and Donaghue to take the animals to the British ship in a short time. Further, both men love her and with whom will she stay? The unknown "Minnamurra", a.k.a. "Wrangler", is a surprisingly good romance with western that takes place in the turn of the Twentieth Century in Australia. The story is engaging and full of action, with the battle of a scummy wealthy rancher against a family of horse breeders and his neighbors. There are breathless scenes with horses and great performances of the cast. My vote is seven.Title (Brazil): "Alma de Pistoleiro" ("Soul of Gunsling"). Fairly tense, small rancher vs. big bad rancher down under.. Jeff Fahey and Tushka Bergen in a fairly tense story of a battle between little ranchers and a big one down under. The big one is greedy and crooked and wants everybody's else's land including Bergen's family ranch. When her daddy dies she is left alone to try and stop him but gets an ally in Fahey a local business man. Of course that turns the bad rancher's sights on him and the bad guy sets out to ruin Fahey's business so he can't help Bergen. It comes down to a last desperate cattle drive that the bad men are willing to kill to prevent. 2.5 stars out of 4. Nice guy gets misunderstood. For anyone who enjoyed "The Man from Snowy River", here is another great Australian horse flick. The movie cover shows Jeff Fahey, and so there's an assumption that he is the wrangler. He is actually a Merchant (Ben) who calls on a particular wrangler friend (Jack) when business requires the movement of horses. But in the course of events, Jack gets deceived and manipulated by a con man into thinking Ben is trying to steal their business. And a debutante named Alice, being young and naive, doesn't understand Ben's financial maneuvers when he tries to save her father's estate. And so Ben is this nice guy trying to help people that he cares about, but misunderstandings end up making his efforts more painful. This movie features Jeff Fahey at his finest, and it is a mystery to me why it didn't become more popular.. Lovely period costume drama with great horses. "Wrangler," as it is known in the U.S., is a horse drama with great style and period detail. It's named "Minnamurra" in the Australian market, as that is the name of the cattle station property in dispute in the film.Minnamurra is a large cattle station, held by the Richards family, with patriarch, James; his wife, Caroline; son, Rupert; and feisty daughter, at the center of this film, Alice May Richards, played by Tushka Bergen.Ms. Bergen is a lovely, wide-eyed redhead with glorious hair, speaking eyes and a almost-tomboy manner. Her character, Alice, is bound to Minnamurra, their breeding stallion, Barbicon, but is also drawn to two men, one eagerly, Jack Donaghue, drover and militant unionizer; and Ben Creed, businessman and venture capitalist, whom she regards warily with great distrust.Also in the film is the enemy of James Richards, who is trying to wrest ownership of Minnamurra, named Allenby. He's the dirty deed doer who will do anything to get what he wants. Unfortunately, in the film, he's a one-dimensional character who doesn't really have much of a presence in the movie.This film has the look and feel of the old Merchant-Ivory movies of the 1990s. Sumptuous settings, opulent lifestyles, elegant people in a monied, elegant time.The storyline isn't exactly as the one for "Australia" (2008), but it is similar to Nicole Kidman's vehicle.The story is fraught with contention, albeit in a very gentlemanly manner. Alice Richards knows her father is having problems in holding onto the family station, and she finds herself deeply involved in solving the family's situation. There is no gore in this film, some violence, but of the bloodless variety. The worst part is an explosion where two men get killed. Other than that, the movie is certainly is fine for children to see.The most exciting part, at least for me, is the horse drive - the cinematography is glorious throughout and very striking visually. There is one scene that shows the magnificent dichotomy of Australia's geography: during the horse drive when the horses go from arable land to complete desert sand in one stride. It's an incredible shot.While this isn't a compelling story or film, it is certainly enjoyable. The two heroic men, from whom Alice must choose, are played by Jeff Fahey and Steven Vidler, as Ben Creed and Jack Donaghue, respectively. The arch enemy is played by Shane Briant, whom I recognized from other projects. Most of the cast is unknown to me, as they are either Australian or British, but all the company do their parts exceedingly well.Look for an historical figure in this film, Lord Kitchener, the 1st Earl Kitchener of Boer War fame in South Africa. He plays a vital role in the film."Wrangler" or "Minnamurra" is a nice, enjoyable viewing. It's not a monumental film, but a good experience for the whole family. (Well, okay, except for some hard-core guys who'll think this is a chick flick.) I rated it 6 out of 10, as it looks great, has some interesting plot points, but overall, it doesn't delve deeply into any of them.Unless I missed it, they never explain what Minnamurra (an Aboriginal word) means. A shame, really. |
tt0460883 | Night Skies | A group of friends, including Matt, his fiancée Lily, his sister Molly, along with Joe and June, embark on a trip to Las Vegas, NV in an RV. After getting lost on a shortcut, they notice lights in the sky that appear to be following the RV. While entranced by them, they crash while swerving to miss a stranded motorist called Richard.
Joe is injured by a knife in the crash. Unfortunately, the knife is dangerously close to an artery, forcing them to leave it in. While searching for assistance, Molly becomes acquainted with Richard, who was a POW who was tortured by the Iraqis in the Gulf War. When they return, Matt witnesses strange shapes and noises in the brush.
Joe's condition deteriorates, due to damage to his artery, forcing the group to search for additional assistance. They find a house with a working phone. The group realize Matt has disappeared, when aliens surround them. Richard shoots at them, killing Matt in the process.
Richard returns to the RV and tells the others of the aliens, while not mentioning Matt's fate. Molly forces her way out of the RV to find Matt, but is sucked up by a green light. As Joe's breathing stops, June is pulled out of the RV. The RV shakes violently and the windows burst inward, prompting the survivors to flee, eventually ending up in an abandoned shack, where Richard props a heavy table against the door. The aliens break in and overrun the building. Lily and Richard are subsequently captured
Richard regains consciousness inside an organic chamber. He finds Lily having her three-month-old fetus removed by the aliens. In an act of mercy, he kills her. The aliens restrain Richard and begin operating on him.
Some time later, a police officer patrols a deserted area, where he finds Richard. The end credits state that Richard was found about one hundred miles away from his broken down car and that no trace of anything else was ever found. | violence | train | wikipedia | null |
tt0899221 | Sherman's March | The documentary chronicles General William Tecumseh Sherman's historic "March to the Sea" through Georgia, South Carolina and North Carolina during the fall of 1864. It shows Sherman marching 62,000 Union troops over 650 miles in less than 100 days, and losing only 600 men along the way. The march introduces a new concept to the already brutal Civil War: total war, where the distinctions between combatants and civilians is blurred. While hated by white Southerners as a destroyer, Sherman is hailed by black Southerners as a liberator. It ends with Union victory and closes with Sherman as an old man living in New York and fondly remembering how his "nephews" and their "uncle Billy" would make ten miles a day.
The documentary utilizes state of the art production techniques including CGI, special effects and historical re-creations. It relies on historical reenactors to play Sherman's soldiers and all dialogue is in fact quotes from historical sources: letters, Sherman's memoirs, diaries, etc. The documentary features a psychological profile on Sherman, stating that in the months leading up to the Civil War he was accused of being insane and that he contemplated suicide.
Bill Oberst, the actor playing Sherman, states in a behind-the-scenes featurette that while the general will always be a controversial figure, he hopes that the documentary will shed light on why the man did what he did. It emphasizes that Sherman was loved by the enslaved blacks whom he freed and that while he did not see himself as fighting to destroy slavery, he nevertheless made a point of treating blacks whom he met with courtesy and respect. (The documentary also shows the reactions of his soldiers as they met blacks along the March. Many had never seen a black person and were surprised to learn that blacks were ordinary people.) The documentary also mentions that Sherman killed far fewer Confederate soldiers and civilians than did Ulysses S. Grant, his friend and fellow general, yet Sherman was the one vilified. The scholars interviewed postulate that the South had need for a scapegoat in the wake of the Civil War and that Sherman was the easiest target. For his part, Sherman is stated to have seen himself as only doing his duty and that he did not care what people said about him one way or the other. | murder | train | wikipedia | MIddle Of The Road Effort. So, documentaries are a very tricky game. After an awesome Civil War series, all other subsequent efforts are to be compared, measured and considered in the light of that awesome Ken Scott's work. Here, they tried well, and History Channel did their best to promote this footage with not so bad budget, actors, large number of Civil War buffs in mass scenes. The thing is, this film is still very much on the mediocre level and does a fairly sour job, especially when it comes down to main heroes dialog and portrayal. Not bad, must say, but nothing new or exciting or revelatory. Good Documentary on the Subject. Sherman's March (2007)*** (out of 4)Good, well-detailed documentary taking a look at the controversial move by Gen. William T. Sherman to take 60,000 Union troops through the heart of Georgia and all the way to the sea. SHERMAN'S MARCH is certainly an extremely well-made movie that goes into great detail in regards to just about everything that was going on during this period. We get a brief history of what Sherman had been doing with his life up to the Civil War and then we get to hear how he was able to rise during the war. Once it comes time for the march we hear about the original plans, the fact that both Grant and Lincoln thought it would fail and we also hear about the changes in plans as things moved along. I think history buffs will be very happy with the way everything is shown here as we get some pretty good re-enactments as well as several history experts talking about the legendary march. There's a pretty good talk about Sherman's own thoughts on slavery and how his views were often quite different when he would actually meet slaves. While this thing isn't anywhere near the brilliance of Ken Burns' THE CIVIL WAR, it's still a good documentary that film and history buffs should enjoy.. Decent history lesson.. This brand new documentary on The History Channel isn't bad at all, though it seems to carry with it a certain limited view of its own demographics.It's historically accurate, at least as far as I can tell, and has reasonably good production values.When I say that it has a limited view of its demographics, what I mean is that it is designed as if its intentions were to draw in the lowbrows and pubescent kids in the audience and have them cheering at the violence and villainy. It reads rather like a tabloid news article and begins by telling us right off the bat that William Tecumsah Sherman is still thought of in many circles as a bloodthirsty and ravenous pillager. Fortunately, by the end, the myth of Sherman's march has been corrected and that, maybe, is the most important feature of the film.There are quite a few quotes from letters, diaries, and official records. They tend to keep the dialog stilted but thoroughly believable. The actors don't help. Whoever plays Sherman LOOKS enough like Sherman. The poor guy who plays Grant looks like he was chosen because he happened to look more like Grant than any of the other non-actors available. Under that kempt beard he seems Hollywood handsome.Maybe I'm asking too much of the film to address itself to an adult audience. Maybe there should be a bit of the tabloid style in it. It was only a few years ago that a national survey revealed that more than half of high-school seniors couldn't place the American Civil War in its proper half century. (It was 1861 to 1865, kids. PS: the North won.) Sherman's mythos has grown glorious over the years. Every Southerner's great-great-grandfather seems to have had his barn burned by Sherman, even if he was nowhere near it. Northerners tend not to know or care about Sherman because their great-great-grandfathers lived in Lithuania at the time and their families didn't come to these shores until 1902. I'm only kidding, but I'm doing it in order to emphasize the fact that Sherman is a much more important figure in Southern folk history than he is in the North. Hitler's "popularity" will probably also outlive that of the men who won the war. For all our faith in angels, we really seem to NEED the devil.Some tidbits are left out. After first Bull Run, says a talking head, Sherman was "unjustly accused of being crazy," whereas he sounds like a pretty good example of a bipolar to me. And Sherman didn't simply "hate the South," as the film says. He actually had many Southern friends. He was not only the "failed businessman" of the film; he'd been a professor for some years at an institution that was to become Louisiana State University.It would be nice to believe that this program will be seen by all school kids. Maybe we can bump up the percentage who have heard of the Civil War. Adults will find it interesting as well. It's colorful, full of action, and presented in a way that doesn't make the issues difficult to grasp. |
tt0200530 | Chuck & Buck | Buck O'Brien (Mike White) is a 27-year-old amateur playwright with the maturity level of an adolescent. When Buck's mother dies unexpectedly, he invites his close childhood friend Chuck (Chris Weitz) to the funeral. Chuck (who is now calling himself "Charlie") is a successful music industry exec with a fiancée, Carlyn (Beth Colt). He and Buck experimented sexually with each other when they were 11, but Charlie has repressed these memories and acts as if they had not occurred. Chuck had moved away while they were still children, and Buck has pined after him ever since. During their awkward reunion, Buck makes a sexual advance on Charlie in the bathroom. Charlie rebuffs him, and returns to Los Angeles with Carlyn, but not before extending an obligatory invitation for Buck to visit him there. Buck then withdraws $10,000 from his bank account, packs up his car, and takes up residence in a motel in Los Angeles. He also begins scripting a play on a yellow legal pad: titled "Hank and Frank and the Witch", it is an obvious plea for Charlie's love.
Too shy to announce his presence right away, Buck starts trying to see Charlie at his office at Trimorph Entertainment. Buck also surreptitiously follows Charlie to find out where he lives. While standing in front of the playhouse across the street from Charlie's job, he strikes up a conversation with Beverly (Lupe Ontiveros), the house manager. Buck hires Beverly to produce his play, and casts Sam (Paul Weitz), a talentless actor who bears a strong resemblance to Charlie, in the lead. Buck then works up the nerve to approach Charlie and his girlfriend. After being invited to a party that Charlie and Carlyn host, Buck becomes aware of just how far apart he and Chuck have grown; he feels rejected by Charlie's new friends. He also becomes resentful of Carlyn, who he erroneously believes is interfering with their friendship. As a result of this mind-set, Buck's behavior becomes increasingly erratic and obsessive.
The end of the film deals with both Chuck and Buck confronting each other over their past. The two have sex, and Buck wants Charlie to stay afterward, but Charlie says they must part ways. Buck is distraught afterward, but eventually realizes he has found a new life at the playhouse. When discussing a play over dinner with Beverly, Buck notices Charlie has arrived with Carlyn. Charlie and Buck exchange glances across the room, but Buck ultimately disregards them and goes back to his conversation. Buck comes to the theater to find an invitation to the wedding. Buck arrives at the wedding party and offers the couple his blessing with his presence. Buck and Carlyn make peace as Buck effectively moves on from his obsession with Charlie and keeping their sexual encounter a secret from Carlyn. | cult, psychedelic, romantic, flashback | train | wikipedia | Buck tracks Chuck down and tries to turn things back to the way they were, which leads to many problems.Keenly looks at many universal human experiences from catering to that 'inner child', avoiding change, holding on to memories of simpler times, and even facing the fact that people can change and drift apart.
Not only does he convincingly play a 11 year old, but he actually LOOKS like one despite being a adult.Has a good non-flashy finale that,in it's own low key way, really hits home.
The notable thing about Chuck & Buck is not just that it's a clever, well made movie with a fascinatingly odd central character, but that it doesn't go where you expect it to.
At first Chuck & Buck seems like a more serious take on The Cable Guy, another weird movie about a strange stalker.
It definitely made me feel uncomfortable at times---kinda like when you want to say to a character in film "No, PLEASE, just DON'T do that!" I felt so sorry for Buck, he did not mean to be the way the was...he just didn't know any other way.
During all of this film, I never once saw Mike White, the actor, but instead I saw the character of Buck.
This is truly one of those rare instances where you could see why people decide to make films.While I wasn't overly impressed with the acting ability of Chris Weitz (since Mike White overshadowed him), he did help contribute to the overall scheme of the story.
It's very difficult to classify a movie like "Chuck & Buck".
Overall, it's a genre-bending film that, while bizarre and creepy in its story and character development, keeps you watching because it's strangely intriguing.
The only problem lies in the last 20 minutes, where the actions of the main characters simply don't make any sense.Before the ending, however, you're introduced to Buck (Mike White), a 27-year-old who still lives with his mother.
When his mother dies of lung cancer, Buck invites childhood friend Charlie Sitter (Chris Weitz), whom he knew as "Chuck", to the funeral.
Whereas Charlie has moved on with his life as an up-and-coming record executive who is engaged to beautiful Carlyn (Beth Colt), Buck is clearly in a state of arrested development.Mike White, who also wrote the screenplay, is heartbreakingly convincing as Buck, and was very brave in playing such a vulnerable role.
He is very clingy in every manner from the way he hugs Chuck to the way he sucks his Blow Pops, which he does throughout the movie.The film gets decidedly darker when Buck moves out of his mother's house and to L.A., where Chuck now lives.
Childhood friends are reunited years later at a funeral, but while Charlie is now a corporate businessman in Los Angeles, Buck is a lollipop-sucking, simple-minded child in a man's body (with homosexual leanings).
The leading actors (Chris Weitz, a Christopher Reeve lookalike, as Charlie and Mike White in the more showy role of Buck) are both good, yet the structure of this story (man innocently stalking man) makes one uncomfortable.
There are funny scenes and quirky details in Mike White's screenplay (such as the way strangers initially respond positively to Buck), but the overall effect is queasy.
The emotional world of Chuck & Buck's titular Buck is explicated early on as Buck (Mike White), a 27 year old mentally-challenged individual, is shown living in a kitschy suburban home that is decoratively informed by his taste for childlike pleasures.
After his mother dies, Buck decides to re-establish ties with his boyhood best friend Chuck (Chris Weitz), a record executive now living in Los Angeles with his fiancée Carlyn (Beth Colt).
Buck packs up his belongings and moves to the West Coast, setting in motion a troubling series of events so grotesquely humorous and touching that I'm pressed to call the film the scariest film of the year.When Chuck and Buck were 11, they were best friends, and a decade and a half later they find themselves leading decidedly different lives.
The phony-looking Tom Cruise-type that Chuck has become apparently leaves him incapable of realizing that the sixteen years that have separated the two men has caused Buck to live in a child-like world of arrested development.
Chuck, who viewed the experiences with Buck as nothing but the curious experimentation between two young boys, is forced to face the ramifications of the actions he made long ago and the film takes an interesting twist that says plenty about the repressed and inconsiderate desires of yuppie America.Lupe Ontiveros, thankless owner of stereotypically Hispanic characters in films like Selena and As Good As It Gets, almost single-handedly steals the show as the manager that decides to put up a play written by Buck called Hank and Frank.
From the film's oddly addictive theme song to colorful performances, Chuck & Buck not only harbors the creepiest catch phrase of the year (and the one least to be uttered) but the most sardonic and challenging take on the truncated sexual persona..
An absolutely wonderful film, intriguing and revealing.Mike White is fantastic as the obsessed and yet wholly endearing Chuck.
This movie would be much more interesting done from the point of view of Chuck (the sane straight guy) rather than from Buck's twisted, pathetic point of view.
Buck has some serious problems and the message of the movie seems to be a b***job from his best friend from childhood will solve his tendencies to stalk and obsess over people.
The idea of a simple guy stalking his childhood best pal could be put to good use in any of several genres: psychological thriller, broad comedy in the Farrelly-style, light melodrama dissecting the concept of friendship - the potential is great.Given what Mike White and Miguel Arteta did with The Good Girl, I expected this earlier collaboration to defy easy categorisation.
What they've come up with is a deliberately hazy and discomfiting study of a man obsessed; something I'm sure Todd Solondz would appreciate.But as with so many indie films, the neutral viewer is poorly served by Chuck & Buck.
Mike White's delivery as Buck was great, and I did feel very sorry for him at certain points in the movie.
Anyways, the movie seemed like it was hinting at some big secret between Chuck & Buck.
'Chuck and Buck' is one of those films that asks you to spend a LOT (i.e. ALL) of its time with its lead character.
While Chuck has no creative talent, only bargaining with those who do, Buck is an artist, he creates collages and writes plays, which, despite their superficial childishness, contain hard truth, linking him to the film's director (his play-within-the-play, as in 'Hamlet', comments on the action as well as provoking it).
Only twice did I feel sympathy for Buck, when he makes a pass at Sam (an excellent performance by Paul Weitz as the tough with a heart of gold); and when we realise that Chuck wants to get rid of him, not just because of his irritance and embarrassment quotient, but because he has his own urges he is violently repressing, urges hostile to the conservative family unit he desperately defends.I found this a very hard film to enjoy, although there are some exquisitely painful laughs, mostly, cruelly, directed at Buck, and most involving the play sequences, the best since 'Springtime for Hitler'..
Still, it's a good movie in the independent tradition, and I would recommend it to anyone looking for an interesting story to watch..
I think that this is one of the most disturbing movies I've ever seen.Buck experiences the death of a loved one and sends an invitation of the funeral to his childhood friend Chuck.
Buck feels very alienated by Chuck's fiancée and makes a very drastic move to show his displeasure with her.I think that this is one of THE BEST films to have made it out of 2000.
Excellent pacing and very competent acting by the leading characters; particularly the Buck character - a 27 year old man-child who's unable to move on with his life after his childhood friend, whom he reunites with at the start of the movie, rejects his sexual advances.This movie reminded me of "One Hour Photo", "The Gift", and (most of all) "Enduring Love", as all of these movies feature a likable "stalker", who has no malicious intentions towards the target and you actually sympathize with him.A unique, well-made, thought-provoking movie that does a great job at avoiding clichés.
For me, it is beyond comprehension that people find this film humorous, however, CHUCK&BUCK does make a most peculiar and striking impression.
In 2000, a year of over-hyped and over-rated typical summer movie mediocrity, "Chuck & Buck" is the break film lovers have been looking for.
After his mother dies, his childhood friend, Chuck (now Charlie) played by Chris Weitz, and his fiance come to the funeral and Buck tries desperately to latch onto his best friend again--he even follows him to L.A. where he convinces a stage manager, Beverly (the hilarious, witty character played by Lupe Ontiveros), at a children's theater to produce and direct his play "Hank & Frank" so he can relive his childhood and remind Charlie how happy life used to be for them.
Intriguing characters and a carefully crafted sound track make "Chuck and Buck" a memorable film.
I am surprised to see all the negative reviews out here in IMDB -Land!!!This movie took on alot of issues without pandering to the lowest common denominator.Mike White was great as Buck.It will be exciting to see where his career goes from here.The movie at times became a little overwhelmingly depressing,but the ending made me feel a whole lot better about Buck and film-making in general(especially in this weak year for movies!)8/10.
It's focused completely on Buck, this seriously developmentally retarded individual that is living in his own world but somehow can seem a little menacing at the same time he is innocent.If you give this movie a chance and try to see it as a story about two young men growing up and coming to terms with themselves, it's a good story.
The director of his play was also wonderful.I had a hard time following how Chuck, as a supposed "normal" person, could end up giving into Buck but I guess that was the way the film makers were showing Chuck coming to terms with himself.
I had a hard time buying into it though.Not the best movie but an interesting quirky film that is worthwhile to see..
Chuck and Buck is a very interesting film.
Chuck and Buck is a good film and will most probably endure in the years to come..
This is a movie for those of us who appreciate black, discomforting humor, the kind of humor that acknowledges both the morbid and absurd dimensions of life; as such, it follows along a path blazed by other such dark films as IF, SWEETIE, HAPPINESS, WELCOME TO THE DOLLHOUSE, BLUE VELVET, THE CABLE GUY, THE DISCREET CHARM OF THE BOURGEOISIE, as well as the brilliant documentaries of Errol Morris and Fredrick Wiseman, to name just a few.It's also my favorite movie of the year so far.CHUCK AND BUCK's dark edge comes squarely from the character of Buck, brilliantly played by Mike White.
There is a simple joy in going to see a film that is totally against the grain of standard movie fare -- true independent cinema as gritty as the video Chuck & Buck is shot on.
Buck is not a homosexual, not in the classical sense, but rather an emotional child who knows only of sex as a "game," like the ones he used to play (or was forced to play) with Chuck.
This is extraordinarily hard to achieve, especially with the taboo subjects the film explores.Who is more "real," the man-child Buck or the work-obsessed Chuck?
Just be thankful Mike White produced such a uniquely original script with a bevy of intriguing characters that make this film entertaining and thought-provoking -- no matter what those thoughts may be..
The film is funny in many places, but for me, it was mostly a drama.I've never seen a movie quite like this before.
I haven't seen too many movies recently that have said anything...either positive or negative...After seeing "Chuck and Buck" I realized what kind of pure mass entertainment Hollywood outs out....they wouldn't touch this film with a ten foot pole, it's not ever going to play for the mall N'Sync crowd that's for sure.
One thing is for sure, Chuck & Buck is not a Hollywood movie.
When it was over, I felt like seeing the movie over again.I loved it, and can't wait for it to come out so my friends can see it too.
What follows, for the other hour and twenty-nine minutes, will disturb, entertain, and even shock you at times.Buck is wonderfully played by Mike White in his acting debut.
He embodies this rich character suffering from an outlandish case of arrested development.Also wonderful is Lupe Ontiveros, working with what she was given, as the director of Buck's chilling allegorical play, humorously titled Hank and Frank.Chris Weitz (also in his debut here) waits for his last two scenes to deliver a worthwhile performance, but when he does, you can definitely tell he can deliver.Filled with a haunting soundtrack of syrupy silly melodies and frightening scenes, Whites script will keep your attention by merely making you ask yourself how Buck will get past his newest social obstacle.
This movie is in fact pretty much built just for people that like movies that illicit real responses out of the audience and put them in situations where they are constantly asking themselves, "If that was me..." Rarely have I experienced a movie that makes me feel so uncomfortable watching - horror movies have the typical shock value, thrillers will give you the suspenseful moments...
It's all about the characters.Granted, there are some weak parts to the film (the often mentioned "resolving" near the end, a few strange scenes that don't seem to go anywhere), but they are FAR outweighed by the originality of the plot, the almost perfect way of framing Buck as a stunted individual, and even the emptiness of LA as a background.Now if you're one of those people who finds movies that make you think to be arduous, or movies that put you in a place you're not expecting to be horrible, you will hate this film.
It perhaps can be viewed that way, but it is really the tragedy of Buck obsessed with his childhood friend Chuck.
He is powerless to look elsewhere for love.The movie does not have a Hollywood ending, nothing particularly resolved, just like real life, with a little hope of better things to come.Buck has some minor mental problem.
Chuck and Buck a very good weird movie..
Brimming over with supreme discomfort and true love, the movie has been unfairly denounced in some circles for equating homosexuality with infantilism and dementia, which is probably the only way critics could think of to get back at the film for making them feel so creepy and weird.
I watched "Chuck and Buck" last night for the first time.The DVD cover presents this film as a comedy, but I found it deeply disturbing.
I didn't do either.First, the good: the performance of Mike White, playing Buck, is truly amazing.
This is the failure of "Chuck & Buck," and it's what makes the film irresponsible and frankly, bad.
Without a doubt, `Chuck & Buck' is the weirdest film of the year.
I can't agree at all with people that classifies "Chuck and Buck" as a gay movie.
This is the story of two childhood friends, Chuck and Buck.
Chuck & Buck is not a comedy in a funny way.
I can see how that would happen and I could see how he would have a thing for Buck his whole life.I think that many straight people cannot get the concept of this movie in my opinion-because they are not looking at it from "gay" eyes.
Perhaps one of the best, and strangest, love stories of our time is the film from the bizarre mind of Mike White.
Both Chuck & Buck and The Good Girl have clever messages revealing conceits by the end of the film.
Either way, the main character is grotesquely creepy and ugly; the high-definition picture looks more like I am watching a home movie or a bootlegged tape and is distracting/annoying.
An Indie Gem. Chuck and Buck has all the ingredients of an indie gem: a good, yet offbeat story, quirky, but real characters, and here, an account of childhood lost and remembered that is as visceral as it is bizarre and as realistic as it is pathetic.Mike White is exemplary as a man obsessed with reuniting with his long lost friend, the latter who has grown up and established himself, the former, still stuck in a childhood fantasyland that he yearns to keep alive.The film runs a range of emotions, yet always rings true.
I believe some people think they need to "appreciate" and "understand" a movie like this to prove that they are the true connoisseurs of independent films.
You are either Chuck or Buck, whether you want to admit it or not.The acting is oddly compelling, and the story line is very funny.
And the acting by the two leads, Chris Weitz (as Chuck) and Mike White (as Buck) is good and strong and it takes risks that Hollywood wouldn't.This is Arteta's second film, his first being the oddly compelling "Star Maps".
"Chuck and Buck" is a good second feature and I hope with a better budget, Arteta can make a really great film that will get more exposure.
But the miracle of this film is how it can take someone like Buck, a socially and emotionally retarded obsessive/compulsive with no apparent redeeming qualities, and make him into a sympathetic character by the end of the movie. |
tt0460091 | My Name Is Earl | Earl Hickey (Lee) is a small-time criminal, living in the fictional rural county of Camden, whose winning $100,000 lottery ticket is lost when he is hit by a car while he celebrates his good fortune. Lying in a hospital bed, under the influence of morphine, he develops a belief in the concept of karmic retribution when he hears about karma during an episode of Last Call with Carson Daly in which Daly is interviewing country music star Trace Adkins. Convinced he has to turn his life around to survive, Earl gives himself over to the power of karma. As his first step of a makeshift twelve-step program to fix his misdeeds, Earl makes a list of every bad thing and every person he has wronged and commences efforts to fix them all. After doing a first good deed, he finds the $100,000 lottery ticket that was previously lost. Seeing this as a sign of karma rewarding him for his commitment, Earl uses his newfound wealth to do more good deeds according to his list.
After a year of doing good deeds, a major plot-twist occurs in season two. Earl's ex-wife Joy Turner (recently remarried to local "Crabman" Darnell Turner) steals a truck from a local "Bargain Bag" supermarket in retaliation for their refusing to process a return for the $3000 home-entertainment system she'd purchased (due to gum being on her receipt), and in so doing, accidentally kidnaps a Bargain Bags employee (who, unbeknownst to Joy, was in the truck's container). She is facing life in prison due to this being her third strike. To soften the jury, she decides to have a surrogate baby for her half-sister Liberty Washington. When things do not go well at her trial, Earl takes the blame for the truck theft and kidnapping to protect Joy's freedom and family and is sentenced to two years in a state penitentiary. Behind bars, Earl is forced to surrender his original list, but continues to do good deeds. He also meets fellow prisoner and friend Frank's girlfriend, Billie.
In an attempt to re-capture an escaped Frank, Earl, his brother Randy, and Frank end up seeing Joy give birth.
Through Earl's captivity, the Warden grants more and more time off Earl's sentence for his good deeds. However, the Warden revokes all of this time off on what would be Earl's second-to-last day in prison, realizing that Earl was making him look good by solving so many problems in the prison. However, Earl eventually gains the upper hand and forces the Warden to honor his early release.
After leaving prison, Earl loses his faith in the list; he has spent years and all of his lottery winnings doing good things, but has nothing lasting to show for it, and is insistent that Karma should have given him some kind of lasting reward by now. He reverts to his pre-list ways, doing reckless and bad things until Billie hits him with her car and sends him into a coma. Billie is subsequently hit by a car herself, leaving them both lying in the street. Eventually, Earl wakes up, finds Billie, and marries her, as he believes her to be Karma's reward for his years of effort. However, Earl and Billie argue about his list, and Earl eventually chooses the list over her, sending her into a rampage where she undoes the good things that he has accomplished to that point. However, Billie converts to a "Camdenite" (a parodic sect of the Mennonites) after hiding out in their territory to avoid arrest, and divorces Earl on friendly terms, giving him the settlement money from the person who ran her down in the street because she felt Earl deserved the money, and as a Camdenite, she wouldn't be needing it. Earl uses it to continue doing good deeds on his original list.
As he continues to perform good deeds, Earl's motives initially come across as shallow and selfish – that he is only doing good to improve his karma and by extension his own life. However, Earl begins to develop a genuine sense of morality and principles, refusing to participate in illegal or immoral activities – though sometimes finding himself in very awkward situations, including those involving a suicidal stunt man, a second-hand hot tub that gives his ex-wife Joy a communicable toe disease, a Korean War veteran who wants to reclaim some possessions Earl destroyed (including the ear of a fellow soldier) and a "witch woman" who proves him right in thinking she is evil when she knocks him and many others out and stores them in her basement.
As another plot-twist, Darnell (aka, the Crabman) blows his Witness Protection cover when Joy goes crazy at an audition for a game show entitled ¿Estrada or Nada?. After Joy beats host Erik Estrada in the game show, they go through different covers, eventually stopping at an upper-class lifestyle. Soon, Darnell's father finds his son. It is then revealed that Darnell's name is actually Harry Monroe (although he is still called Darnell or Crabman). As a child, he was a spy in a top-secret espionage agency. Feeling that his job was immoral, he publicly testified against the agency, getting himself placed in the Witness Protection Program. Crabman, his father, and Earl (who must be drugged so he sees nothing) go on a final mission for the agency. After everyone survives a helicopter crash, life goes back to normal.
In many cases, Earl discovers that his crimes and misdemeanors had far more repercussions than he had known, and that complete fixes in those cases would require far more effort than he had first thought when selecting his list item. Yet he would also find that repairs would have deeper and more layered results, bringing the realm of the show into the religious and spiritual as well as comedic.
The series often ended its episodes with a final scene of Earl and Randy conversing in their shared motel room bed at night about a non-important, trivial topic. | flashback | train | wikipedia | Time will tell how good or bad this show is but I think it is off to a great start..Almost every show that debuts today is simply the repackaging of a previous idea or concept.My name is Earl is an obvious attempt to provide something different and hopefully far better than todays traditional boiler-plate sitcom model.Expect that this show will break new ground in television and someday will be mentioned with other shows like "Married with Children " or" All in the Family" that stretched the limits while showcasing the dysfunctional direction of family life in todays America..
I hope the show is a hit and keeps it up.If the Coen brothers wrote and directed a TV sitcom, it could be very much like this show.The premise is simple: Earl (the very likable Jason Lee, often seen in Kevin Smith films, and whose on screen demeanor sometimes reminds me of Chevy Chase in his youthful prime) is Earl, a small-time raggedy thief who snags a $100,000 winning lottery ticket.
While recovering in the hospital, doped up on morphine, he watches a TV show with MTV host Carson Daly talking about doing good deeds so that good things will happen to you...and he comes up with the the idea of repairing his mess of a life by making a list of all the people he's harmed in the past, tracking them down one by one, and making amends however he can.When Earl briefly thinks of backing out on his plan, the ticket miraculously floats back seemingly out of nowhere..inspiring him to keep up the good work.
Karma is a funny thing, as the tagline says.The inimitable evil vixen Jaime Pressley (as his trashy ex-wife Joy) is part of a great supporting cast, and the superior writing and directing of the show gives it a comedic, quirky quality that reminded my husband and myself of Coen brothers' films such as "Raising Arizona".
I think this is going to be a huge hit for NBC and Lee. The cast was awesome and a great combination.
It's almost as good as if Kevin Smith himself directed & produced the show himself I hope this show continues to be as funny as the pilot & stays on the air for years and years to come..
"My Name Is Earl" is about this guy named Earl (Jason Lee) who is a redneck and one day he wins $100,000 off a lottery ticket and then decides to make a list of things that he did wrong from his past with his new realization about how much his life sucks.
So I think this show will probably be a hit and go for a few seasons since I'm sure that every episode is going to be where he is checking off his list and making sure that his life gets better.
Comedy, Action, Suspense, Horror, Romance...The best part is the suspense maintained throughout each episode from starting to end.The cast chosen is perfect, their role is perfect, the acting is perfect.
The show is so awesome that even if you watch it 100th time, you wont feel bored instead it feels like a new episode.After everything I still don't understand why the ENDED the series in middle..
Realizing that his life is terrible due to him being a generally terrible person, Earl plans to turn his life around and writes a list of all the bad things that he's ever done, ranging from little things like bullying some kids in his days in school, to huge, punishable-by-law crimes, and hopes to make up for it along the way.It's a simple premise, but one that is full of possibilities, and Greg Garcia never ceases to surprise the audience through the course of the series.
Even the least likable of characters, the ones whom the cast want you to hate, have an incredibly human side to them that you will soon discover as you watch the show that will make them carve a special place in your heart.It also goes well with the acting, which, while it sadly won't win any Oscars (the acting is purposefully lack-luster), has a certain childish charm that really brings out the character in an almost theatrical light that will connect you with the stage that is Camden County as a theatre production may connect you with the characters of Shakespeare's work at a live performance.
Jaime Pressly, for example, shines as an over-the- top, selfish, heartless "dumb blonde" that is Joy Turner, but there are more than enough times when with that same childish nature of the casts acting she shows a surprisingly massive level of depth beneath her otherwise paper-thin character, partly due to the sharp writing and character design, partly because of her enthusiasm for the role, and with it, takes the stage every time she makes an appearance in each episode.
Even though most of the show seems to be a situational comedy which focuses mostly on events rather than the words being said, when Earl, himself, begins narrating and tries to make sense of the impossible events that occur to the best of his abilities, or when his loyal brother Randy interjects into a conversation with a ridiculous statement, hilarity is guaranteed.My Name is Earl is, without a doubt, among the funniest and full of heart shows to ever air on TV, anywhere, and you'd truly be missing out by skipping this one.
Earl doesn't get all virtuous about his job; he does it because he thinks it's the right thing to do, even if it means helping his repugnant "family"- his loathsome ex-wife Joy (brilliantly played by Jaime Pressely), her layabout boyfriend and their two kids.
My Name is Earl also had crisp production values, likable characters, interesting story lines and hilarious jokes and writing.In conclusion, a wonderful show and for a long time was one of my favourites.
I was already a big Jason Lee fan since we was in movies like Mallrats and Chasing Amy.Earl and his dimwitted brother Randy are con men/thieves until Earl wins $100,000 in the lottery but then instantly gets hit by a car and loses the ticket.
Earl seeing Carson Daly on TV talking about karma and saying that good things happen to good people.
He makes a list of every bad thing he's ever done.Other characters in the show are Joy who is Earl's ex-wife, crabman aka Darnell who works at the Crabshack and ends up marrying Joy and Catalina who's the housekeeper at the hotel that Earl and Randy live in and also a dancer at Club Chubby..
And of course since each show has Earl attempting to right a past wrong, we get to see just how depraved Earl was for most of his life.The writers' creativity stretches far, for they have now produced a LOT of shows with fresh ideas and situations both funny and completely out of left field.
How they come up with things like "fish wings" I'll never guess, and I'm not bad at coming up with funny stuff myself.Is a lot of Earl "low-brow".
His first good deed sees him reunited with his winning lottery ticket thus setting him up with the resources to tackle the rest.Along with "Everybody Hates Chris", My Name is Earl came to the UK with lots of praise and critics hailing it as one of the saviours of the American sitcom.
I've always liked him and with Earl, Jason Lee seems to have found a character that suits him perfectly and whose only downside may be that he'll never get better.
Suplee is great fun as Randy, getting a lot of the best lines and making him lovable and dumb, as opposed to the type of dumb that would turn the audience against him.
Overall then a very enjoyable series that had me consistently amused and laughing, using a clever concept to produce good stories and delivering them with great imagination, humour and wit.
Casting Jason Lee and Ethan Suplee as Earl and Randy Hickey respectively was a stroke of genius.
This makes Camden County very believable as a small county town.In closing, this is not your regular comedy, it his held up by a strong and very original story, as well as great characters.
Not only has this show actually made me laugh out loud really hard for the first time in ten years of watching ridiculously unfunny sitcoms (I barely watch T.V. now because of the tripe filled with commercials and I never watched reality crap), It has the best message on T.V. Shows today are either unfunny or vulgarly funny with no moral message.
Jason Lee hits a home run as the character or Earl, a small town thief who gets a run of good luck and bad luck.
There was many moments of the show that made laugh a lot .The characters were original (like they were from a movie of the Coen Brothers ) and very likable and funny .
And after only three episodes, most of the people on this show seem like little more than caricatures: the scheming ex-wife, the stupid brother, the ex-con who's found Jesus, the squirrelly little gay guy, etc.There have been several clever and original bits: the giant-type Bible, and Randy asking the guy with the throat mike to say "Luke, I am your father," for example.
But too much of the show relies on people acting stupidly and/or getting out of a bad situation through dumb luck or a quick spin: the bad things Earl has done turn out to be not-so-bad after all.Also, while I like looking at hot babes as much as the next guy, how plausible is it that the two main female characters in these guys' lives (Joy and Catalina) would both be drop-dead gorgeous?
The character played by Jason Lee, although unlikely to be as clever or as 'honest' as a stereotype would be in real life, is extremely likable, and anyone who enjoyed the early series' of Friends for the Joey and Chandler moments, (before it went bad) then this is for you.
Jason Lee is playing a character like no other - taking him out of the Kevin Smith movies realm.
I decided to write this review, because I believe that the series is greatly underestimated, it has everything you need for a comedy series: the former negative main character, who reincarnates into a positive, younger brother of a low mind, former wife, untold good luck and failures, friends from a black past.Always when Earl gets into different situations, fulfilling an item from the list, it looks funny how he tries to cajole people who have suffered damage from him.
In this day of any reality show concept under the sun being green-lighted for pilot and six-to-thirteen episodes,it's great to see not just a unique and funny idea for a sitcom,but one that is filled out by a sharp cast,clever writing and NO LAUGH TRACK,there's hardly any shame in admitting to liking this.Earl Hickey(Jason Lee,in quite a departure from his film career,mostly in appearance)is a lifelong loser who,when he sees his dream of wining the lottery scratched due to some very unfortunate circumstances,he has a revelation(from a hospital bed,watching Carson Daly,no less!)that tells him that why his life is rotten and how he can rectify it.
Karma,as it were,has told him this.So each episode,with the help of his nearly retarded brother Randy(Ethan Suplee),Earl sets out to make right what who he has done wrong.
Jason Lee is a talented actor, but is trapped in a helpless role in this horrible "comedy".Earl is now in jail for this current season.
Last night on NBC, they aired 4 episodes and I was in love with Jason Lee and Earl.
Low-life Earl Hickey (Jason Lee) buys a winning lottery ticket but loses it when he gets hit by a car.
His ex-wife Joy (Jaime Pressly) has remarried to Darnell Turner (Eddie Steeples) who works the local bar with waitress Catalina (Nadine Velazquez).Earl Hickey and his friends are all trailer park trash.
I wish Earl was my brother or first cousin and I could drink beer with him and look over his list!Viewers who were born after 1965 might not find this show as funny as others do (born 1940s-1950s) but as a member of the baby-boomer generation who once wore "hippie" bell-bottoms, sported long hair and grand mustaches, drove highly souped-up to barely-functional automobiles, married under "it-was-there-so-do-it" circumstances, housed and supported less-affluent siblings and disagreed automatically with parents .....
I would definitely like to see that.it's really funny, everything: Earl, with his "fancy" haircut and nice mustache:) his dumb brother Randy who sometimes says something no one can understand but they realize it makes sense or something like that:) Lets not forget Catalina..
It is produced by 20th Century Fox. It stars Jason Lee as Earl Hickey, Ethan Suplee as Randy Hickey, and Jaime Pressly as Joy Turner (née Darville, previously Hickey).
Earl discovers karma and makes a list of all the bad things he's ever done so he can make up for those mistakes.
"My name is Earl" is just great, lots of fun, easy to watch...and when you see the whole season you scream for more and more.
Earl is trying to be a better person, having compiled a list of bad things he's done that he needs to right so he'll have good karma (as he understands it).
The recurring characters that become Earl's friends through his good deeds also continue to add spice in subsequent episodes.Who'd have thought that a show about thieves and adulterers would make us laugh while teaching us a little bit about honesty, forgiveness, and loyalty?
The karma format is really strong and leads to a lot of really funny plots, jokes, etc.- all in all I think this show is one of the best I have seen in the past 5 years-except for Friends, Everybody Loves Raymond, Scrubs and Two and a Half Men. It's only flaw is that Channel 4 (who show it here) put it on too late..
Well when i first heard about this show, in all honesty, i wasn't thrilled, but when i found out Jason Lee was the leading man, i watched the pilot show straight away, and i wasn't wrong at all, this show is fantastic.Every Episode Earl has to cross something off his list and every episode it gets even funnier, i never miss an episode and if i do, I'm watching it on E4 the Thursday after, so far I've watched every single episode and its just amazing.The whole cast in my opinion is amazing, each actor/actress plays their part so well, my favourite character apart from Earl has to be crabman, its his one liners that crack me up, like when he comes over and says "Joy told me to give you these poison cookies" then when Earl replies "thanks Crabman" he goes " No Problem Earl" So funny.This show is genius and i recommend that you watch it, just give it a go, and i promise you, you wont regret it, it doesn't sound like everyones cup of tea, but trust me, you will be drinking your tea while watching this..
it also gives Jason Lee to show his true talents not restricted to K.S. movies.I really don't know what else I can say It's just a great show and the only good thing NBC has..
The series is well written with a few well written and well used characters.Jason Lee is great as Earl.
The show opens with Earl starting of by saying something along the lines that if you think that by looking at him he's like your typical stereotype, that you would be right, cause he is!
Last night's episode, Earl's ex-wife gets remarried, has to be one of the best comic programs I've seen in a long time.
And not only that, the show's premise is karma, the love you make is equal to the love you take; bad things happen to bad people; there was an episode about homosexuality and Earl's reaction to that lifestyle (not dissimilar to my own); there was a show about addiction (to cigarettes); shows about honesty and selfishness and greed.
I'd just like everybody to know that My Name is Earl is a very, very funny show.
Jason Lee plays Earl who was a man that was a no-gooder, who recently won $100,000 on a lottery ticket, and decided to become a do-gooder, with the help of a list and his brother Randy (Ethan Suplee).
Ethan Suplee adds a pretty good character to the show as well as he plays the part of Earl's nit witted brother Randy.
This is not just great writing, it's great acting.Earl makes you want to go out and do good deeds.
One thing that makes it so great, we all know a few "Earls"I love how he tries so hard to quit smoking.
Out of the so-far two episodes, each one has left you feeling good at the end that there's at least one fictional character who's out to do the best he can to improve the world.
My Name is Earl was very funny and had a good message that was part of the show, not thrown in your face like your 5 years old.
Jason Lee does this some of the time, and the only one who acts in any way believable is Jamie Presley, who can't save her character from being atrocious.This show is clever for people who don't get actual clever comedy.
(Jason Lee as Earl plus the story lines..) Two points.Supporting cast..
Jason Lee is great as Earl, a lowlife criminal trying to turn his life around.
Earl (Lee) wins the lottery, decides to give in to the concept of karma, and writes up a list of all the bad things he's done in his life, so he can make up for it with the people's he's wronged. |
tt3660850 | The Assault | The novel consists of a brief prologue and five "episodes" dated 1945, 1952, 1956, 1966, and 1981.
Twelve-year-old Anton Steenwijk is living with his parents and older brother on the outskirts of Haarlem in January 1945 under Nazi Occupation. One evening they hear shots and discover that Fake Ploeg, a prominent Dutch collaborator, has been shot. They watch as their neighbors, the Kortewegs, a father and his teen-age daughter, move the body from where it fell in front of their house to a position in front of the Steenwijks' house. In the chaotic hours that follow, Anton's family is killed and their house torched, while he spends a night in a dark police station cell in Heemstede being comforted by an unseen young woman prisoner. As Nazi authorities transport him to Amsterdam a German soldier dies trying to protect him when the convoy is attacked from the air. They place him in the care of an aunt and uncle there.
The author writes: "All the rest is postscript–the cloud of ash that rises from the volcano, circles around the earth, and continues to rain down on all its continents for years." In the decades that follow, Anton becomes an anesthesiologist, marries twice, and has a child by each of his wives. He lives with his repressed memories and limited understanding of the events that destroyed his family, uncertain of others' motivations that night and suppressing any instinct to discover more about the way events unfolded, though what he knows is incomplete and presents riddles more than resolution. He learns more details through a series of chance encounters, not by seeking out witnesses and survivors. Only occasionally do his emotions overwhelm him. He weighs motivations and unintended consequences, the moral judgments made and risks taken, the interplay of intention and accident, the actions he and his brother and parents took or failed to take. Anton's discoveries take place against the background of the emergence of Dutch society from the war, the development of new political alignments associated with the Cold War, the anti-establishment Provo movement, and a huge anti-nuclear demonstration.
He returns to Haarlem for the first time in 1952 to attend a party. He visits his old neighbors, the Beumers, and then the monument erected to honor in his parents and 29 others who died the same night in reprisal for Ploeg's assassination. A few years later, he chances upon an old schoolmate, Fake Ploeg's son who bears his father's name. This Fake compares their outcomes, Anton an orphan and he the son of collaborators whose mother became a cleaning woman to support her children: "'We're in the same class, your parents are shot, but you're doing medical studies all the same, whereas my father was shot and I repair water heaters.'" Fake defends his father as an anti-Communist and blames the death of the Steenwijks on the Communist resistance fighters who knew that reprisals would follow their assassination of his father. Anton rejects his logic: "'Your father was killed by the Communists with premeditation because they decided that it was essential, but my family was senselessly slaughtered by Fascists, of whom your father was one.'" Fake counters: "'As your house went up in flames, we got the news that our father was dead.... I've thought of what you went through; did you ever do the same for me?'"
In 1966, Anton attends a funeral of an older man, an associate of his father-in-law. Socializing after the service, as many old resistance members debate current politics, Anton overhears someone recounting a resistance action and realizes the subject is Ploeg's assassination. He speaks at length with this man, Cor Takes, one of those for whom the battle against fascism is very much alive, who opposes commuting the sentences of collaborators just because they have become old and infirm: "'Just hand him to me and I'll split his throat. With a pocketknife if necessary.'" Anton learns more details of how Ploeg's assassination was planned and executed as well as the likely identity of the woman who comforted him that night. He shares what he knows with Takes, whose own knowledge of that night has just as many gaps as Anton's. Finally, in 1981, when Anton is soon to become a grandfather, he meets one of the neighbors who moved Ploeg's body in front of his family's house. He learns why the Kortewegs rushed out to move the body and why they moved it toward the Steenwijks and not in the other direction, the one reason absurd and the other incontestably the moral choice based on what the Kortewegs knew that night. | flashback | train | wikipedia | null |
tt1543920 | Turtles Forever | The Ninja Turtles are alerted by their master Splinter that they have been careless and discovered fighting the Purple Dragons on TV. Denying this, they set out to break into the Purple Dragons' HQ to get to the bottom of these doppelgängers. Upon doing so, the Turtles discover that their "imposters" are from the 1987 series. They escape together, but the 2003 Turtles find the 1987 team childish as they refuse talk until lunch. They enter a pizza place, only to terrify the citizens, who call the cops; the turtles flee, only for the 2003 Turtles and Splinter to capture them. 1987 Leonardo explains his team was fighting Shredder over Mutagen in the Technodrome; the dimensional teleporter malfunctioned, sending them all to this world. Checking recent tremor reports, the Turtles find the Technodrome; however, 1987 Shredder manages to elude them, forcing his foes to build a portal device to reach their universe for "anti-Technodrome gear". In the meantime, Shredder locates an 2003 Shredder on an icy asteroid. After Ch'rell is thawed out, he is contained for vivisection, as he's too insane to work with; however, his adopted daughter, Karai, breaks into and frees him; she had been monitoring his exile.
While tracking the Technodrome, the Turtles and Splinter are attacked by Hun and the Purple Dragons, who want their mutagen. Although Hun is in possession of a powerful mutant, Splinter destroys it with the Turtle Truck's missiles. Unfortunately, Hun tackles 1987 Donetello into the sewers for the mutagen, becoming exposed; he becomes the very thing he hates - a mutant turtle. He wanders until coming upon the technodrome, now under Ch'rell's control, and vows to serve him again. Ch'rell builds a new exoskeleton for himself, and begins the process of rebuilding the cartoonish fortress into something more worthy of the Shredder; he also improves the Foot bots and mutates the Foot clan. Hun, Bebop and Rocksteady are dispatched to destroy the Turtles, breaking into their lair; it begins crumbling, forcing the Turtles to use their dimensional portal stick to escape into the '87 universe. Splinter is captured by Hun to serve as bait in a trap. Ch'rell uses the dimensional portal, learning there are many parallel universes. He decides to launch an all-out assault on the 2003 universe to lure the Turtles out of hiding.
Back in the '87 universe, the 2003 Turtles meet the 1987 versions of April O'Neil and Splinter. The 2003 Turtles are welcomed as sons and feel a kinship with the 1987 Splinter. After both Donatellos apply their expertise, the Turtles are able to return to the 2003 universe with the anti-technodrome gear and the 1987 Turtles vehicles: the Party Wagon and Turtle Blimp. They find Casey Jones and April attempting to repel the advancing onslaught, and infiltrate the Technodrome, which now looks like the Death Star. Captured by Ch'rell, the Turtles learn they are not the only versions in the multiverse; he plans to kill the "Prime" Turtles, creating a domino effect that erase every other Turtle in the multiverse. All eight are scanned for shared DNA, seemingly vanishing into oblivion as the Technodrome vanishes to the core universe; however, they were teleported them to safety as her father hasn't considered the consequences. Unfortunately, 2003 Shredder has already infiltrated the Turtle Prime universe and is now demolishing it; this causes a chain reaction that begins to literally erase everything and everyone in the 2003 universe, including April and Casey. Needing to upgrade their portal device, the Turtles break into Purple Dragon HQ; Hun is waiting for them, wanting revenge for his mutation. However, when he sees the world vanishing, Hun surrenders the upgrade tech just before he's erased.
The Turtles accomplish their task and just manage to escape being erased, and are teleported to the black-and-white Turtle Prime universe. To their surprise, their originals attack them for no reason, until they mention Shredder. As part of their plan, the other eight will hide while the Prime Turtles lure 2003 Shredder out by insulting his pride. Before he comes out, they are challenged by Shredder Prime, who is comically dispatched by the other hiding Turtles. It turns out Karai has teleported them to safety. With the aid of Splinter, Karai, and even the 1987 Shredder and Krang, all twelve Turtles then engage Ch'rell in battle. 2003 Shredder's exoskeleton grows thanks to molecular amplification technology from Dimension X, but is knocked into the energy the Technodrome is firing and loses some of his suit. Everyone tries knocking him into the beam, but Rocksteady trips and unplugs the power cable. 2003 Shredder begins crushing the Prime Turtles, even though Splinter tells him all of reality will vanish. Too insane to care, 2003 Shredder continues to crush the Turtles until 1987 tosses explosive throwing stars at Ch'rell's leg, causing him to drop the Prime Turtles. Bebop plugs the beam back in, erasing 2003 Shredder from existence.
With their foe defeated, the Turtles watch as their respective realities restore themselves. Splinter and Karai note that Ch'rell always returns no matter how he is defeated, but the various characters decide they'll be there to stop him whenever he may rise again. The 1987 characters take the Technodrome and return to their homeworld, while the 2003 characters use the portal stick to return to theirs. The Prime Turtles decide to go get some pizza to eat, as somewhere else, across time and space, Peter Laird and Kevin Eastman put the finishing touches on the first issue of Eastman and Laird's Teenage Mutant Ninja Turtles, expressing the hope that the book will sell. | comedy, stupid | train | wikipedia | It starts off with the Turtles in it's latest incarnation (2003 4kids series) viewing a news report of a robbery broken up by four turtles..but not by them..At a risk of spoiling, I will not go into further detail.
As a fan of the shows and the various versions of the Turtles, I really enjoyed this movie.Funny thing is this movie wasn't promoted well, if not at all (which is sad because this could have been released in the theaters and would have made a lot of money...
This made for TV movie did what the previous shows and the theatrical release did not.It gave the fans a action packed, humor-filled completion to a wonderful franchise...
I was a kid when the 1987 Teenage Mutant Ninja Turtles animated series came out.
It's premise brings both universes, and then some, together like this: a trans-dimensional portal has opened thanks to 1988 turtles bringing them into the 2003 turtle universe, and with them the Technodrome and Shredder and Krang the brain.
But as it turns out, the Shredder from the new 2003 show - not really called Shredder but something like Ch'rell, comes back to life and plans to wreak total havoc on not just the turtles present but ALL of the turtles from the dimensions and incarnations by going to the source: the original Eastman-Laird comic- verse.
It should be interesting to see the reactions from fans of the 2003 animated series, or just younger folks, who aren't as familiar with the 80's animated series let alone the original comics.
It's a blast from the past though, and the kind of movie that would probably be interesting to watch with young kids with their parents who may have grown up on the show themselves.
We get the wacky (and sometimes just stupid and goofy) antics of the old turtles, but contrasted with the self-serious newer turtles (who do have their own merits as a ninja-style show) it makes a lot more sense and the two even compliment each other.
It's like watching an awesome evolution given homage and a new creative story like something out of Roger Rabbit: what happens if the entire dimensions are destroyed by means of cutting off the source?
There's plenty of solid action, corny one-liners, and some genuinely funny scenes (my favorite was the old-school April having to be saved by a banana monster, among other creatures), put against a backdrop of cool animation, and some mocking of both young and old.
80s Shredder and Krang are given little to do and what little seriousness they had on the original cartoon is taken away.
The only 87 characters given the proper treatment at all were Bebop, Rocksteady, and Splinter.It was cool to see the Mirage turtles included (and how they knocked down the 2003 turtles a few pegs).
Honestly, it felt more like a "hey look at how cool the 2003 turtles are!" most of the time, rather than a celebration of the franchise as a whole.
Old meets New. Having grown up watching the old 1988 series, it was great to see the specific characters of the turtles and their villains then, in the universe of the new more serious turtles that kids watch today.
The only thing I slightly disliked about this movie, was that the older versions of the characters, both good and bad, are depicted as being somewhat helpless in the 21st century Turtle universe.
One running gag in the movie I really enjoyed, was that the older turtles would sometimes direct their attention to the viewer, which would confuse the 21st generation characters.
There is nobody there!"Although there is definite goofiness and corniness present, this movie offers a nice look at the turtles through time, and is a nice way to end this saga of the turtles (as Nickelodeon is apparently planning to make the next show fully CGI)..
The movie is hateful and disrespectful to the original 1987 Turtles.
The entire movie from beginning to end is just, "2003 Turtles are awesome!
This crossover movie takes the worst they could find and then dialed it up to 11, while bringing in nothing of the good stuff that made people fans of the original show; while at the same time, doing the opposite with 2003 Turtles show.It's hateful, and absolutely disgusting to sit through..
Probably the best turtles film so far but inaccurate portrayals of the 80's team..
What I found was a highly enjoyable film that is obviously made for fans.The plot is actually very, very good and ties in well with the concept of dimensions heavily used in the 80's series the action moves along smoothly although the screenplay will not win any awards.Special mention must go to the re-creation of the 80's style animation which I have to say is scarily accurate and a joy to watch again!The only two downside to this film is that the original voice actors of the 80's cartoon not be involved because of union disputes (and the sad passing away of James Avery (Uncle Phil/Shredder) means it can never be re-dubbed!) The second downer in the film is that the 80's turtles were portrayed far too goofily.
It was a goof show yes,but having rewatched it recently I can honestly say that it was never as daft as is portrayed in Turtles Forever.
Not disrespectful as they do have their great moments but there is just one too many obvious and unnecessary jibes.To end of a positive note another special mention must go to the animation and portrayal of turtles Prime.
The are absolutely BAD-ASS and although no real violence was shown they had the attitude and I'll be honest....I wouldn't hate seeing a whole series done in that fashion with maybe a bit more gore and adult themes because lets face it, the child fans of the 80's like me are all grown up now and the comic on which turtles prime was based was much more violent and gritty.I enjoyed the computer animated TMNT film but I'd say this is a better film for the fans overall and is a hidden gem that really needs more advertising.if you can look by the borderline rude treatment and inaccurate portrayal of the 80's turtles then you will enjoy it greatly!.
I love this whole thing.Long story short, there's an inter-dimensional plot that allows all three major adaptations of the TMNT (Original comic, 1987 cartoon, 2003 cartoon) to collide for awkward genius and hilarity.Especially amusing scenes when the much sillier 1987 Turtles' crack their trademark cheesy jokes and puns...
A giant golf ball on wheels?") ripping out 1980s looking monitors and replacing them with 60" flat-screens.Then BAM they do a perfect rendition of the sinister, original comic turtles.
Mesh them all together, then wrap it up with a cameo from when Mirage Studios was merely two guys in a garage, hoping their little hand-made turtles story would sell.The art was very consistent with source material from all three generations- note the black and white comic world of the first turtles even has a texture to it, like it's been hand drawn on cheap paper.The writing was appropriate, they really did their best making this movie.
The original voice actors from the 1987 series aren't present (4Kids, sigh) but the replacements are close enough to where it doesn't detract.I've read amateur reviews of this movie, mostly guys my age complaining that the 1987 turtles were portrayed as TOO silly.
Having the new (EXTREME!) ninja turtles interact with my kid heroes was perfectly awkward, and at times made me laugh aloud.If you haven't heard of this until now- don't feel bad.
Which is a shame, because this is brilliant work, and is a must-see for any Ninja Turtles fan..
I very recently started watching feature length animated movies..
I really enjoy the concept of the Turtles meeting versions of themselves from other dimensions.
Very cool.I'm not a die hard Turtles fan or anything, although I did like Turtles when I was a kid, but this movie just entertained the hell out of me anyway.
The story is pretty good, and the dimension-stuff is awesome.
And maybe the best part of the whole movie is the dialogue between the turtles, and the differences between the dimensions.
I'm going to admit right now to some bias simply because I was a fan of the 1987 "Teenage Mutant Ninja Turtles" cartoon and I probably haven't seen that show in literally decades.
This movie (I'm calling it that and not a special) makes it so that you don't need to be a fan of either show to know how awesome it is!
I will admit that I seem to recall the 1987 Ninja Turtles as being more competent than this.
They made a 2012 Teenage Mutant Ninja Turtles cartoon and they actually recycled this plot for one of those episodes!
It's a wonderful tribute to all things Ninja Turtle related and to the significance of adaptation in general.
As if that weren't enough, they meet up with the 1984 comic book Ninja Turtles.The best thing is probably seeing how well these different art styles are put together.
I saw little of the 2003 cartoon but you needn't be a fan to love this.
TURTLES FOREVER is a 2009 American television film produced by 4Kids Entertainment and Mirage Studios.The movie is a crossover film featuring three different incarnations of the titular heroes throughout the franchise's history: the original Prime Turtles team from the 1984 comic book series, the light-hearted, family-friendly characters from the 1987 animated series and the darker, more serious cast of the 4Kids' own 2003 animated series - in an adventure that spans multiple parallel universes.It also marks the finale to the 2003 animated series and was produced in celebration of the 25th anniversary of the Teenage Mutant Ninja Turtles franchise.I just said the plot of this and what it was, so I don't want to explain the story again.
TURTLES FOREVER is a 2009 American television film produced by 4Kids Entertainment and Mirage Studios.The movie is a crossover film featuring three different incarnations of the titular heroes throughout the franchise's history: the original Prime Turtles team from the 1984 comic book series, the light-hearted, family-friendly characters from the 1987 animated series and the darker, more serious cast of the 4Kids' own 2003 animated series - in an adventure that spans multiple parallel universes.It also marks the finale to the 2003 animated series and was produced in celebration of the 25th anniversary of the Teenage Mutant Ninja Turtles franchise.I just said the plot of this and what it was, so I don't want to explain the story again.
I like this movie and while I don't know who plays the characters in this one.
I like this movie and while I don't know who plays the characters in this one.
The 2003 Turtles discover that their '87 counterparts have been captured by Hun and his men, and after learning that it was because of the inter-dimensional portal in the Technodrome, they attempt to stop their Shredder, who goes searching for his new counterpart, not realizing what he is about to unleash.
As for the old one, it certainly does make those Ninjas seem goofy, stupid and honestly, at times, downright cowardly(with that said, they do save the day on several occasions, and their ways prove to be efficient *because* of what they do, not in spite of them).
Then again, the point could be made that they are the more fun version, and the new millennium ones are too serious(...they're man-sized, green mutant animals, after all...
I recommend this to any fan of the TMNT cartoons, whether it's based on the recent one or the original one.
And it does so with enough self-irony to make this movie a real enjoyable trip, by taking the whole idea far beyond the meta-level.It is literally a full cross-over of the 1987, the 2003 TV animated series and the original black and white comic of 1984.
The 2003 version aimed at young teens, while the original comics, quite sinister and rough, sometime even brutal, were created for mature audience.In this movie, all of the drawn series* (in style, tone, plot, lingo and background) really merge together.
One of the funnier things as an example is, that in the 1987 series, the fourth wall is often broken by the turtles talking to the audience, making silly remarks or moral statements, whereas that never happened in the 2003 version and so the 2003 characters always wonder who the 1987 turtles talk to, and the black/white turtles narrate as they did in the comics.
The black and white version makes fun of the colored headbands, the 2003s are annoyed by their 1987 brethren silliness and they even start to refer to each other in their style distinction.*It does not take any TMNT Manga (the Japanese versions of the franchise) into account, or I just missed the reference.I would say that this is a true homage to Eastman and Laird's Teenage Mutant Ninja Turtles.
It certainly closes one chapter of my (admittedly never ending) childhood, by taking me on a - somewhat nostalgic - trip through teen memories*, giving them a worthwhile ending, the one it never really got back then...*Just in case you are wondering, I grew up with the classic comic TMNTs in my early teens, saw some of the 1987s, but did not like it due to its more childish style and I have seen some, but not really followed the 2003 version much.
In a more morbid interpretation, it seem to be like the legendary flash-back of ones own life, in the moment of death, packed into a movie.
They have become a passing memory, almost eager to be replaced by the new heroes of todays media and culture.The reason I deduct a point from perfection is the finite tone of the movie.
Almost to the point, where you could interpret it as a depiction of self-pity, composed of its own demise; if you the more cynical type.If the 'Teenage Mutant Ninja Turtles' have ever been, no matter how small, a part of your childhood or teenage pantheon of heroes, you should really watch this, which is more true, if you are familiar with all the styles.
Even the hardcore comic fans that may despise the whole TMNT-franchise, will find gratification, because the film takes the viewer back to appreciate its own origin.
And with that, it also makes us think about origins, including our own, which closes the circle to our childhood or teenage heroes, that may have had an impact on us - although I am still not sure, how much influence the turtles had, beyond my occasional craving for pizza.If 'TMNT' doesn't mean anything to you, you will probably not understand much at all; and neither the drawing style, nor the plot will be enough to satisfy a casual viewer, not by todays standards anyway.
But I do believe that this is intentional, to keep the cross-over true to its originals, mixing the different versions very harmoniously.
The Ninja Turtles I most remember are those of the movies.
However, it's not my Ninja Turtles.
Soon, they meet up with their doppelgangers, the cornball Turtles from the '87 series.
A trans-dimensional wedgie has landed the old turtles in the new turtles' world, with Shredder, Krang, and the Technodrome close behind.
However, this new Shredder is a ruthless sociopath and quickly takes over the Technodrome.
Aware of the TMNT multi-verse, Nu-Shredder is determined to track down the Prime Universe and wipe out every incarnation of the Teenage Mutant Ninja Turtles that have ever existed.Most of the fun of "Turtles Forever" comes from contrasting two wildly divergent variations of the same characters.
At first, I thought the newer series was being too hard on the original variations.
The climax of the film has both Turtle teams arriving in the Prime Universe.
That is, the universe of the original Kevin Eastman and Peter Laird comics.
Even more amusingly, the comic version of Shredder is quickly disposed of, no doubt a reference to the character being an unimportant villain in the source material.
The film is enough of a fan service-filled nerd-experience that it gives shout-outs to most every version of the Turtles that have ever existed, even the weird anime ones.
Well, maybe not so notably.) Another fun thing "Turtles Forever" does is show that the eighties Shredder and Krang could have been competent villains.
The new version of Shredder is so ruthless, he truly is willing to destroy himself if it means wiping out his arch-enemies.
The final scene has the different Turtle teams returning to their respective universe.
It's a cute, even charming, moment and one that marks the film as a labor of love."Turtles Forever" is probably for die-hard fans of the franchise only.
Even as someone who only casually likes both Turtles cartoons, I still had a good time with it..
When Turtles Forever just emerged on TV, everybody highly anticipated the film.
The new (2003) green team fighting the good old Technodrome, Bebop and Rocksteady, and another, more brutal, but also inhumanly cruel Shredder.
This was a decent combination of both animated franchises of the time, pretty action-packed, high-spirited in the good old adventure sense, and even Easter Eggs directing to Star Wars did not spoil the story.
(For instance, Technodrome began to look much more like the Death Star, and the Shredder becomes an "upgraded" version of Mr. Darth.
Aw -- Ah for the moment when he says: if destroying the Turtles means an end to everything, including himself...
Everything in the movie is bright, dynamic, strongly positive, and the fans would love it...
if not for a small, but irritating nuance.I think the story's somehow spoiled by the authors' irony (let's not say sarcasm) about the 87 Turtles and their world.
unpleasant to watch.But, despite all this, I daresay it's a good movie. |
tt0055139 | The Manster | American foreign news correspondent Larry Stanford (Dyneley) has been working out of Japan for the last few years, to the detriment of his marriage. His last assignment before returning to his wife in the United States is an interview with the renowned but reclusive scientist Dr. Robert Suzuki (Tetsu Nakamura), who lives atop a volcanic mountain.
During the brief interview, Dr. Suzuki amiably discusses his work on evolution caused by sporadic cosmic rays in the atmosphere, and professes that he has discovered a method for producing evolutionary change by chemical means.
Suzuki serves Larry a drugged libation, causing him to fall into a deep sleep. Announcing to Tara (Terri Zimmern), his voluptuous assistant, that Larry is the perfect candidate for his latest evolutionary experiments, he injects an unknown substance into Larry's shoulder.
Upon waking, Larry is oblivious to the true situation and accepts Suzuki's invitation to spend the next week vacationing with him around Japan. Over the next few days, Suzuki uses Tara as a beguiling distraction while conditioning Larry with mineral baths and copious amounts of alcohol, exacerbating the pain in Larry's shoulder.
Meanwhile, Larry's estranged wife (played by Dyneley's actual spouse, Jane Hylton) has traveled to Japan to bring him back home with her. When confronted, Larry refuses to leave his new life of women and carousing. After a few drinks that night, Larry examines his painful shoulder to discover that a large eyeball has grown at the spot of Dr. Suzuki's injection.
Becoming aloof and solitary, Larry wanders Tokyo late at night. He murders a woman on the street, a Buddhist monk and a psychiatrist, while slowly changing form, culminating in his growing a second head. Seeking a cure, Larry climbs the volcano to Dr. Suzuki's laboratory where Suzuki has just informed Tara that Larry has become "an entirely new species" and beyond remedy.
Entering the lab, Larry kills Suzuki and sets the building on fire as Tara flees. Larry splits into two completely separate bodies, bringing himself back to normal. The monstrous second body grabs Tara, and throws her into the volcano. As Larry's wife and the police arrive, he pushes the second body into the volcano. Larry, now cured, is taken away by the police, although it remains unclear how much moral or legal responsibility he has for his violent actions. The movie ends as Larry's wife and his friend discuss the good that remains in Larry. | cult, murder | train | wikipedia | Neither reaches the giddy, hallucinogenic heights of PKD's best work, but they are both a cut above your average "monster movie" of the era.'The Manster' concerns a cocky American journalist who befriends a charismatic Japanese scientist.
He thinks he's just letting his hair down after several years of hard work, but doesn't realize that he is the unwitting guinea pig in an ambitious scientific experiment which turns out horribly wrong.Try and see 'The Manster', and if possible make it a double bill with 'The Human Vapour'.
Well, the movie's not *quite* as scary to my jaded sensibilities as it was then, but those scenes still had a kick; the unearthly howling, tearing sounds when the Manster 'separates' still chilled.While it'll never be mistaken for great moviemaking, this film deserves a bigger 'cult' status than it has..
It's very similar to the classic Werewolf in London.An American reporter in Japan is injected with a serum by Dr. Suzuki--who's wife is a mutant creature from another unsuccessful experiment and is in a cage.Rash, then bump, then voila an eye pops out of the Reporter's shoulder.
The murderous thing continues to grow right out of the American reporter's body.This is an American film, filmed on a very low budget in Japan.I'm sure it was the inspiration for all the two headed movies that followed and particuliarly How to Get Ahead in Advertising.
After injecting the reporter against his will, the scientist discovers his serum changes the man into a..." according to the DVD sleeve's synopsis.Don't join "The Manster" in progress, as its opening scenes are very striking.
The erotic sight of two young Japanese women bathing is interrupted as mad scientist Tetsu Nakamura (as Robert Suzuki) must immediately deal with his violent brother ("An experiment that didn't work out"), while his wife (another "experiment that didn't work out") screams in her cage
Mr. Nakamura takes charge of the situation by killing his brother; then, Peter Dyneley (as Larry Stanford) conveniently shows up; a self-described "brilliant and highly underpaid foreign correspondent", Mr. Dyneley wants to interview Nakamura about his research on "the secrets of evolution".
Well - I guess you'll just have to watch this truly zany, Sci-Fi flick called "The Manster" to find out the answer to that daunting question.Released in 1962 - The Manster is actually a kinda fun Mad Scientist/Horror movie to watch, providing, of course, that one doesn't take its goofy, far-fetched story at all seriously.I found The Manster to be one of those outrageously low-budget, fright flicks from that particular era that was so bad that, somehow, it was actually (almost) good.I think that it was a very wise move on the part of the director, George Breakston, to see to it that news-reporter Larry Stanford's hideous, two-headed transformation was kept partially concealed within the shadows of near-darkness - Otherwise the intended horror of Larry's horrific predicament would've, I'm sure, been completely lost by a string of unintentional laughs.All-in-all - Even though I would never, ever consider The Manster to be great horror, I still thought that it was a least well-worth one honest viewing..
There were a lot that they showed constantly (mostly the stupid Godzilla films) and this was one of them.I saw it when I was in high school and, like everybody else here, was completely grossed out by the eye in the shoulder scene.
It's about a mad scientist who experiments with mutations; he injects an American journalist with a serum which results in the man turning into....the Manster!
On the other hand it does work as a horror film in that it has some pretty striking and memorable imagery; as well as the Manster and the mutant wife, we also have a fairly explosive finale on top an erupting volcano.
Apparently "getting acquainted with Japanese culture" means binge- drinking, taking numerous public baths and committing adultery with several Geishas, as Larry changes from a hard-working and wife- loving American into a sleazy and obnoxious
Japanese citizen?
"The Manster" is more remarkable and special than the vast majority of 50s Sci-Fi/horror flicks thanks to a few impressive special effects (the eye in the shoulder was copied a number of times) and the bizarre atmosphere of conflicting cultures.
There's some cool moments when Larry is mid-transformation and stumbling around with a second, monstrous head on his shoulders but the film's climax isn't all that exciting.
The pair that played the married couple in the film were actually married in real life, and the actor who played the evil Japanese mad scientist was born, like me, Canadian.
Mad Japanese scientist Dr. Robert Suzuki (Tetsu Nakamura) hopes to create a serum that will advance human evolution, but all efforts so far have been less than successful, earlier attempts having turned his wife and brother (who apparently volunteered for the experiment, making them just as mad as he is) into hideously deformed monsters.Not one to admit defeat, Suzuki—aided by his glamorous assistant Tara (Terri Zimmern)—gives it one last go, drugging and injecting roving US reporter Larry Stanford (Peter Dyneley) without his knowledge.
As his personality becomes more monstrous, so does his appearance: his hand gets hairy, an eyeball appears in his shoulder, and he grows a second head, eventually splitting into two separate beings.A wonderfully subversive storyline and a standout central performance from Dyneley help distinguish The Manster from most of its contemporaries; Stanford's insatiable sexual appetite and violent outbursts, Tara's dubious past (I'm guessing that she used to be a hooker), Dr. Suzuki's callous and calculating approach to his 'work', and the unforgettably surreal transformation from man to beast all go to make this film a genuinely freaky and thoroughly enjoyable ride into darker-than-usual 50s B-movie monster territory.7.5/10, rounded up to 8 for IMDb..
Between its obviously limited budget, cheap sets, a cast of no-name American and Japanese actors and some awkward dialog, it's a bit of a wonder that "The Manster" turned out to be such an effective little nightmare.The movie begins with the shocking murders of three Japanese women by a dimly-seen, Yeti-like monster, in a bath house, concluding with the obligatory splash of blood on the shoji, over which the opening credits run.
(Suzuki has a basement laboratory where he grows giant fungi, keeps his insane and hideously deformed wife Emiko -- Toyoko Takechi -- in a cage, and conducts his horrific experiments.) Turns out Kenji is the monster.
Shortly afterward, dull, strait-laced reporter Larry Stanford (Peter Dyneley) shows up on Dr. Suzuki's doorstep to interview the doctor about his oddball theories on evolution.
Dr. Suzuki -- who wants to observe the effects of his latest experiment at first hand -- turns up again and befriends Larry, promising to show him "the real Japan".
Dyneley does a fairly passable job as a hapless guinea pig for Suzuki's mad science, going from nice guy to abusive alcoholic philanderer to monstrous serial killer with an extra head growing out of his shoulder.
But these are only glimpses of the cheesy and over-the-top like "LEAVE ME ALONE!" The rest is just old hat: Frankenstein doctor just wanting to make the world a better place with his mansters; Jekyll and Hyde situation (with a little innuendo thrown in as adultery is at least suggested with the 'geisha'); police in pursuit as the manster goes on, back to Frankenstein monster all over again.
It's got a second head that makes the Zaphod Beeblebrox head in the Hitchhiker's Guide miniseries look like it came from Rick Baker, it's got a climax on a volcano where the split half of the manster is a gorilla (and our hero Larry turns back to normal in a flash!), and it did inspire one of the funniest sequences in the Evil Dead series.
Reporter, Larry Stanford (Peter Dyneley) arrives to get the scoop on Suzuki's work.
An American reporter in Japan meets with an elusive Japanese scientist who has crazed (well he is kind of mad) theories about chemically changing evolution.
Drugging the American, he invites him to vacation around Japan - but then weird things start happening - like GROWING AN EYE ON HIS SHOULDER!
Two Ugly Heads Aren't Better Than One. Mad scientist Tetsu Nakamura has a couple of failed experiments on his brother and wife turning them into mutants while studying evolution.
The scientist feels the reporter would make the perfect subject for his most diabolical of experiments which turns the reporter into a two-headed creature - a killer.This one is a little bit above average on the 1950's horror b-films - they really went all out for the film.
While watching there were some things that I noticed:*There's a white person cast as a Japanese.*The discussions between the reporter and scientist border on a bromance.*The song played on the instrument in that one scene sounds like a blues song.And then of course the eye reminded me of "Army of Darkness".
Until tonight, I hadn't seen this movie in more than 35 years--and all I remembered were three things: the title, the "separation," and that the "separation" scared the s**t out of me.Well, so much for time.It's still a fun horror movie--a variation on Jekyll and Hyde (and the Wolfman, which is also a J&H variant).But I don't recall the "separation" (I keep putting it in quotes so those of you who know the film will know what scene I'm talking about, without spoiling it for others) taking place behind a tree--I remembered it happened in the a forest, though.
An American reporter in Japan is sent to interview an eccentric Japanese scientist working on bizarre experiments in his mountain laboratory.I thought I had seen this film before, but after watching it tonight I know I never did.
Yes, The Manster - a movie about an American journalist being unwittingly used by a Japanese scientist for experimentation that changes his physical appearance by first adding an eye to his shoulder and later creating a whole separate head to it.
Paul Dyneley plays Larry Stanford, a 35 (though looks like 45)year old reporter in Japan on the verge of returning home to Mrs. Stanford.
What transpires from there is seeing Dyneley get progressively grouchy whilst becoming quite the rogue; Dr. Suzuki opens his mind to the Geisha experience and soon Larry is bathing, flirting, and whatever else he puts his mind to with pretty Geishas and, in particular, one girl - the lovely, beautiful assistant to Dr. Suzuki - Tara.
He even kills and burns his own brother- a yeti looking thing- after he escapes one night.When Larry, an American foreign correspondent, comes to investigate the Doctor's work, he gets drugged.
While he is passed out, the Doctor injects him with an enzyme that will cause him to mutate, both physically and psychologically- changing him into a psychopathic "manster".His hand first turns into a monster hand, and he starts to get the overwhelming urge to kill people.After murdering a monk, Larry starts to go crazy.
And this soon sprouts into a second beastial head.Monster Larry is now forced to go on the lam, with the cops chasing him- and that's pretty much how the rest of the movie goes.
While the Americans act like they are their saviours- taking a position of moral authority (both thematically, and in the work-related positions they hold), and using that to dominate their Japanese inferiors.This film is most notable for the homage it receives from Sam Raimi in Army of Darkness- when Ash gets an eye on his shoulder; Evil Ash's head pops out and the two eventually split apart.
The scene so well remembered by so many (who usually don't remember the film's title) is when the eyeball appears growing out of the horrified man's shoulder.Later a head sprouts.This film is perhaps the first of the two headed monster movies.
A reporter goes to Japan and sees mad scientists' Dr. Suzuki (prior to inventing the car I suppose)wife is a mutant being kept in a cage.
Suzuki injects the report however and soon an eye grows out of the reporter's shoulder, then a head and then....well it's pretty silly stuff of course, but...
Then he discovers an "eye" growing in his shoulder, then a new head, and eventually, he's off on a rampage, killing Buddhist priests and geishas and policemen and whoever else is in his way (he's an equal opportunity monster.) Eventually he is cornered by the police in the scientist's lair, he actually pulls himself in half, and his monstrous half drags the scientist into the volcano (you knew there had to be a volcano) and his geisha girlfriend falls in after him.
It's always interesting to hear what others think we sound like to them.My guess is that Dyneley and Hylton signed on for The Manster to get a nice free Japanese trip.
The result is the growth of a second head and weird personality changes.Strange American Japanese co-production is the sort of thing that only a deranged mind might come up with.
Its central plot revolves an obnoxious American journalist Larry Stanford played by Peter Dyneley who travels to Japan to interview scientist Dr. Robert Suzuki played by Tetsu Nakamura.
American reporter visits Japanese Mad Scientist with lovely assistant.
Dyneley had good back-up too from Satoshi Nakamura as the deceptively smooth Dr.Suzuki and the stunningly beautiful Terri Zimmern as the doctor's assistant and Larry's temptress Tara (who was this stunning actress?
Not a bad little mad scientist/monster film..
The Manster is set in Japan where an American named Larry Stanford (Peter Dyneley) works as a foreign news correspondent, Stanford is invited to interview a Japanese scientist named Dr. Robert Suzuki (Tetsu Nakamura) in his mountain top laboratory.
While there Suzuki drugs Stanford's drink & injects him with an experimental serum he has been working on, at first Larry seems fine but soon changes as he becomes aggressive, hateful & rather unpleasant.
As a two headed freak Stanford goes on a killing spree but realises that his only hope is to go back to Suzuki & try to get him to reverse the horrifying transformation...This American & Japanese co-production was directed by George P.
Crane (also credited as editor) who manage to turn in a pretty decent little mad scientist monster film that is far better than many similar efforts from the same period.
For it relatively brief 72 minute duration (brief when compared to some of today's two & a half hour marathon's anyway) The Manster is pretty effective, it's a strange film for the period as although it deals with horrible experiments which lead to a monster that kills people the script has an entire cultural subtext as it follows an American in Japan & there are plenty of way the script can be interpreted with Japan & it's culture 'infecting' Stanford & the scene at the end in which the brutish part of him that is brought out by the serum detaches itself & is destroyed (along with his Japanese lover) after which Stanford returns to 'normal' could be considered a racist attempt at making a point that Japan is evil & the aspects of it & it's culture infected Stanford & his salvation at the end is when this Japanese part of him is weeded out & destroyed.
The Manster in feel & tone is closer to a Dr. Jekyll & Mr. Hyde split personality story rather than a two-headed monster film & you sort of sense the makers had lofty ambitions.
There are some good scenes here with the infamous eyeball in the shoulder a particular stand-out & even the two-headed monster at the end looks alright although the hairy beast thing looks rubbish & there's also a disfigured woman that Suzuki keeps locked up.
The acting is alright, no-one is terrible but no-one is brilliant either.The Manster is a pretty good late 50's black and white sci-fi horror film that tries to make a point about culture, adultery & controlling the evil inside us that is actually more fun when it's a straight monster film rather than a soap opera styled moral drama.
Reclusive scientist Dr. Robert Suzuki (nicely played by Satoshi Nakamura) uses his experimental serum to transform arrogant American reporter Larry Stanford (a solid performance by Peter Dyneley) into a hideous and murderous two-headed monster.
***SPOILERS*** When American foreign news reporter Larry Stanford, Peter Dyneley, came to interview renowned Japaneses genetic scientist Dr. Robert Suzuki,Tetsu Nakamura,he didn't quite realize what he was getting himself into.
What's even worse Larry starts to get violent fits that in the end leads to him going out at night and killing anyone that he comes in contact with!It's Dr.Suzuki's way to keep Larry in line and under his control by having his pretty assistant Tara, Terri Zimmern, get romantically involved with him.
That despite threats by Dr.Suzuki of sending Tara back to where she came, and from where he rescued her, to the underground white slavery trade.Larry who's has't been feeling that well since Dr.Suzuki drugged him soon gets even worse when he notices an eye that later turned into a head growing out of his right shoulder!
This turns Larry into an uncontrollable homicidal maniac and whatever he did before, in murdering innocent people on the streets of Tokyo, is child's play to what he's soon to do next in the movie!Surprisingly good acting that you'd never expect in a film of this type makes the silly storyline far more believable then it would have been.
American reporter Larry Stanford (Peter Dyneley) is on assignment in Tokyo to interview a crazed scientist Dr. Suzuki (Tetsu Nakamura), who is experimenting with mutations.
Finally-a horror/sci-fi film that makes Ed Wood's movies seem good!.
The only scenes I remember are 1) An eye on his shoulder, 2) he grows a second head and 3) He drops a Japanese babe in a kimono into a volcano.Although this was filmed in Japan, I'm not even entirely sure that babe was Japanese or not, now that I've seen it again.
(Obviously written by people who have no idea what Evolution is or how it works.) He also becomes kind of a jerk, cheating on his wife, living a wild life, not doing his job and eventually turning into a badly filmed two-headed monster.Bad lighting, bad make up, bad acting. |
tt2309295 | Hemlock Grove | The book is set in the town of Hemlock Grove, Pennsylvania. The town is a mixture of extreme wealth and poverty, as the closing of the town's steel mill (owned by the Godfrey family) many years earlier cost a lot of people their jobs. Now the town's main sources of employment are the Hemlock Acres Hospital and the Godfrey Institute for Biomedical Technologies. Run by the powerful Godfrey family, the Institute is rumored to have several sinister experiments take place within. The town's rumor mill turns even more twisted when a teenage girl is brutally killed during a full moon. Peter Rumancek, a 17-year-old Romani who just moved to Hemlock Grove with his mother, is suspected of the crimes by some of the townsfolk and is also rumored to be a werewolf. While he secretly really is a werewolf, he isn't the actual killer and along with Roman, the heir to the Godfrey estate (who Peter realizes is an upir, though Roman does not know it himself), they set out to find the killer.
The two become unlikely friends, much to the chagrin of each boy's mother. As the two grow closer, Roman's mother Olivia resumes an affair with her late husband's brother, Dr. Norman Godfrey. At several points during the novel Norman tries to break away from Olivia but ultimately fails due to his desire for her, despite him remembering several warnings from his brother about how Olivia emotionally preys on people. While Roman has known about the affair all along (but doesn't discuss it with anyone), his monstrous-looking, yet highly intelligent and kind sister Shelley becomes aware of the affair later. She openly says so in one of the e-mails she exchanges with her uncle Norman (on a regular basis since he is her therapist).
The murders continue in the town, and more people start to believe the teenage girl Christina who has been accusing Peter of being both a werewolf and the killer from the start. Christina also discovers the remains of one of the murdered girls, which seems to push her into insanity and causes her hair to turn white. Tensions continue to rise, especially after Peter begins a relationship with Roman's cousin Letha (Norman's daughter), who believes that she was recently impregnated by an angel. Their relationship ultimately breaks the friendship between Peter and Roman, prompting Roman to try to attack the Godfrey Institute and its lead scientist Dr Pryce. Roman falls into a coma due to Pryce's attempt to keep him from harming Pryce or the experiment for Project Ouroborous. He later awakens and reconciles with Peter, just in time for them to launch another search for the killer. This fails due to Chasseur, a woman operating for a secret group known as the "Order of the Dragon", shooting a dart into Peter in his wolf form, knocking him out for the rest of the night of the full moon. During this time the twin daughters of the town sheriff are killed, which prompts a mob to ransack Peter's trailer. Neither Peter nor his mother are injured, as Peter is saved by Olivia interfering and Peter's mother was called away due to premonitions from a cousin.
Ultimately Chasseur is killed by Olivia (leaving the clean-up to Dr. Pryce) and Peter and Roman discover that the murderer is actually Christina, the girl who accused Peter of the murders. She turned herself into a werewolf by drinking water from one of the tracks left by Peter while he was in wolf form. Unable to control her actions as a werewolf or truly remember all that occurred, Christina's mental state deteriorated and caused her to become a "vargulf", an insane werewolf. Due to her insanity she attacked anyone she saw as being sexually promiscuous due to her own confusion over her burgeoning sexuality. Peter and Christina fight to the death in their wolf forms. Peter miraculously survives, but Shelley, who threw herself into the fight to avenge Christina's last victim, is shot by the Sheriff because he sees her holding Christina's (now human again) body. Shelley runs off, not to be seen again.
Six months after the fight, Letha goes into labor and dies in the process (the baby apparently being stillborn), leaving her father Norman distraught as well as prompting Peter and his mother to leave town since there was nothing truly holding them there. Being abandoned by Peter leaves Roman in an extremely emotional state. The final part of the book is told mostly from Olivia's point of view, revealing that centuries ago she was impregnated by a gypsy she tried to run away with as a young girl. The man abandoned her shortly after they escaped (taking her jewels with him), and she was found a few days later, bloody, from having cut off the tail she had (the origin of the scar on her lower back). She was brought home, and turned into an unnatural beauty over the course of her pregnancy. Now resentful of any gypsy, she gave up the child to grow up with a lowborn old swineherd named Rumancek, showing that the family is descended from Olivia. She also muses that while she married JR Godfrey, she fell in love with his brother Norman, who actually fathered Roman. At Roman's 18th birthday, Olivia takes him to Shelley's attic where he discovers Letha's (not actually stillborn) baby. With Olivia's extaz powers (which is the mind-controlling power Roman has used throughout the book too, without being taught), she makes her son remember that it was him who had sex with Letha (her mind having "made up" the "angel" to cope with this). Roman then slits his wrists to "not let his mother win" but this actually finishes his transformation; he grows fangs and it is insinuated that he drinks from Letha's - and his - baby. | murder | train | wikipedia | This new series is refreshingly original; although vampirism and werewolves haven't exactly been underrepresented in movies and TV-shows over the last couple of years, 'Hemlock Grove' manages to find a very interesting new approach and uses old European myths and legends - and even a bit of Sci-Fi - to inject some fresh blood into a genre that started to feel a bit stale.
I'm a bit surprised this show hasn't found a bigger audience yet, given how well it is produced (and this wasn't exactly a cheap affair either: season 2 had a budget of 52 million dollars for 10 episodes), but maybe it's just a bit too original for that.
As far as I'm concerned, 'Hemlock Grove' certainly deserves to be seen; offering unique 'Horror' with a fantastic, slightly surreal atmosphere and amazing images, this highly original series is a prime candidate for binge-watching.
Okay, this show is really getting mixed reviews, and I'm pretty confused because I loved it!People seemed to really enjoy Netflix' other series, House of Cards, and I thought it was brilliant as well.
Bravo to Netflix for taking a chance on this show and posting the entire first season rather than making us wait each week for the next episode..
I feel like the director(s) of Hemlock Grove could learn a lesson from that way of making a supernatural/fantasy drama.
Or, if they wanted to go the dark gritty road, I wish they'd done it like the much missed Carnivale and focused much more on character development, keeping the supernatural elements teasingly in the background.
Some of the acting comes across as pretty bad, but I'm not sure if that's the actor's faults so much as it's very difficult for them to deliver their lines in the tone the director wants.
It's comparing Apples and Oranges.You have to give credit where credit is due, Hemlock Grove is unique, it isn't a generic or cliché TV show likes we've all seen one hundred times.
When I watched it I felt like they were trying too hard to make it look good and be plausible which is great but, the plot slipped through the cracks.
I have NO idea why everyone is reviewing this show so badly.It is quite possibly the most entrapping T.V. show I'v seen in 2-3 years.Easily.The actors are extremely well adept and it is insanely satisfying to watch them grow into their characters so splendidly.
I think I stopped watching half-way through around episode 5 of season 1?!?
Eli Roth seems best at gory horror movies like Cabin Fever and Hostel...with a 13 hour series, I'm finding this very slow and hard to find any character engaging.
This series is trying to have suspense like American Horror Story, but fails to have engaging development.Edit...well I've just finished watching the whole season, and I've got to say my impressions of the writing being a weak link have only strengthened.
I can't remember the last time I was so disappointed.1) The three credited writers have little to no actual screen writing experience and it shows: incoherent plotting, poor pacing, and embarrassing dialogue.
You know that feeling when you're watching a show and the credits role and you're giddy with excitement over how it's going to turn out and you're mashing at the keyboard to pull up the next episode?
Unfortunately the second season turned out to be very unlike the first and very poorly directed.All the new characters have very little depth, and often do things that make no sense in order for it to fit into the plot.
The further you go into the season the more obvious it is that Miranda is not actually meant to be a meaningful character but just a plot deviceBut even overlooking the fact that all the new characters in the show are very poorly written, the show has no consistency and doesn't expand or explain many of the mysterious things going on.
Instead of merely pointing, or telling them the number she writes it with her own feces on the wall.Instances like these ruins the universe and makes it hard to take anything in the series at anything but face value.And don't even get me started on the ending.....
There are some moments of interesting special effects that indulge in the goo and gore, and its nice not to be saddled with CGI laden special effects (too bad for those Gen Y viewers who confuse CGI for reality and think that everything not digitised looks fake) I suppose for fans of Twilight this sort of horror - cushioned as it between huge mundane moments of poorly written melodramatic dialogue - is just the ticket.
But you'll never know if it's a show for YOU unless you stick with it, much longer than you would with most shows you're 'just not quite sure about.' If you still feel no spark after finishing the first season, okay, go watch something else.
Hemlock Grove starts off kind of slow but as the season progresses the mystery, romance, action, and the supernatural entities begin to make its way through the fold.
The Netflix horror series Hemlock Grove is the worst thing to ever happen to television.
And yet someone decided it was cool to spend $55 million to make three series.I launched myself into this with high hopes, being a big fan of the horror/supernatural genre, but I couldn't get past 2 1/10 episodes before screaming, "I'm done!
Hemlock Grove had everything it needed to be a great show, every resource available: interesting characters with unique motivations, literary allusions, intrigue, hints of social commentary, et cetera.
It leads me to believe that a tight deadline might have been involved, then again, the script to Casablanca was literally being written about one day ahead of the filming schedule, so I don't want to hear about deadlines.I can willingly suspend my disbelief for gypsy magic, werewolves, and other elements of the supernatural, but I cannot suspend my disbelief of the horrendous, contrived "ending" that this "story" culminates in.
Nothing comes even close to full-circle, nobody gets what they deserve, and very few people learn anything, leading me to believe that what I have just finished viewing is simply a series of semi-related events.I'm not out any money, but I want the last six evenings of my life back..
I feel more like I'm peeking in on the mind of a director who is a 12-yr-old man child, narcissist and sociopath, who can't develop characters because he has no understanding of emotions or of what humans do or say, and everything centers around gratuitous sex and gross-out moments.
Many of the Netflix series have been great, like House of Cards If you want something in this same genre with a good plot and great characters watch "True Detective" instead..
I am really worried that this show will not be renewed for a third season, it is probably the best horror/suspense show to have aired in years but has not received nearly as much marketing time as other Netflix shows...also wonderful but almost unfairly given marketing time and budget...as Hemlock Grove airs through a streaming site it relies on people choosing to click in and view, traditional TV shows often gain viewers through people channel surfing etc.
Now I've come to the end of season 1, am suffering withdrawals, and can honestly say that it is my favorite show ever.Hemlock Grove is like Twin Peaks on crack.
why Roman leaves a blue glow on his sisters cheek when he touches her?Why he seems to be able to influence people by staring at them?Why his cousin seems to think that she has been impregnated by an angel (her belief seems to go largely unchallenged)?Why his sister is disfigured and why she seems to have some kind of power (telekinesis)?And why did the girl that Roman raped in one episode, Send him a get well card in the next episode?Have I missed something because few of these character s have been fully explained and some seem entirely superfluous to the story.
Oh and why does Roman's mother keep dripping something in eyes?I have no more clue about the motivation of many of the characters having watched 10 episodes than I did at episode 1.Photographically pleasing and nicely shot with a good cast.
Here's why in a few bullet points: --The show always surprises me ("I didn't see THAT coming!") --It goes places other shows won't ("I can't believe they DID that!") --the acting is IMHO excellent (au contraire to critics' opinions) --the dialogue is brilliant mostly ("clunky" said one idiot critic) --the plot twists are very difficult to anticipate (maybe a little murky at times, but I'm patient enough to let it resolve at its own pace) --characterizations are complex, not cardboard cutouts (see Roman Godfrey for the prime example).
The only thing that got me through was Bill Skarsgård, whom in my opinion went out of the bounds set by the director and did a really good job of portraying a pretty complex character.
I guess it's a generational thing where shows that don't go anywhere, have almost nothing in the way of plot or story and exist simply by endlessly teasing that something might happen right around the corner are hot with someone now.
I get the creepy feeling that this will be this year's "The Killing", which would have made a pretty good 3 ep miniseries but as a series it was possibly the most boring frustrating thing ever.
It tries way too hard to be dramatic and poetic but fails at delivering any substance.I'm a fan of shows with story continuity, so this show definitely isn't for anyone who likes their story line to make sense.The characters just randomly and mysteriously come by their information or conclusions.
So if you feel completely lost in the beginning, just keep on watching because most (not all however) questions will be answered later on!What I found really strong with this series is the characters and the acting.
The first episode's narrative was impossible to follow, the characterization is shallow, the music is amateur and heavy-handed, the camera-work and editing choices absolutely baffling, and the acting is absolutely painful to behold.I want not only 50 minutes of my life, but the brain cells I lost while watching this show's first episode back - really couldn't subject myself to view any more of it.Don't waste your time on this one..
The drama actually kept me interested and made me want to watch the very next episode just to see what happens.
I felt the acting was great and everything about this show was great.I feel like a lot of the bad reviews are from people who haven't seen many Eli Roth titles.
It also did a real good job answering a lot of its own questions if you watched the entire season..
I recently tried watching this show with my wife, who is not a fan of horror whatsoever, and I found that while I was interested enough in the show to finish the season out, I found a lot of the acting and dialogue painful to endure.
This show could be what most people want from TV series like True Blood, The Vampire Diaries, Being Human, and Supernatural(the only one of these that I like, although I understand the appeal.) It has potential, but there are so many small things to hold it back.
Also the storyline maybe weird, but somehow it works and Hemlock Grove manages to get away with strange plot changes and introducing mysterious new characters without losing credibility.Lastly, the acting.
I've read the book as well, and all the main characters are portrayed really well in my opinion.When watching the show for the first time it feels like a bizarre dream, but when you're under its spell....
The second season was 10 times worst than the first as they try to have the actors verbalize and least twice everything that's going on because they think the views are to stupid to realize what is happening before their very eyes.
:| They gave us "House of Cards." and then they also gave us "Hemlock Groove." I now would only stick to TV series that are 8 and above in rating, something below that is always a disappointment.This show has untoward suspense, the storyline isn't all captivating and one who has an appetite for good shows will be bored in three episodes.
You'll watch show after show, thinking "well maybe the next one is better and something interesting actually happens." Terrible dialogue + horribly miscast characters + awful writing.....it all adds up to a disaster!.
I always wondered why Hemlock Grove never got the buzz that other Netflix originals received but now I know why it'll continue to go unnoticed.
I don't know how most Critics don't like this show.I have to disagree with a few reviews I have read, I believe it has some great suspense and build ups to the following episodes, always leaving me wanting more.On the outside it looks like one of those standard teen horror shows like True Blood or The Vampire Diaries but it's actually much more than that.
It's intelligently written and has a very mysterious storyline which sucks you in the more and more you find out.The actors are actually incredible, someone said that Bill Skarsgard was meant to be playing some bad boy character and shows it with chain smoking.
Straight away you realise this kid is meant to act like a bad boy for image at school and being part of a well known rich family but when you get to know him, he's actually quite down to earth and nice, just a bit of a weird one.
Horror, humour, suspense, mystery, a great story and likable characters (except for the female cop).I seriously hope a second season comes as this series is one of the most fun I've seen for a while..
There's definitely NO PROBLEM with the acting.I think I would love the story line if I was able to understand it completely.
(This review only covers the first season of the show:)I think the biggest problem this series has, is the same many other mystery series have: After a quick and interesting start and introduction of all important characters, the plot nearly stops and develops at a snails pace.
Intriguing the viewer with mystery might be what such a series needs to do, but (together with the slow plot) this made me look up information on an online wiki, in order to find out what exactly character X was supposed to be and how Y was supposed to work - with meager results.
The result is, that Hemlock Grove feels like it came from the "Lost"-school of writing, leaving the viewer with the impression, that the writers just made up stuff as they went along, without having any idea where the plot should go.
However, everyone needs to take into consideration;That this is only Netflix's third original series; of course It is not amazing, but I have to tell you not to be too Quick to judge, I can see this show going very far, if Allowed to have a second season.
Oh,And just to mention this; Hemlock Grove is addictive if you Take interest make sure you can make time to watch all of it in 1 or 2 sittings (: ENJOY !!!!.
For whatever reason it doesn't seem like Netflix has spent the money on advertising the way they have for "Orange Is The New Black" or "House of Cards" so it's up to us, fans of the series to spread the word.
If you like the supernatural/horror genre, don't waste time, watch Hemlock Grove..
re: Hemlock Grove, Netflix series.
Hemlock Grove only took two episodes for me to enjoy the series unlike a lot of other shows.
I want to see Hemlock Grove grow it cant end with a season 3 as its final.
The acting, the dialogue, the cinematography all seemed good, though, so I decided to watch the second episode - give it a second chance.The second episode toned down the imagery and symbolism quite a few notches and I got a much better hold on each of the characters.
I know a lot of people look to reviews before the wanna watch something(like me), but this series is a complete "watch it yourself".
The episodes are about 45 minutes, so you're going to need a bit of time laid out to watch this, but that's not a bad thing.
I think this saved me from going insane from ten 11-year old girls all day, every day.I have only watched the first season of this, and I can say that I do like it, but would not recommend for the faint of heart.
During that time the series is really just a teen soap-opera, with very limited character engagement.Things do kick up several notches in the final three episodes of Season 1, making the Season worthwhile in the end.
Never in the three seasons you get that milking feeling like with so many other series.
Hemlock Grove...good first episode.
First I'd like to say that Hemlock Grove is filled with excellent acting, here I refer to (especially) Bill Skarsgård (applause to Bill, coming from Sweden and performing a delightful American accent) and Landon Liborion.
The real story, and the real thing in the series first appear in the last couple of episodes, where I for the first time see some real flesh on this show.
(The reason I give the series 5 (arrow down) out of 10 stars, is the really good and strong acting (Skarsgård, Liborion), and the last couple of episodes, which I have to say made me want to see what happens next.
I've only seen season 1 watched all 13 episodes in about 5 days.So if you like dark programming and your not soft fire up the Netflix account and see the horrors that lie in Hemlock Grove!. |
tt0064100 | Bob & Carol & Ted & Alice | After a weekend of emotional honesty at an Esalen-style retreat, Los Angeles sophisticates Bob and Carol Sanders (played by Robert Culp and Natalie Wood) return to their life determined to embrace complete openness. They share their enthusiasm and excitement over their new-found philosophy with their more conservative friends Ted and Alice Henderson (Elliott Gould and Dyan Cannon), though their friends remain doubtful. Soon after, Bob, a filmmaker, has an affair with a young, blonde production assistant on a film shoot in San Francisco. He admits this to Carol after arriving home, describing the event as a purely physical act, not an emotional one. To Bob's surprise, Carol is completely accepting of this. Later, Carol gleefully reveals the affair to Ted and Alice as they are leaving a dinner party. Alice is particularly disturbed both by Bob's infidelity, as well as Carol's candor, becoming physically ill on the drive home. She and Ted have a hard time coping with the news in bed later that evening. However, as time passes, they grow to accept that Bob and Carol really are fine with the affair. Later, Ted admits to Bob that he was tempted to have an affair once, but never went through with it; Bob tells Ted he should, rationalizing: "You've got the guilt anyway. Don't waste it."
During another visit to San Francisco, Bob decides to skip a second encounter with the blonde woman, and instead returns home a day earlier than expected. When he arrives, he finds that Carol is having an affair of her own, with her tennis instructor. Although initially outraged, Bob quickly realizes that, like his own affair, the encounter was purely physical. Bob settles down, and even shares a drink and conversation with the tennis instructor.
When the two couples travel together to Las Vegas, Bob and Carol reveal Carol's affair to Ted and Alice. Ted then admits to an affair on a recent business trip to Miami. An outraged Alice demands that this new ethos be taken to its obvious conclusion: a mate-sharing foursome. Ted is reluctant, explaining that he loves Carol "like a sister," but eventually acknowledges that he finds her attractive. After discussing it, all four remove their clothes and climb into bed together. Swapping partners, Bob and Alice kiss fervently, as do Ted and Carol; however, after a few moments, all four simply stop.
The scene cuts to the couples walking to the elevator, riding it down, and walking out of the casino hand-in-hand with their original partners. A crowd of men and women of various cultures and races congregate in the casino parking lot, wherein the four main characters exchange long stares with each other and with strangers, reminiscent of the non-verbal communication shown in the early scene at the retreat. Over this final scene, the film's theme song reminds the viewer that "what the world needs now is love." As Bob and Carol and Ted and Alice look into each partner's eyes, the film fades to black. | pornographic, satire, home movie | train | wikipedia | Robert Culp is a strong counterpart to her as Bob. The more repressed couple, Eliott Gould and Dyan Cannon, are perfect.Along the way, they explore the boundaries of sexuality, monogamy and friendship, and realize that some lines are better left uncrossed.
The funny moments are priceless: the tennis instructor asking for a glass of Pernod, Dyan Cannon in the therepist's office--probably the funniest and most perceptive take on the "therepy experience" ever shown on film-- (along with Kirstie Alley's therapist melt-down scene in Woody Allen's"Deconstructing Harry"), the opening group therapy session in the beautifulCalifornia countryside, that first dinner in the restaurant with Bob and Carol and Ted and Alice all declaring their love for each other in front of the table of bemused gay diners--it is a film filled with endless, perceptive and highlyamusing details.
The 4 leads are terrific (Natalie Wood and Dyan Canon are beautiful, by the way, and Robert Culp hits just the right note with his "sensitive-new- age-guy" hip/naive performance) and you can see director Paul Mazursky's touch with what seems to be stretches of impromptu dialog I found true.The movie also does a great job of balancing drama with farce, superficiality with intimacy.The scenes at the Esalen-type retreat start at as spoof but evolve into real empathy.
Elliott Gould was never more befuddled, Dyan Cannon's best acting when she was gorgeous, Robert Culp's only decent movie, and Natalie Wood was born to play Carol.Certainly a 9 out 10!
Having visited a therapy group, Bob and Carol Sanders (Robert Culp and Natalie Wood) have become more open about their sexuality, and are identifying more with the counterculture in general.
As for the characters, Bob seems sort of wooden, Carol is hot (as Natalie Wood always was), Ted is a dork, and Alice is a little eccentric.
The pay-off, it seems to me, is in the fact that at the moment when the enthusiastic couple and the reluctant couple submit to the full and unfettered concept of free love, they finally realize the truth that no matter how much love and social freedom they feel towards their dearest friends, there are still some areas of human experience that are best kept private and intimate.So, rather charmingly, they decide that however hip they seem and wish to appear, deep down they are as old fashioned as you and me !Malcolm McDougall - ( child of the sixties ).
However, I was compelled to keep watching the film to see what would be the result of their "experiment" The film did have some funny moments such as Elliot Gould fantasizing about a marital affair and Dyan Cannon at the shrink.I give the film credit since I could not figure out what the ending would be like and was somewhat surprised by it when it happened.
Overall, an OK film in my opinion.Side Note: Natalie Wood and Dyan Cannon look pretty hot in this movie so if your a male like myself and always found these woman attractive, its a must rental !.
Two married couples (Bob: Robert Culp, Carol: Natalie Wood, Ted: Elliott Gould, Alice: Dyan Cannon) feel as though true excitement is missing from their marriages and so they decide to pick things up by wife swapping and having drug parties.
So I got through those two major scenes, sans sound this time, and once it picked up from the restaurant and I turned the sound up, I have to admit...I began getting caught up in it.The going back and forth between the four was entertaining and as someone said in another comment, a good portion of this is simply the great acting and the dialogue, the verbal exchanges and parrying back and forth as Bob and Carol discover things about one another, and work to whittle away at Ted and Alice about the possibilities inherent in emotion-free sexual dalliances.Cannon's character is pivotal in a lot of this, as the outraged friend of Carol.
As everyone rejuvenates their sexual thinking and behavior, other problems rear their ugly heads, and the four realize only love is needed to revitalize a marriage.It's pretty gutsy material for the time, and I'm fairly sure you wouldn't see a film this brave come from a major studio with big-name stars today.
When Bob (Robert Culp) returns home to find wife Carol (Natalie Wood) entertaining a gentleman in their bedroom, he's outraged--forgetting that he himself just disclosed having an affair not too long back.
I was surprised to see this movie on DVD when I was in the store a few days ago, but I didn't see anything else that I really wanted to watch, and was naturally curious about it, so I rented it.While far from being a bad movie, "Bob and Carol and Ted and Alice" is certainly not what I would consider a good movie.
"Bob and Carol and Ted and Alice" tells the story of a middle-aged couple who were caught up in the liberated attitudes of the time, for a brief period at least.
Anyone who looks at these two movies side-by-side will surely agree that "Bob and Carol and Ted and Alice", while moderately amusing when it was current, has no lasting value..
The comedy "Bob & Carol & Ted & Alice" is the type of movie that aged badly.
Bob & Carol Get in Bed with Alice & Ted. In Southern California, documentary filmmaker Robert Culp (as Bob Sanders) and his beautiful wife Natalie Wood (as Carol) participate in group sensitivity for research.
Wood and Culp share sexual feelings with each other and best friends Elliott Gould and Dyan Cannon (as Ted and Alice Henderson) come into the bed...Though considered by many to be very 1960s, sessions like the one in the opening are used today to "bond" workers in new employment situations; however, the cigarette smokers and topless women are not in evidence.
Most obviously, Natalie Wood is sexy and stupendous.******* Bob & Carol & Ted & Alice (9/17/69) Paul Mazursky ~ Natalie Wood, Robert Culp, Elliott Gould, Dyan Cannon.
He cleverly uses the "Hallelujah" chorus of Handel's "Messiah" to open the film as documentary filmmaker Bob Sanders and his wife Carol drive through the canyons outside LA to an Esalen-like couples' retreat where narcissism runs rampant with participants encouraged to express how they "feel" through group hugs, crying, mutual staring, even pillow punching.The experience transforms Bob and Carol into a touchy-feely couple so intent on being completely honest with each other that they accept each other's acts of adultery.
Through it all, the four principal actors give sharp performances that wisely leave the motivations for their characters ambiguous enough for the audience to draw their own conclusions.Coming off his hit TV series "I Spy", Robert Culp effectively plays Bob as a hippie-wannabe closing in on middle age and recognizing an innate need to give in to the new moral order to belong.
". Capturing the sexual revolution of the late sixties, this comedy presents two married couples, free-thinking and ready (or so they think) for an open marriage Bob (Robert Culp) and Carol (Natalie Wood) and their best friends, a more traditional couple, Ted (Elliot Gould) and Alice (Dyan Cannon).
Debut splashes, Paul Mazursky's BOB & CAROL & TED & ALICE is a biting satire channels the experiment of "openness" in human correlations through its epoch's sex liberation ethos.
The four protagonists are two married couples who are each other's closest friends, Bob (Culp) and Carol (Wood) Sanders, Ted (Gould) and Alice (Cannon) Henderson.In its opening aerial shots, a preamble shows Bob and Carol attending a group therapy (denoted by nudism and t'aichi) during a weekend getaway and culminating in the mutual opening of their true feelings towards each other.
Appended their experiment with a sober coda in concert with the rousing anthem WHAT THE WORLD NEEDS NOW IS LOVE, penned by Hal David and Burt Bacharach, sung by Jackie DeShannon, Mazursky's relationship, friendship dissecting film ultimately extracts a prudent message, whereas libido often culminates in an ephemeral thrill, there are many things in our live are (way) more important than sex, keeping a sane mind when you are pursuing your carnal desire.
But seeing it today in the 21st century and knowing that there is as far as I know NO Movies today that even come close to approaching the examination of marriage/love/friendship that Bob Carol Ted and Alice does I feel like I've accidentally stumbled on a forgotten gem.
Paul Mazursky's Bob & Carol & Ted & Alice is a devilishly funny but wickedly thoughtful and contemplative film that shows a time period in America when what happened in the bedroom between a man and a woman didn't stay in the bedroom between a man and a woman.
Bob & Carol & Ted & Alice was made in 1969, right on the teetering edge of the hippie movement and during the "free love" movement, where marriage was seen as a restraint on ones well-being and pocketbook and the state had no business in dealing with it.
The couples are Bob and Carol Sanders (Robert Culp and Natalie Wood), a trendier, more liberal couple, while Ted and Alice Henderson (Elliott Gould and Dyan Cannon) are your more straight-shooting, square couple, highly indicative of the parents of sexually promiscuous teens in the 1960's and 1970's trying to understand their teenage sons and daughters.Bob and Carol spend a weekend at a couples retreat, one of those camps that allows for emotional honesty between married people to flow and allow for deeper feelings and emotions to penetrate one another.
Carol accepts this about as well as a wife could, believing Bob, admiring his honesty, and carrying on her own way, even casually revealing it to their best friends Ted and Alice, who are appalled at the thought.
In this conversation, Mazursky leaves the camera turned on the couple for a long period of time, listening to the conversation, hearing what both has to say, and leaving us with a lot to contemplate by the end of talk, whether we're single or married.These kinds of dialogs that go on for a while and leave the view in a self-contemplative state are fiercely common in Bob & Carol & Ted & Alice, including the nudging idea of "is it possible for a couple to be married for a lifetime and not have sexual feelings for another women, be them expressed or regressed?" Throughout his career, Mazursky has been interested in character, marriages, the arguments and debates that a husband and wife have, but most importantly, relationships.
We have the unbelievably gorgeous and beautifully mannered Natalie Wood in a role that requires impeccable conviction and plausibility, given the tender nature, Robert Culp in an equally uncomfortable but rewarding role, with Elliott Gould and Dyan Cannon assuming the role of the uppity parents trying to comprehend this "sexual openness" these couples speak of.
To show that these questions are still very much alive and the idea of sexual openness is still one discussed today, the modern-day film equivalent to Bob & Carol & Ted & Alice is Joe Swanberg's Drinking Buddies, a film that clearly is influenced by Mazursky's film right down to its poster.
The 'enlightment' meeting that Bob and Carol (played by Robert Culp and Natalie Wood) attended with many other couples about tell what they really feel about each other was something that every writer wanted to write: those dialogs, those almost dreamy situations, and how this one particular scene moved the whole film into the concept of this two couples who are willing to tell how they feel about themselves, sex, drugs, cheating, new partners and all the things around them.
"Bob & Carol & Ted & Alice" was groundbreaking in the 1960's because took films and society into another level by showing that societies shouldn't be so sexually repressed, so puritan and so critical of what happens behind four walls.
"Bob & Carol & Ted & Alice" really makes you think and feel something unique.
Robert Culp and a stunning Natalie Wood play a vapid couple who stay at a free love retreat and then implement what they learned in their own marriage, both having affairs and coming out stronger on the other side of them.
Their friends Ted and Alice Anderson (Elliott Gould and Dyan Cannon) are the exact opposites of Bob and Carol.
In my consumer guide mode, I should first mention one very simple way to tell whether you might like Bob & Carol & Ted & Alice--do you like films that are almost all dialogue?
I was especially impressed with Elliott Gould, partially because I haven't always liked him in other films.Bob & Carol & Ted & Alice deals with normal, middle class couples in the late 1960s who are trying to deal with and adapt to cultural spillover from the then-popular hippie movement.
When they get back home, they introduce their new approach to life and interpersonal communications to best friends Ted (Gould) and Alice (Dyan Cannon), who think that Bob and Carol have gone a bit looney.
Bob & Carol & Ted & Alice then becomes primarily an exploration of how average middle class folks deal with attempts to incorporate hippie sexual liberation beliefs into their lives.It's a great idea, handled with aplomb by writer-director Paul Mazursky and co-writer Larry Tucker.
All the way through it seemed to be a celebration of the sexually free-wheeling 60's, with Bob and Carol essentially enjoying an open marriage - not only having affairs but telling each other about them and sometimes even meeting each other's lovers - and basically trying to convince Ted and Alice to join them in this lifestyle of freedom.
I also loved the beginning of the movie with the encounter session which was absolutely hilarious.Robert Culp & Natalie Wood & Elliott Gould & Diane Cannon as the respective title characters were fantastic all the way through, and their performances made an interesting story even better.
Bob and Carol and Ted and Alice are not emotionally capable of an orgy, and they end up giving in and accepting the fact that there is such a thing as a monogamous relationship.
The tides turn as the honesty leads them to decide to switch partners, Wood ending up with Cannon's husband (a very droll Elliot Gould) and Culp preparing to make love with his best friend's wife, all in a rather tiny bed.So you can say that this is not as wild as it looks, supposedly happily married couples getting together and seeing if they can be as swinging as the world has been trying to tell them that it's OK to be.
Group or open sexuality, for the uninitiated straight first-time "vanilla" male, particularly in the same room/bed with another male, can be a very stressful situation.Simply put: Despite the appeal and willingness of Carol & Alice, neither Bob or Ted, in their situational anxiety, were able to "get it up".
After a weekend of emotionally charged encounter sessions at an Esalen- like retreat known as "The Institute," L.A.-based documentary filmmaker Bob Sanders (Robert Culp) and his wife Carol (Natalie Wood) become zealous acolytes of the late-Sixties, hippie-inspired cult of expressive individualism: an apolitical ideology of bourgeois hedonism that sanctifies joyful spontaneity, uninhibited candor, and guilt-free (extramarital) sex as the sine qua non of a fulfilling life.
As for Bob and Carol's best friends—Ted (Elliott Gould) and Alice (Dyan Cannon)—this New Age ethos strikes them as suspiciously naive and self-indulgent until Ted succumbs to his own opportunity to cheat while on a trip to Miami.
The other interesting moment was when Alice and Ted are going to bed and just found out about Bob's infidelity and how disgusted they are that Carol has accepted it.
The end result was that I did see it through different eyes but it didn't make the film that much better.Ted Sanders (Robert Culp) is a documentary film makers who goes to an Esalen-type retreat with his wife Carol (Natalie Wood) thinking that perhaps there is a film to be made about the place.
At a 24 hour session Bob and Carol open up to the group and to one another and find a peace in their ability to be completely honest with everyone.They return home and later go to dinner with their friends Ted (Elliott Gould) and Alice (Dyan Cannon), a conservative couple they're best friends with.
Two Los Angeles professional couples are Bob (Robert Culp) and Carol (Natalie Wood in a surprising role) and Ted (Elliott Gould) and Dyan Cannon (Alice) who spend the entire movie discussing sexuality and monogamy.
The film Bob & Carol & Ted & Alice describes two married couples, who experiment with sexual attitudes, and finally end up together in bed for an orgy.
Watching today, almost a half century after it was made, the movie comes across like a parody of the Sixties with it's free love and preoccupation with the sexual revolution.
It also features Robert Culp wearing all of the most pretentious looking clothes one might have appropriated to impress like minded hedonists - Nehru jacket, frilly shirt, love beads and whistle - the kind of outerwear that I, even as a teenager at the time, fully regarded as a complete turn off.The best scene for me had Ted (Elliott Gould) trying to make love to his wife Alice (Dyan Cannon) right after learning their friend Bob (Culp) had a fling in San Francisco, with wife Carol (Natalie Wood) being so understanding about it.
Release a film like "Bob and Carol and Ted and Alice" today and it would feel tawdry and tasteless.
Release it in the 1960s, though, and it'll fizzle with a certain authenticity.Directed by Paul Mazursky, who famously starred in Stanley Kubrick's "Fear and Desire", "Bob and Carol and Ted and Alice" stars Robert Culp and the always beautiful Natalie Wood as Bob and Carol, a married couple who find themselves at a New Age retreat. |
tt0248185 | Mission Kashmir | Inayat Khan (Sanjay Dutt) is the Senior Superintendent of Police responsible for the security of Srinagar, Kashmir. One day, his young son Irfaan (Yogin Soni) meets with an accident and is taken to a hospital. Unfortunately, due to a fatwa instigated by the leader of a terrorist group forbidding doctors to treat policemen, the doctors refuse to treat Irfaan. Khan angrily threatens to kill the doctors if they don't treat his son, but they still refuse, saying they are willing to die rather than letting their families be killed by the terrorist group. As a result, Irfaan dies, and Khan personally swears to put an end to the threat of the terrorist group. After finding out that the group of terrorists is taking refuge in the village of Dalgate, Khan and his men manage to attack and kill the criminals. Unfortunately, a family is caught in the crossfire, and they are killed as well. A young boy named Altaaf (Mohsin Memon) is the only family member who survives the shooting. He is severely traumatized by seeing his parents and sister dying in front of his eyes and is haunted by the memory of the masked policeman who shot at his family: that police officer is Khan. Altaaf falls unconscious and is jailed by Khan's men, much to Khan's anger, who then berates his officers for placing young Altaaf in jail. Khan's wife Neelima (Sonali Kulkarni), having just lost Irfaan and feeling sorry for Altaaf, attempts to persuade Khan to let them adopt the boy. Khan, despite his fear that Altaaf may one day discover the truth and get revenge for it, reluctantly agrees, feeling extremely remorseful for killing Altaaf's family.
Just when Altaaf seemed to have settled down in his new home and accepted Khan and Neelima as his new parents, he finds Khan's mask and realizes that Khan was one of the policemen who killed his family. After an unsuccessful attempt on Khan's life, the angry young Altaaf runs away and is found and brought up by a terrorist group led by their Pathan leader Hilal Kohistani (Jackie Shroff), who brainwashes him into thinking that he and his men act according to made up Islamic principles and trains him to become a terrorist. Ten years later, Hilal and an adult Altaaf (Hrithik Roshan) are assigned the task of completing "Mission Kashmir," a plan of an unnamed terrorist sponsor that involves — or so Altaaf is told — killing the Indian prime minister. Hilal uses Altaaf's hatred as a means to achieve his own goals, all the while encouraging Altaaf to target Khan (who is now an Inspector General) for his family's death. Altaaf visits his childhood friend and TV personality Sufiya Parvez (Preity Zinta) and, though he falls in love with her and helps her, he still uses her to try and make Hilal's plans (of blowing up the local TV tower of Srinagar on Khan's birthday) successful. He makes another unsuccessful attempt on Khan's life and, in the process, Khan recognizes him and begins trying to track him down, much to Neelima's discomfort, resulting in a fallout between Khan and Neelima. At the same time, Sufiya learns of Altaaf's occupation as a militant, and breaks off her relationship with him, despite knowing that his family tragedy has caused him to go that way. On the same date Atlaaf's family was murdered, Altaaf makes another attempt on Khan by having three of Hilal's men plant a bomb in Khan's briefcase. Unfortunately, this time, Neelima falls victim to it by accident, much to the distraught of both Khan and Altaaf, with the former being unable to apologize for his argument with her and the latter screaming in remorseful agony for killing her.
Eventually, Khan manages to invade one of Hilal's men's hideouts and discovers evidence and information about Mission Kashmir. After going through some cassette tapes with the help of Sufiya, he realizes that Mission Kashmir has nothing to do with taking down the Prime Minister at all: instead, the true goal of Mission Kashmir is to launch missiles on the local Muslim mosque and the local Hindu temple to escalate Hindu-Muslim conflict across the subcontinent, thereby dividing Kashmir and turning it into a war zone. It also turns out that the attack on the TV tower was planned to spread the rumor of murdering the Prime Minister to cover up the terrorists' true goal. Hilal deliberately does not tell Altaaf what Mission Kashmir really is, knowing that Altaaf would not support it and would try to stop it; this is evident when Atlaaf leaves to the swampy hideouts to prepare for the launches, Hilal secretly tells one of his men to keep an eye on Atlaaf, ordering his death if he doesn't consent over the true targets. By staging a fire in the jail that allows one of the bomb-briefcase men to escape, Khan and his men manage to track down and capture Hilal, but they are distraught to hear that Altaaf and the other terrorists have left to launch the missiles, something which neither the police nor the army can take action against, as they still don't have any idea or time to find out where the missiles will be launched. Deciding to play wise on this, Khan offers to make a deal with Hilal: going under the false pretense of allowing Hilal and his men to continue forward with Mission Kashmir in exchange for Altaaf, whom Khan swore to kill. He secretly lies to Hilal that he is more occupied with revenge for Neelima's death rather than doing his job of serving his country. Seeing that Khan's 'hatred' of Altaaf is worthy of a Pathan's duty, Hilal accepts the deal, and to ensure no other mistake will be made, Khan goes alone with Hilal to the missile hideouts.
As Hilal and Khan reach the swamps, Hilal tells Altaaf of Khan's whereabouts. At that point, an enraged Altaaf starts attacking a weary Khan to exact revenge for his family's murder. While doing so, Khan reveals to him the true goals of Mission Kashmir, stating that Kashmir will be turned into a hell. Having had enough of listening to him, Altaaf attempts to shoot Khan in the head. Khan, expressing his dear love for Altaaf and remorse for killing his family, is willing to accept his fate, but begs Altaaf to stop Hilal and his plans. As Altaaf struggles to do it, he then remembers that he once knew about the shrines Neelima took him to and the comment Neelima said about choosing sides during her visit earlier. Unwilling to betray his mother, Atlaaf decides to put his plan of revenge aside and aids Khan into stopping Hilal and his men from targeting the holy shrines. Just as things are about to end, Hilal throws a bomb to distract them before getting shot to death by Altaaf, giving Hilal's men a chance to prepare to blow up the shrines, much to Altaaf's shock. While Khan fights back by shooting several terrorists to death, Altaaf redeems himself by taking possession of a missile launcher and using it to destroy the other launchers and kill the remaining terrorists, thus saving the shrines. Eventually, Altaaf gets shot in the torso, and he falls into the swamps. Khan then jumps in and safely brings the unconscious Altaaf to the shore, evading the explosion of the hideouts caused by Altaaf's act of redemption.
The plans of Mission Kashmir are revealed to the public by the media, and the terrorist sponsor's hideout is found by Kashmiri police, who shoot the sponsor offscreen as he tries to get away after killing two of his associates. Altaaf wakes up from a pleasant dream based on one of the pictures he drew as a child in Khan's house, where he reconciles with Sufiya and forgives Khan, accepting him as his father again after 10 years. | revenge, murder, violence | train | wikipedia | Undoubtedly, this is a very good film from one of our top directors, but Chopra's choice of story to complement the magnificence of every other aspect of his movie, brings the film down a few rungs from Classic status.So first the down-side.
The tale commences with Inspector Inayat Khan (Sanjay Dutt) and his wife, Neelima (Sonali Kulkarni) living in eternal bliss amongst the beauty of the disputed territory.
Altaf (a young Hrithik Roshan), is orphaned and traumatized in the police act, and Neelima insists Inayat and she adopt the young child to fill the void in their own lives.
He joins forces with Hilal Kohistani (Jackie Shroff), a materialistically minded terrorist, who will help the bachcha in exchange for Altaf spear-heading Hilal's treaturous Mission Kashmir, a plan to enable Kashmir become an Independent State.
(Yes, terrorism is undoubtedly a problem in the region, but other recent directors have already tackled this topic numerous times in Roja, Maachis, Dil Se, Hu Tu Tu and most recently, Fiza.) So if you can forgive the familiar story-line, you're in for a major treat elsewhere.
Of course, Binod Pradhan's cinematography of each and every breath-taking crevice of Kashmir helps demonstrate how we South East Asians are destroying one of God's greatest gifts to mankind.The editing is sharp and quick in The Matrix-inspired action sequences, yet soft and transitory in the more dramatic and emotional moments of the movie.
(The dances are unique, though I will admit I found some of them a bit too unusual to my naive tastes.) Shankar-Ehsaan and Loy know how important it is to use musical background themes to enhance a scene's mood and punctuate the dialogues.Performances too, are first rate.
(Here's an actor who has learned that it is never too late to defy convention and type-casting in his acting career.) Hrithik is raw and effective, excelling most in the action sequences (but most will notice how this role is almost an extension of his angry young man act from the recent Fiza.) Preity Zinta is gorgeous and disarming as always with her natural effervesence in the supporting role of Altaf's childhood love, Sufiya Parvez.
...This movie is not a stereotype bollywood movie,its a mixture of an art movie & a commercial movie,a battle between love & hatred...MK is a DIFFERENT BRICK IN THE WALL..Technically, the film is on par with any Hollywood film with a bombastic climax....It truly gives a picture of the beauty of kashmir & its culture.I know some people feel it has not done that well despite huge commercial expectations at the box office..
but it turned out to be an international blockbuster, ranking among the top 50 rentals in the US and dubbed into most major languages around the world.Mission Kashmir is not an ordinary movie,even Hollywood can feel ashamed in front of such an extraordinary masterpiece with cutting-edge cinematic techniques and state-of-the-art sound direction.
,it is easily one of the finest Hindi films ever with flawless direction, mesmerizing locations, pleasant music,hi-fi special effects and some stunning performances by almost everyone in the cast, this really makes for a great movie experience.Vidhu Vinod Chopra captures the essence of Kashmir so beautifully that by the end of the movie you actually start feeling proud to have such a heavenly place in your country.The movies raises a hope that after all the mishaps that's going in kashmir, there will be peace.
This end sequence would have been less than seen without that great artwork (Old and almost ruined wooden house with lifelike cobwebs and not to forget the swamps),.....excellent cinematography,innovative camera work,beautiful sets and awesome action sequences(one of the best in world cinema)makes this movie an unforgettable classic.The location in the climax shot at the dal lake was mind-blowing,the scene in which the lotus sub-merged was a true portrayal of kashmir under terrorism.Its a realistic movie dealing with terrorism,the weak point is confusing story line if you don't follow it properly & secondly some songs were not required to be there during some parts of the movie.Hrithik was awesome in the movie so as Sanjay and every other actor,Jackie Shroff who was once tortured by the Soviets in Afghanistan now runs a jihad against India funded by two shadowy agents and, behind them an equally shadowy Osama bin Laden look-alike.
Indians should learn to praise such a gem movie instead of copying Hollywood flicks.Mission Kashmir is a masterpiece which can not be made again and again,if it would have been an American movie,it would have surely won the Oscar.Vidhu Vinod Chopra has made a cracker of a film, weaving together an intelligent and responsible film, blending and balancing big action with emotion and feeling, almost perfectly.
MK is not just about bombs ,missiles & guns,it also has flowers,beautiful shikaras,excellent music,religion,innocence,love & romance.If you are a typical masala movie lover,this one is not for you but if you have the creativity and an artistic eye this one is a must watch for you....!
When I saw KHAMOSH, also directed by Vidhu Vinod Chopra, I thought it was the worst movie ever.
Inayat Khan (Sanjay Dutt) is a Kashmiri cop whose son falls from a second-story window by accident.
He attempts to murder his foster father and runs away.Years later, an ex-Mujahiddin Pathan radical terrorist named Hilal (brilliantly portrayed by Jackie Shroff) is in search of a brave soldier to help him in his jihad and in a top secret mission code-named Mission Kashmir.
Who else does he pick, but his "baccha" (child) Altaaf (Hrithik Roshan)?Along the way, we meet the beautiful and playful TV reporter Sufiya Pervez (Preity Zinta).MISSION KASHMIR is no ordinary action movie.
The special effects of MISSION KASHMIR are extraordinary and the music and songs are the best I've seen in years.
One can take a look at his eyes and realize that this man is a fanatic.If MISSION KASHMIR were an American film, it would receive the Academy Award for Best Picture, Best Actor (Hrithik Roshan), Best Actress (Preity Zinta), Best Director (Vidhu Vinod Chopra), Best Supporting Actor (Jackie Shroff), Best Supporting Actress (Sonali Kulkarni), Best Music, and Best Special Effects.Simply an outstanding film.9.5 out of 10.
It is simply a masterpiece on Kashmir's terrorism problem....the indians should feel proud of such movies which give a completely different and awesome cinematic experience.The cinematography is simply superb,action sequences are amazing,emotional touch is realistic n acting is natural.......the music is soothing,...the only prob with the movie is that some songs were not needed but since its a bollywood movie,songs needed to be there for commercial values.....if this movie was made for US viewers it definitely should have got Oscar........
Mission KASHMIR is simply a masterpiece in Indian film history..!.
The story of MK is about a Altaf, a small boy orphaned by masked police men headed by a dedicated officer, Inayat Khan (Sanjay Dutt) when they kill Altaf's defenceless family during a firefight with militants.
Altaf is brought up by famed guerilla fighter Hilal Kohistani (Jackie Shroff) and returns to the beautiful valleys of Kashmir 10 years later to perform the top secret 'Mission Kashmir'.What makes this is a great film to watch is its technical brilliance and good performances by its actors.
Sanjay Dutt has given an outstanding performance in the film, supported well by Hrithik Roshan, Jackie Shroff and Sonali Kulkarni.
Sanjay Dutt proves his versatility with this film and so does Hrithik Roshan.
Sonali Kulkarni, in her cameo role, has done a pretty good job, stressing the fact that if there are good roles in Hindi films, you can expect good performances.
The action scenes are the one of the best I have seen in Hindi films and the film is technically sound.
Parinda, Khamosh and 1942: A Love Story) Vidhu Vinod Chopra does a great job once again.Overall, this film is a welcome break from other Hindi action films.
Although it did not do as well as expected at the box-office, I believe "Mission Kashmir" is worth watching!.
It's an impressive and enjoyable movie set in the valley of Kashmir and once again dealing with the ceaseless conflicts between India and Pakistan.
The story follows a young boy named Altaaf who is adopted by Inayat Khan, a police officer who unintentionally killed his entire family while trying to eliminate terrorists right after the death of his son.
Finding refuge in a terrorist group led by Hilal Kohistani, Altaaf grows up to be a deeply tormented and angry young man who decisively wants to kill the man who killed his family and whom he himself considered to be his own father.Mission Kashmir shows how crucially tragic events happening at times of a war affect the lives of children and their perception of life, all through the character of Altaaf.
Well, the movie still could rise above these flaws with its technical brilliance and interesting story, and above all, many great scenes.
Hrithik Roshan is wonderful in some scenes and over-expressive in others, but overall is well cast in the role of a tormented young man, which he plays with sincerity and style.
To sum it up, Mission Kashmir is one entertaining and well made film which, in spite of its flaws here and there, manages to move and impress.
Vidhu Vinod Chopra's direction is very good, and so is the film's message.
It has great performances of Sanjay Dutt, Hrithik Roshan and Jackie Shroff...
Great visuals as u have in all VVC (Vidhu Vinod Chopra) films...
The end sequence, the fight between Hrithik Roshan and Sanjay Dutt...
Surely one of the best movies made on Kashmir after "Roja".
He looks good, he dances well, and yes he can act as well (surprised, well....trust me its true!!!!)......apart from him, I think Sanjay Dutt has given the performance of his life.
(Then again, Jackie always steals the scenery in Vinod's films.) But, the real surprise package of the movie is Sonali Kulkarni.
I don't know if this was her first movie or not, but it surely was the first time I saw this amazing talent act on the big screen.
(9.5 out of 10) "...a great film dealing with terrorism in Kashmir; a complete family entertainer...".
"Mission Kashmir" is a film that is sure to entertain and make it to the top of the charts!
Hrithik Roshan early in his career proved that KNPH was not a fluke..Awesome performance...Movie tells a story of how messy is Kashmir issue and best part of the movie is the cinematography ..
Music is superb too.Performance-Sanjay Dutts best role till date after Vaastav..Preity Zinta was good too .But the man himself Hrithik Roshan is simply brilliant.The movie released at a time were Dulhan hum Le Jayenge ,Kuch Kuch Hota Hai ,Mohabbatein were the genre that people preferred ,but this movie remains superb in comparison to even to days 200 Cr films..Highly recommended...
I decided to continue my phase of watching Bollywood movies which I have not seen in a while and I stumbled upon Mission Kashmir , although I try to avoid very sensitive subjects regarding this the issue of Kashmir and the way Bollywood has a reputation for portraying Muslims these days I had decided to put these views to one side and view this movie and to my surprise it was nothing what I had expected it to.
The movie also wasted no time in getting under way with plenty of twist and turns and some good dialogue and truly some moving scenes and not to mention the fact that it was beautifully shot giving us the flora and fauna of Kashmir and the grim , ugly depiction of war.
The acting from nearly everyone was up to scratch including Hitrik Roshan who I felt was a little cheesy and mousy at times but he carried him-self well, my only complaints were that the songs in this one were a little too long and that caused the film to drift a bit and I felt the Islamic terrorists were well again a little tooo clichéd as if Bollywood has been watching Hollywood a too much.
And I think the movie is a true neutral view of the Kashmir Situation.Good job!.
Its use of cutting-edge cinematic techniques and state-of-the-art sound direction marked the arrival of Vinod as a fully international-caliber feature film director.
This is the best Indian movie on terrorism in decades...the IMDb employee don't understand the power of this cinematic masterpiece,that is why so less points for this movie,it should be easily more than 8.0......I am amazed that a total cheesy movie like Khakee has 7.4 in IMDb but not Mission Kashmir..
with flawless direction, mesmerizing locations, pleasant music and some stunning performances by almost everyone in the cast, this really makes for a great movie experience.
Sunjay Dutt's role as IG Inayat Khan is one of the best performances of his career.
Vidhu Vinod Chopra captures the essence of Kashmir so beautifully that by the end of the movie you actually start feeling proud to have such a heavenly place in your country.
the story revolves around a boy(hrithik roshan), whose family was killed in a terrorist encounter by the IG of the state(sunjay dutt).
It turns out it is about a man's personal journey through life, and how he dealt with the murder of his mom and dad.Hrithik Roshan was outstanding from the start, and this film was different than any ones that he has done.
The climax was shot on Dal lake and it is simply stunning, one of the best cinematography I have seen in world cinema, it often happen that we don't give much credit to movies made outside Hollywood in this regard but by watching movies like this one realizes how wrong is that.
Mission Kashmir is a brilliant movie on terrorism & its influence on lives..
I think Vidhu's other work is pretty overrated and Mission Kashmir is actually very underrated!
But over the years I have come to appreciate the real essence of the movie, and that is the one and only Sanjay Dutt!
No one could have pulled off the character of Inayat Khan as well as he did!This movie is amazing and deserves a lot more credit then it gets.
Sanjay Dutt's acting in it is terrific, his performance in this movie always moves me to tears.
The character is portrayed brilliantly, and even though Sanjay Dutt did win some awards for it, I do not think this movie and his acting in it got it's credit.
Beautifully shot, technically brilliant, way ahead of any bollywood commercial release of the time when cheesy, done to death, over-dramatic, content less movies like Mohabbatein used to rule the box office.
Mission Kashmir was the third highest grossing movie of the year 2000 but the best in terms of content.
Music was great and Vidhu Vinod Chopra's direction was superb..
"Mission Kashmir" is Hrithik Roshan's third film, and, as far as I'm concerned, his worst so far.
His performance is good, but one can not avoid to compare it to his Amaan in "Fiza", and the comparison is not favourable for "Mission Kashmir".
0? Massively unrealistic ending - plot and character development - non-existent and it's the first Bollywood/Hindi movie I've ever seen when I fast-forwarded through all but one of the songs.
Rent Yaadein if you want to see a great film w/ Jackie Shroff and Hrithik Roshan.
India has had 60 years to ponder about Kashmir and director Chopra has not handled the in-depth part but has gone for the modern Hollywood ethic of getting a hit that makes money.
Mission Kashmiri proved weakest on that important message, and so remains a superb action film to be seen for the other reasons so well noted by your reviewers..
Minor SpoilersIn Kashmir, Inayat Khan (Sanjay Dutt) is the supervisor of the police, married with the Hindu Neelima (Sonali Kulkarni) and having the beloved son Irfaan (Master Yogin Soni).
Ten years later, Altaaf (Hrithik Roshan) becomes a terrorist, raised by the Afghan killer Hilal Kohistani (Jackie Shroff), and comes back with an assignment against Kashmir and a personal vendetta against his former father and presently Inspector Khan.
Although having a production of films greater than in Hollywood, movies from Indian 'Bollywood' are not common in Brazil.
I agree with the comment of another user, who wrote that if 'Mission Kashmir' were an American movie, would be indicated (and even awarded) in many categories of Oscar.
Mission Kashmir is one of my favorite movies!When Altaaf, 11 years old, stays orphan after a violent attack to his house,he is adopted by Inayat Khan, a generous official and for his dear wife Neelima, whose only son died in a tragic accident.Everything is going well,until Altaaf discovers that the man he calls ''dad'' is also the boss of the special group that tragically killed his family.Angry,Altaaf runs away from home ,and grows under Hilal Kohistani cares.
:-( Anyways, the film revolves around man, SSP Inayat Khan (played by Sanjay Dutt), whose son falls out of a window while under the watch of his wife (played by Sonali Kurkani) and is seriously injured, frantically they both try to save the boy's life by looking for a doctor all through the city but none can be found and those they did actually find were unwilling to operate on the child due to a gag that has been imposed on them by a terrorist leader (played by Jackie Schroff).
Vidhu Vinod Chopra is one of the best filmmakers we have, Mission Kashmir was a Diwali Release alongwith Mohabbatein and Hrithik who was a heartthrob after KNPH was released though FIZA didn't get much attraction.
Mission kashmir is again like Fiza A terrorism film but treated differently The film starts well with Sanju loosing his son and running pilar post, Jn Hrithik shooting Sanjay Dutt and then after 10 years the older Hrithik shooting him in the office are brilliantly handled, Jackie's introduction is well handled, though the terrorism angle could be more elaborate. |
tt1077262 | Ajami | The film contains five story lines, each of which is presented in a non-chronological fashion. Some events are shown multiple times from varying perspectives. A young Israeli Arab boy, Nasri, who lives in the Ajami neighborhood of Jaffa, narrates the film.
In the first story, Nasri's neighbor—a teenage boy—is shot to death by a well-known Bedouin clan in a drive-by shooting while working on his car. Nasri explains that the intended target was his older brother Omar, who had previously sold the car to the neighbor. The botched hit was revenge for a loss of one of Bedouin clan members, who was shot and paralyzed by Nasri's uncle in a dispute. Nasri and his younger sister are sent to Jerusalem, while Omar, his mother, and grandfather stay behind. Fearing for his family's safety, Omar seeks protection and guidance from Abu Elias, an affluent restaurant owner, and well known and respected member of the Jaffa community. Abu Elias arranges for a three-day ceasefire, and hires a lawyer to represent Omar in tribal court. During this time, Nasri and his sister return home. At the conclusion of the court session, the judge declares that Omar must pay tens of thousands of dinars—the equivalent of tens of thousands of US dollars—so peace can be restored. Omar is given three weeks to make good on his payment. Omar and his friend Shaata attempt petty crime in order to come up with the finances, but are unsuccessful at bringing in enough money. Omar's mother attempts to persuade him to escape with the family, but Omar refuses to leave, believing that there is no place to run to.
The second story introduces a young teenaged boy named Malek who lives in the Palestinian territory of Nablus. Malek is illegally employed in Abu Elias's restaurant, and works out of desperation to make enough money for his ailing mother's bone marrow transplant surgery. Malek is friends with Omar, who has also become a recent employee at the restaurant. It is also revealed that Omar, a Muslim, is in love with Abu Elias's daughter Hadir, a Christian. Abu Elias, once discovering the secret couple later in the film by catching them in the surreptitious act of flirtation, does not approve of their relationship, and angrily fires Omar, warning him to stay away from his daughter.
The third story shows a brief, but violent encounter between an older Jewish man and his three young drug dealing Arab neighbors. The dispute begins when the Jewish man complains to the young men that he has not been able to sleep, due to the fact that their bleating sheep keep him up all night. The disagreement soon escalates, and one of the young men mortally stabs the Jewish man. The three young men go into hiding before the police arrive. Amongst the policemen who arrive at the scene is an Israeli officer named Dan, nicknamed Dando by his friends. Viewers learn that Dando's younger brother Yoni has gone missing during his service in the Israeli Defense Forces. While rumors circulate that Yoni may have run away and became very religious, Dando's family—mother and father specifically—suspect that he may have been kidnapped or murdered by a Palestinian terrorist organization. Dando—a family man with a wife and kids—has remained strong for his emotionally broken family, as they make attempts at locating his brother. Later in the story, Dando is informed that the army has discovered the remains of what is believed to be a murdered Israeli soldier in the Palestinian territories. It is soon thereafter confirmed that the remains are Yoni's, and Dando—emotionally traumatized—vows to find the murderer and bring him to justice.
In the fourth story, viewers learn of the character Binj (who is played by co-director Scandar Copti) an eccentric cook who works in Abu Elias's restaurant. He is also close friends with Omar, Shaata and Malek. Binj is in love with a Jewish girl from Tel Aviv, and is thinking of moving in with her, much to the dismay of his group of friends. It is revealed that Binj's brother was one of the three involved in the stabbing of the Jewish man in Jaffa. Both Binj and his father are taken in and interrogated by the police. After his release, Binj reluctantly agrees to accept a great deal of drugs that belongs to his brother who is still on the run. Early one morning, after a social gathering in his house, Binj awakes Malek so he won't be late to the restaurant's opening and hides in his presence the brick of drugs. Just when Malek is leaving he sees three Hebrew speaking men enter Binj's house. When Binj is found dead in his apartment not long afterward, Malek and Omar initially suspect that he was murdered by a group of Israeli drug dealers. It is later revealed that those three men were actually policemen who came to search Binj's house and intimidate him into revealing his brother's location. Having to leave after he told them nothing the police promises Binj to return. Binj, tired from the situation and annoyed by the ongoing harresment of the police, discarded the majority of the drugs, put sugar powder inside packages mimicking drug bricks and hid them around the house in an attempt to mock the police, should they ever return. Binj then proceeds to snort the remainder of drugs he did not discard and accidentally dies of a drug overdose. All of this is unbeknownst to Malek and Omar who, after Binj's death, takes one of the hidden mock-drug packages and, thinking it is the drugs, decides to sell it to a drug dealer in an attempt to pay off their respective debts. Abu Elias learns of their plans and tips off the police, thinking Omar will be caught, thus ending the relationship between Omar and his daughter. Initially, Abu Elias fires Malek after learning of his involvement with drugs, but after Malek's pleading and after learning that Omar will not go alone to the exchange he changes his mind, and instructs Malek to meet the dealers with Omar, but warns him not to carry the drugs on his person. He assures Malek that once Omar is taken into custody by the police, Malek can return to the restaurant and that his sick mother will be taken care of. Like Omar and Malek however, Abu Elias does not realize that the drugs are fake.
The fifth story shows the encounter between Omar, Malek, and the drug dealers. Toward the beginning of the film, viewers are shown the scene, and initially led to believe that Malek was shot to death by the drug dealers, once they discovered the drugs were fake. It is revealed later however, that the dealers were actually policemen executing a sting operation. It is also revealed that Omar's younger brother Nasri insisted on accompanying Omar and Malek to the meeting, afraid that something bad would happen to his brother. Upon arrival, Omar tells Nasri to stay in the car, and at Malek's urging, leaves his gun behind as well. At the meeting, the police tackle and beat Omar and Malek after they discover the drugs are fake. Dando, who is a part of the sting, sees Malek with the pocket watch he planned to give Abu Elias as a present. Dando believes that the watch belonged to Yoni and in a fit of rage beats Malek and aims his gun at him with the intent to murder him. However Nasri, who hadn't stayed in the car as ordered, sees the gun pointed at Malek, and shoots Dando with Omar's gun. He is then shot and killed by another officer. The film ends with Omar escaping down an alleyway and getting back to the car, only to discover that Nasri is missing. | violence, murder | train | wikipedia | The film, named for the Jaffa neighborhood where most of it takes place, chronicles the story of several neighborhood residents who tread through life amid rampant crime, strict Arab family structures and rules, clan law, revenge killings, harsh police and racism, and the growing Jewish presence in the neighborhood.
Ajami is the first full length feature film directed by two young Israelis Scandar Copti and Yaron Shani.They have produced an extraordinary film which features five separate stories set in Ajami, a poor Arab neighborhood situated in the city of Tel-Aviv/Yafo.
The many characters are played mostly by non professionals, i.e. are not working actors, and the result gives a documentary feel to the film.
The viewer wants to know more about them and their lives but time is limited.The film shows a part of Israeli society rarely shown in Israeli films (Arab Moslem and Arab Christian families living in Ajami) and the makers are to be commended for their achievement in showing a rather hidden side of our society..
Oh, what a treat.Taking on the fashionable use of related threads and retelling the same narrative from a different angle, this film delivers a bullet tough view of street life and crime around Jaffa.The audience is sucked into the maelstrom so quickly, that we forget the media view of the great enmity and realise that there are, of course, many smaller ones.
The cast of characters is huge and hard to keep track of, the plot is artificially discontinuous, and in short if you want to get the movie straight, you'd better be ready to see it twice.
The consensus was unanimous, an excellently executed film, showing the rawness and tensions simmering within Israel's Arab & Jewish populations.In his pre-screening presentation the director correctly focused on one of the core reasons why Jews & Arabs continue to be suspicious of the other...in many ways it is down to the Jews not speaking Arabic and only a few of the Arabs speaking Hebrew.
As they see the individual characters unwind, the Arab store owner, the Israeli cop, things begin to get more complicated.The primary power of Ajami is in its mode of storytelling which correlates to the content itself.
The viewer may be tempted to judge or hold preconceived notions about the characters until the filmmakers, often with great effect, reveal the true intentions of these individuals.This can be applied to the whole of the Israel-Palestine situation.
This film, which tells its several stories episodically and without drawing any explicit lessons, conveys the hazards attending life in a place where Israeli Arabs and Palestinian Arabs, both Muslim and Christian, Bedouin and other criminal gangs, rub up against one another under the sometimes watchful eye of Israeli police.
Ajami is a first film by the team of Scandar Copti, an Israeli Arab (with a Christian family name), and Yaron Shani, an Israeli Jew. It gained recognition at Cannes and in Israel; and is nominated for the Best Foreign Oscar.
Using locally recruited non-actors, shooting in the Ajami neighborhood of Jaffa, which has become a mostly Arab ghetto outpost of Tel Aviv, 'Ajami' is full of improvisation and hand-held camera work that give it an intense feeling of immediacy -- and seethes with action disturbing enough to leave you feeling bruised.
Despite the myriad hostilities and misunderstandings 'Ajami' depicts -- between Palestinians from the territories and Israeli Arabs; Arab Christians and Arab Muslims; Israelis and Arabs; rich and poor; old and young -- there is hope in the fact that an Arab and a Jew could team up for such passionate film-making.'Ajami' interweaves multiple story-lines with a documentary feel using a large cast and, to make matters more complicated but also underline interconnections, it's divided into chapters that are not quite in chronological order so some events are seen again, from a different angle the second time.
Malek also has an impossible financial burden, needing to raise many thousands to pay for a bone marrow transplant for his seriously ill mother.Eventually both Omar and Malek are drawn into trying to deal dope to raise money, against the strong objections of Nasri, and totally against the wishes of Abu Elias, who wishes to appear to function within the law, even if he doesn't.Meanwhile there are the Israeli and near-Israeli parts of the story.
He is pressured by his Arab friends for this, and his life turns tragic when he holds drugs for the others after his brother has stabbed a Jewish neighbor in an argument over noisy animals, and the cops manhandle him, with Dando on hand in his bad-cop role.
(The problems faced by Arabs living in a Hebrew-speaking Israeli environment has also been dealt with in the hit Israeli sitcom "Arab Work.") It doesn't necessarily seem as though Dando is more dangerous, in a sense, for the young Palestinians than the brutish Abu Elias, who threatens to break Omar's bones if he continues his courtship of Hadir.
Partly it is the elders who appear as the villains, more threatening here than Israeli checkpoint guards.One has to grapple with all these plot elements to follow 'Ajami.' The intersections get complicated, and the film is a bit under-edited at two full hours, but there is a wealth of cultural material that gets across along with the insistent problems and an overwhelming sense of hopelessness for young Arabs.
'Ajami' doesn't stop for a breath or a moment of happiness: it succeeds in convincing you that isn't possible.Further proof of that impossibility came early this month (February 2010) and life imitated art when Scandar Copti's brother Tony, a supporting actor in the film, was arrested after Israeli police accused some Ajami teenagers of hiding drugs who said they were only burying a dog.
In a Ajami's case, the wide selection of locations enhances the strong linkage: a small village near Nablus, the city of Tel-Aviv, a Bedouin encampment can be all linked by a single event.By going in digging backwards into the events, it seems like only more questions arise, more events happen to be linked and the reality happens to be far different to what we expect.This is the biggest quality of the film: It manages to open the eyes of those who thought their eyes were open already..
However, it was recognized by the Academy of Motion Pictures Arts & Sciences (i.e, the Oscar folks) and was nominated for Best Foreign Language movie.This film is very unusual because it is seen from several different viewpoints.
I never would have imagined an Israeli film where the main characters are divided up into chapters and each one stars such different people--such as Palestinian Muslims, Palestinian Christians as well as Jews.
Open your eyes." Nominated for an Oscar for Best Foreign Film at the 2010 Academy Awards, the outstanding Israeli film Ajami makes clear the human cost of decades of political and military strife between Jews and Arabs in the neighborhood of Ajami in Jaffa, Israel.
Each religious and ethnic community is trapped in the same tunnel searching for a speck of light.Shot on location using mostly non-professional actors including neighborhood recruits, directors Yaron Shani (an Israeli), Scandor Copti (a Palestinian), in their first feature, capture the look and feel of a community in disarray with such remarkable detail and raw urgency that Ajami could easily be mistaken for a documentary.
As the film opens, 13-year-old Nasri (Fouad Habash) is prescient when he says "I know I can feel what is about to happen." Shortly thereafter, a drive-by shooting kills an innocent fifteen year old boy when he is mistaken for Nasri's older brother Omar (Shahir Kabaha).
In dire straits and desperate for money, Omar falls into the underworld of drugs and violence.Meanwhile, Malek (Ibrahim Frege), a sweet-faced 16-year-old Palestinian boy living in the Occupied Territories comes to Jaffa to find work at the restaurant of Abu Elias.
Fearful of being sent home because of his illegal status, he works hard to try and pay for a bone marrow transplant that may save his mother's life but his need for money brings him into Omar's circle.
In another sub-plot, Hadir's (Ranin Karim) relationship with Omar crosses religious lines (she is a Christian and he is a Muslim) and is adamantly opposed by her father Abu Elias who forbids her to ever see Omar again even though she pleads how much she loves him.Events in the film come thick and fast: Bing, a wealthy Palestinian (Scandar Copti) wants to live with his Jewish girlfriend in Tel Aviv but a police raid looking for drugs puts an end to his plans, an angry Israeli policeman named Dando (Eran Naim) searches for his missing brother who was drafted into the Army and is feared to have been killed by the Arabs, a Jewish man is stabbed to death after complaining about the noise from sheep kept by Palestinians living nearby.
Ajami leaves the viewer with little to be hopeful about, but the fact that a Jew and an Arab could collaborate on an intelligent and passionate motion picture based in part on their own experiences is an important step forward.Change, however, will not come easily to Israel.
Quiet interesting story well told with fine performances and direction.Also the script is fine and all the TWISTS actually work.This is not actually Just Israeli or Palestinian portrayal, it portrays a lot of crime, drugs and stuff around us every where from south to north or east to west.Current rating of Ajami is 6.9 with mere 475 votes.
Coming-of-age story among Arabs living in Israel.
Unlike many films from Israel which traditionally present an "Israeli" or "Palestinian" point of view, "Ajami" portrays a side of life that few ever see -- Arabs living in Israel.
In fact, not only is this film not primarily about Arabs and Israelis, it actually deals with conflict within the Israeli Arab world between Muslims and Christians.Written, directed, and edited by Scandar Copti, "Ajami" is a two-hour "Crash"-like drama which looks at several violent incidents, some linked more than others, and then focuses on one in particular from different perspectives told through the use of flashbacks.
It's stories from the Ajami neighborhood of Jaffa, Israel.
'Ajami' tells a depressing and predictable story of poverty, violence and crime in Israel and the occupied territories.
It's written and co-directed by an Israeli and a Palestinian--Scandar Copti and Yaron Shani.This is a powerful film that takes place in the Ajami district, on the outskirts of Jaffa.
Like many recent Israeli films, 'Ajami' succeeds to illustrate the enormous ethnic and cultural complexity of the country, with an authentic, non-trained cast to boot.
I'd say it's a must-see for anybody interested in the Middle East, because it presents a view into Israeli society that is all too often obliterated by politics.Focusing on the low-income, ethnically mixed neighborhood of the same name, 'Ajami' describes a number of interwoven relationships, touching petty crime, revenge killings, labor extortion and police corruption.
The only weak point is that on top of these everyday occurrences, the film uses the disappearance of an Israeli soldier as a central plot device; while this may be a real risk, it's not an everyday occurrence as the other incidents described and therefore feels a bit forced.Other than that, 'Ajami' has a very special, raw, authentic feel to it, especially in its first hour, when it spreads out in so many different directions that it becomes difficult to follow, but never obscure.
Only in the end, when the directors try to reconnect the threads of their stories, it takes a bit of a dive.If you allow yourself to be captivated by 'Ajami''s atmosphere and don't focus to much on the plot, you're in for a real treat..
Story has been told by separate chapters, and not sequentially in time.Each chapter gives just about the right weight for character and story-line development, no less and no more.The film does let dichotomy regarding the cultural, religious, economic and ethnic conflicts be presented, beginning to end, as viewers may all have participated.What distinguish the film from the average arrangement is 1).
This gives the exciting movie going experiences, much more than, if this film has been shot in, a linear, one way, manner, instead, to offer.After seeing the movie, viewers can fully apprehend why living in this territory is complicated enough and dichotomy is no longer dichotomy for an outsider to judge those who are in this entanglement of the millennium; sadly, it remains hard for generations to expect resolutions in an easy way..
I was drawn in more to the lives of the residents of the Ajami neighborhood than I was to those of the Jewish Israeli characters.
Scandar Copti & Yaron Shani are both film makers from the same side of the fence from Isreal (one Jewish,the other Arab),who are the voice of reason,in the middle of all of the turmoil.
Scandar Copti & Yaron Shani co-write,direct & edit this,at times difficult to watch,but easy to admire film that opts for a documentary look (courtesy of director of photography,Boaz Yaacov),and featuring not just an original music score (by Rabih Boukhari),but some inspired use of both traditional,as well as contemporary Arab & Isreali folk & popular music (by musical consultant,Watan El Kassem).
This Israeli crime-drama directed by Scandae Copti and Yaron Shani grips audiences into a gritty and brutal inside look at the life of Israelis growing in the violent streets of Jaffa.
The story follows five interconnected story lines of the lives of Arabs, Jews, Palestinians, and Christian as they witness violence, crime, and persecution in the neighborhood of Ajami.
In an effort to protect his friends and family, Omar partners up with a young man named Malek (played by Ibrahim Frege) to sell drugs to earn money for his ill mother who is need of an operation, while struggling to survive the violence that erupts in the streets and the forbidden relationship of his Christian girlfriend Hadir (played by Ranin Karim).
In the meantime, Israeli cop Dando (played by Arran Naim) is on the search for his missing brother who goes AWOL in the military.Director Scandae Copti gives this film the emotional investment and solid writing it needs, and his efforts pay diligently in this picture.
With the story told in a non-linear perspective, the film provides viewers with plenty of shock and an outstanding plot twist at the end that is nearly impossible to predict.
Arabs (Palestinians) living in Israel--plot mechanism is confusing.
That goes for the dismal cluttered apartments and street/work scenes as well--yes I am positive that it is wonderfully real but 2 hours is painful.20% of Israel's population is ethnic arab--this is a look at them but too much of a chore to watch.Gomorrah was better (Italian mob movie similar plot construction to this).
'Ajami', the Israeli entry for the Oscar this year is very different from the successful films that represented the country in the previous years.
Directed by two newcomers on the cinema scene Scandar Copti and Yaron Shani, it is acted most of the time in Arabic and deals with a world that many Israelis know only from the news - the crime and poverty dominated Arab districts at the periphery of the Israeli big cities.The name of the film is of one of these areas, in Jaffo, south and close to the shining lights of the Tel Aviv metropolis.Playing a little on the violent suburbs genre that was successful in other off-mainstream cinema schools 'Ajami' a complex crime story, involving a few characters who seem to be doomed for tragedy.
The story is told from the perspective of the different characters, it requires attention to follow, and even if it has logic and all pieces of the puzzle eventually fit well, the different angles and the jumps in time make the film difficult or at least demanding to see.
Actors are directed towards a very natural way of acting, improvisation and living the character seems to be the rule rather than careful rehearsal of the role - this gives a feeling of natural and chaos of life, but it asks the viewer rather than the director to fill in with meaning what happens on screen.
Ajami is a gritty and edgy drama set on the mean streets of Jaffa, an area of Tel Aviv with high unemployment and crime rates.
Like Gomorrah, etc, the film follows a number of interwoven story lines and characters, and events are seen from a number of different perspectives.The crux of the story deals with an act of revenge that sparks a violent war between two crime clans.
Ajami has been written and directed by Yaron Shani (whose previous film was the short Disphoria) and first time director Palestinian Scandar Copti.
The film's central character is Omar (Shahir Kabaha), is a young Israeli of Arab descent who crosses some gangsters and has to broker a deal to save his family.
Set in the eponymous Ajami neighbourhood of Jaffa this film follows the intertwined lives of several of its inhabitants.
These include Omar, a Muslim Arab whose family are in danger after his uncle shot a Bedouin criminal; Abu Elias, a Christian Arab and pillar of the community; Malek, a Palestinian who is in Israel illegally to earn money to pay for his mother's hospital treatment and Dando, an Israeli police officer whose brother has disappeared.
Well-acted and well-directed movie about crime and violence, set in a volatile area where people of many origins and cultures are supposed to get along.
We get a good sense of place.But ...Too many characters.Too many sub-themes – like relationships of Jewish-Muslim, Christian- Muslim, drug addiction, migrant workers, family conflicts, boyfriend – girlfriend problems.Too many neighborhoods are featured – locations become confusing, as in where are we now.Film is way too long – and at times the pace sags – in other words becomes boring.The use of time-warping – as in mixing the sequence of events – is over-used and a gimmick. |
tt0095250 | Le grand bleu | Two children, Jacques Mayol (Jean-Marc Barr) and Enzo Molinari (Jean Reno), have grown up on the Greek island of Amorgos in the 1960s. They challenge each other to collect a coin on the sea floor and Jacques loses. Later Jacques' father — who harvests shellfish from the seabed using a pump-supplied air hose and helmet — goes diving for shellfish. His breathing apparatus and rope gets caught and punctured by rocks on the reef and weighed down by water, he drowns. Jacques and Enzo can do nothing but watch in horror as he is killed.
By the 1980s, both are well known freedivers, swimmers who can remain underwater for great times and at great depths. Enzo is on Sicily now, where he rescues a trapped diver from a shipwreck. He is a world champion freediver with a brash and strong personality, and now wishes to find Mayol and persuade him to return to no limits freediving in order to prove he is still the better of the two, in a friendly sports rivalry. Mayol himself works extensively with scientific research as a human research subject, and with dolphins, and is temporarily participating in research into human physiology in the iced-over lakes of the Peruvian Andes, where his remarkable and dolphin-like bodily responses to cold water immersion are being recorded. Insurance broker Johana Baker (Rosanna Arquette) visits the station for work purposes and is introduced to Jacques. She secretly falls in love with him. When she hears that Jacques will be at the World Diving Championships in Taormina, Sicily, she fabricates an insurance problem that requires her presence there, in order to meet him again. She and Jacques fall in love. However none of them realize the extent of Jaques' allurement with the depths. Jacques beats Enzo by 3 feet (1 meter) at this, their first competition and Enzo offers them a glass dolphin as a gift, and a tape measure to show the small difference between Jacques' and Enzo’s records. Johana goes back home to New York but is fired after her deception is discovered; she leaves New York and begins to live with Jacques. She hears the story that if one truly loves the deep sea, then a mermaid will appear at the depths of the sea, and will lead a diver to an enchanted place.
At the next World Diving Championships, Enzo beats Jacques' record. The depths at which the divers are competing enter new territory and the dive doctor suggests they should cease competing, but the divers decide to continue. Jacques is asked to look at a local dolphinarium where a new dolphin has been placed, and where the dolphins are no longer performing; surmising that the new dolphin is homesick, the three of them break in at night to liberate the dolphin and transport her to the sea again. Back at the competition, other divers attempt to break Enzo’s new record but all fail. Jacques then attempts his next dive and reaches 400 ft (122m) breaking Enzo's world record. Angered by this, Enzo prepares to break Jacques' new world record. The doctor supervising the dive warns that the competitors must not go deeper - based upon Jacques' bodily reactions, at around 400 ft, conditions, and in particular the pressure, will become lethal and divers will be killed if they persist in attempting such depths. Enzo dismisses the advice and attempts the dive anyway, but is unable to make his way back to the surface. Jacques dives down to rescue him. Enzo, dying, tells Jacques that the doctor was right and also that it is better down there, and begs Jacques to help him back down to the depths, where he belongs. Jacques is grief-stricken and refuses, but after Enzo dies in his arms, finally honors his dying wish and takes Enzo's body back down to 400feet, leaving him to drift to the ocean floor. Jacques - himself suffering from cardiac arrest after the dive - is rescued and brought back to the surface by supervising scuba divers and requires his heart to be restarted with a defibrillator before being placed in medical quarters to recover.
Jacques appears to be recovering from the diving accident, but later experiences a strange hallucinatory dream in which the ceiling collapses and the room fills with water, and he finds himself in the ocean depths surrounded by dolphins. Johana, who has just discovered she is pregnant, returns to check up on Jacques in the middle of the night, but finds him lying awake yet unresponsive in his bed with bloody ears and a bloody nose. Johana attempts to help him, but Jacques begins to get up and walk to the empty diving boat and gets suited up for one final dive. Desperately, Johana begs Jacques not to go, saying she is alive but whatever has happened at the depths is not, but he says he has to. She tells Jacques that she is pregnant, and sorrowfully begs him to stay, but finally understands he feels he must go. The two embrace and Johana breaks down crying. Jacques then places the release cord for the dive ballast in her hand, and - still sobbing - she pulls it, sending him down to the depths he loves. Jacques descends and floats for a brief moment staring into the darkness. A dolphin then appears and - dreamlike - Jacques lets go of his harness and swims away with it into the darkness.
=== Original and alternate (US) endings ===
The original ending was intentionally ambiguous, though considering the depth Jacques has swum to, it would seem he is unlikely to regain the surface alive, and he dies. In the US version the ending is extended with an additional scene. After swimming away with the dolphin, Jacques is brought back to the surface. | cult, romantic | train | wikipedia | And he achieves it in every way, specially letting the audience identify themselves with it.Perhaps my favorite Besson movie was "The Fifth Element" (I like them all), but after having the privilege of experiencing this fantastic, beautiful, stunning, vivid and moving film, "The Big Blue" passed from one of the medium levels to definitely the top one.
The characters all gained strength, the underwater scenes all made sense, the previous movie was completely backed up, and the feeling that this movie was a contemplative journey gained finally its place.I gave it a 10 out of 10, not for the US version (how can they even think of erasing Eric Serra's score?!?!?) which, for its mutilations, deserved a 1, but for the version longue, which is the only way the movie shall be seen.
I´m lucky enough to live in a place near the sea very similar and as beautiful as those in the movie and the opening scenes always remind me of my teenage years and the waters i explored like young Jaqques Mayol does in the beginning of the movie.
Well there´s scientists in it, and deep underwater, and even under ice diving scenes, but it´s not a scifi film, although the American "version" Movie Trailler presented it like if it were some new esotheric adventure underwater sci-fi horror movie, when in fact it is not.So what is this movie about ?!!It´s about what you want it to be.
You just have to feel it.As Luc Besson said in an interview, at some point in the movie he was stuck, because he didn´t know how to carry the audience inside.Then the real Jaqques Mayol, who worked in the film as a diving and story consultant took Besson diving with him one day and made him experience the sea in his way.
The Big Blue is a story mainly centred around Jacques Mayol (Jean-Marc Barr), a free diver.
In the story we also have Enzo (Jean Reno), Jacque's lifelong friend and nemesis who motivates him to free dive in competition (so he has some competition) and also gets him work in other areas of diving.
The story continues as Jacques struggles with problems in his past, present and future.The Big Blue is an unusual movie.
Fans of Jean Reno would certainly love this movie.I really enjoyed this film.
The movie's technical qualities can only arouse admiration: a shiny photography that perfectly reflects the color of the sea, the blue and a fluid making sometimes clever: Jacques' childhood is made in black and white.
For anyone wanting to watch a fantastic dream of a film, with absorbing characters, true love in all its forms and some awesome underwater photography then this is for you!
For me the grand bleu is something unique...i have never seen a movie were everybody has the same love for the sea,and for their sport...
THE BIG BLUE (adv.-romance, 1988) Mayol (Jean-Marc Barr) is determined to dethrone current world-free diving champion Enzo (Jean Reno).
But as Mayol and Enzo's competition become more fierce, Joanna slowly feels herself drifting away from Mayol, as his fascination with the sea takes on an obsessive turn.Critique: Marvelouslly filmed underwater adventure from master-Frenchman Luc Besson, who has specialized on action films.
Le Grand Bleu is the true story of famous French diver Jacques Mayol who challenged death.Jacques and Enzo were always passionate about sea and this passion gave rise to their spirited rivalry.Enzo will never give up as he doesn't want to be beaten at all by anyone.They approve the widespread notion that one who goes for a thing will get it not the one who saw the thing.Mayol's character portrayed by Jean Marc Barr reminds one of celebrated Jacques Yves Cousteau who advocated the philosophy of profundity by making underwater his home.Le Grand Bleu's strength lies in its wonderfully shot visuals as well as catchy musical score by Eric Serra.Even,Jacques Mayol offered his indispensable contribution as a technical consultant on this film.The film was a massive hit among youngsters throughout Europe attracting nine million viewers in France.Luc Besson created one of the best films of his career featuring impressive underwater images.The film's success proved that the aesthetic quality can only save the cinema which is facing tough competition from television..
Something that was quite the contrary of angry youths rioting on the streets in the 60s.Jacques Mayol and Enzo Molinari are both world-class free-divers and lovers of the big blue sea.
Then the main diver dude and his retarded friend compete in diving, and this simple scene that should last about 15 minutes goes on and on for most of the rest of the movie, and the dumb broad falls deeper and deeper in love with the guy even though he's a complete moron who bangs her and then refuses to talk to her as much as is possible.
However, the other characters were completely unbelievable to me, and the story was...well, kind of retarded.Without spoilers, I will say there are several deaths in the film that are ridiculous and completely avoidable, at least from the way Besson shows them, they are.The character choices are also ridiculous, with women reduced to broad, sexist stereotypes of becoming easily obsessed with commitment and children, and chasing men with little or no reason.There are a whole lot of beautiful shots of dolphins and ocean locales, but if you want to see that, you can watch the Discovery Channel or "Planet Earth", no need to make a 3 hour excuse for a story.In the end, I can't possibly recommend anyone waste their time on this.
Learning this I was further astounded that I hadn't already seen it.French made by internationally renound director Luc Besson both as writer and director the Big Blue is a curious film that left me scratching my head yet oddly entertained.It tells the story of two friends since childhood with a passion for competetive deep sea diving.
One character was conceited while the other ignorant and though gripped I struggled to care about the characters quite as much as I should have.The plot though competent is wafer thin, the love story flawed and considering this film is almost 3hrs long I felt it was remarkably shallow.On the flipside however the cast delivered on every front, the writing was wonderful the score was hugely fitting and the cinematography was absolutely second to none.
I appreciate all of the reviews and comments on "The Big Blue", but after reading all the feedback on how great the movie and soundtrack has meant to everyone, I failed to here much on the signature theme, or opening/ending music track used in the US release with Bill Conti's music score!
You see, the first time I watched this great film, there was this wonderful fantasy style track with a beautiful hook in it that linked Jacques,the dolphins, and the viewers together.
Why would the credit on the film have Bill Conti, and the CD soundtrack have Eric Serra's?...and for the longest time, I didn't here anything about the original "Le Grand bleu" version on VHS!
If anybody wants a copy...email me and I will set you up personally the way my friend helped me end this long awaited Conti soundtrack.Again, Eric's music is great, but I disagree with what some have said about Conti's score.
The awful dialogue and terrible acting are only slightly redeemed by some nice cinematography.Reno over-acts tremendously and Arquette plays quite possibly the dumbest blonde character ever (For goodness sake - your boyfriend prefers to spend the night with a dolphin - go figure!).Oh, I so wish I watched the original version, not the bloated forty minute longer directors cut!What a shame.
When one sees that a film is directed by Luc Besson, has music by Eric Serra and that it has Jean Reno, it is hard not to expect a lot.
Instead the character felt almost like an afterthought at first and Arquette didn't do much for me sadly.Regarding 'The Big Blue's' story, it generally, while full of enough things to make the film worth sticking with, is a bit thin for such a long length.However, the friendship has a lot of charm and warmth, with sprinkles of humour and nostalgia.
Luc Besson sure knows how to place the camera for the maximum reward; and the music is faint, yet pleasing, courtesy of Eric Serra.Lovely to watch, it has put a spring in my step all day..
At first, the reason why I chose to watch this film was the beautiful movie poster that was portrayed like a commercial advertisement about the sea made by a travel agency.
And also the soundtrack is one of the wonderful aspects in this movie.The music deserved to get a Cesar Award as a best sound in 1989.Johana (Rosanna Arquette), Jacques (Jean-Mark Barr), Enjo (Jean Reno) are the 3 main characters who conflict emotions with each other and lead the story to the end.
And yes, for him, it's the best of endings, because he doesn't belong here, he really belongs more to the sea than to us.This film is quite different from Hollywood movies, but there are some aspects to attract us to watch more than once.
I have feeling this is just the movie he wanted to make, without anyone forcing him to change anything (I'm talking about 163min version longer and original French version).Beautiful story about love, friendship, connection between man and a Nature (See) and something we seek for all our lives goes much deeper than the spoken or written words can say.
Just look what reviews people wrote about it!However, here is technical part: Luc Besson did excellent job, camera is incredible (notice usage of blue colour), actors fit their role perfectly and screenplay is great (some would say there isn't any yes there is, but sometimes picture reveals something words never could).
It would be a shame not to mention incredible music composed by Eric Serra one of the best soundtracks ever follows movie perfectly (nothing can beat original ending with My Lady Blue).Of course, I can tell you that Le Grand Bleu belongs to the top 3 movies I have ever seen and believe me, I have seen a lot (forget soulless", Oscar winners described above and top 100 classics people always talk about, this is something different) and that it is the most underrated movie on this site (it should be ranked over 9, at least 8.8), but when it comes to Le Grand Bleu, it really doesn't matter.Without smallest hesitation, 10/10..
...I certainly held mine.If you ever wanted to know what the international sport of SCUBA-less, very-deep, 'free-diving' was about, here's your film with a dream-like twist.Haunting, exquisite, sublime, beautifully photographed and scored, THE BIG BLUE will find you pushing-the-envelope inside your own lungs right on the living room couch.
A beautiful introduction with the young Jacques Mayol filmed in Black and White which you don't always realise till the remainder of the film continues in colour.I could go on but you only get 1,000 words here and I do not want to give it all away, though many have before me.I do want to say just one thing, how, upon seeing Le Version Longue could anyone decide to cut away any one scene never mind 40+ minutes and then to replace the perfect music from Eric Serra.
Characters who stand out - check: Jean Reno ( my first intro to his wide and expansive body of work), Rosanna Arquette (who I secretly didn't like but somehow loved in this storyline), & Jean-Marc Barr (immediate fascination in him) together create the main trio of focus....along with some of the most captivating scenery along Le Côte d'Azure, and underwater camera work that is and was astounding before James Cameron found his new hobby, and a few funny characters to lend voice to the audiences need to remember to breathe, and that there is levity in all this beauty.
Arquette sees Barr as a mysterious, incredibly handsome man who she feels pulled toward like nothing else she's ever known, and sees Reno as Barry's friend, but also as Barry's competitor, forever childlike in the way that he never allowed himself to be challenged by Barr when they were children, and has finally now come to the point in his life where he has to lay his personal challenge down, to see where he would stand next to " The little Frenchman".
Just a quick notice, this review refers to the version longue, European edition Beautiful scenery, extraordinary underwater photography and possibly the best ever film-soundtrack combination (why they cut Eric Serra's magnificent score for the US edition is beyond me) the Big Blue is a stunning film to look and actually brings you into this extraordinary world.
Starting initially with the rivalry between legendary free divers Jacques Mayol (Jean Marc Barr) and Enzo Molinari (Jean Reno), a love interest is quickly added in the form of Rosanna Arquette's Joanna as the competition heightens.There are some hilarious moments (mostly coming from Jean Reno) but at the same time it's also very sad as Joanna finds her love being ignored.
THE BIG BLUE (Le Grand Bleu) Aspect ratio: 2.39:1 (Technovision)Sound format: 6-track Dolby Stereo SR(35mm and 70mm release prints)Two of the world's greatest free divers (Jean-Marc Barr and Jean Reno) are divided by their competitive spirit, and their professional rivalry is further complicated when Barr falls in love with a beautiful admirer (Rosanna Arquette).Luc Besson first expressed his love of the sea with this magical visual poem, in which the plot (Barr's struggle between physical reality and the spiritual lure of the sea) takes a back seat to the stunning widescreen visuals.
The sea is the star of this movie but Jean Reno, Jean-Marc Barr and Rosanna Arquette put in good supporting performances.
Even though not easy to understand, this movie contains more chemistry than what can be found in many love stories we've seen.The Big Blue is about the three dimensions of life: living, loving, and leaving.
The sequences with Arquette, particularly toward the end, felt unnatural compared to the world Besson created between the two divers, though I did care enough about their relationship that I got pretty upset when Mayol left the pregnant Joanna behind for the sea, just like his own father...Anyway, an interesting story, fairly involving for the most part, but I have a feeling I would have been better off seeing the non-US, non-director's cut.
It's a meandering, tedious 2 hours and 48 minutes of pointless scenes, that have no reason for being spliced into the film other than the director shot them.The idea of the movie would seem to be a winner: Two men who love free diving and have known and competed with each other since childhood are engaged in a dangerous contest to break the world's record in free diving.
Interesting but slow, long and clumsy.The story of two childhood friends with a love for the sea and diving.
Even now, when I hear that beautiful intro with its echoing dolphins and lonely sax; I smell the sea, the food, and remember the faces of all those dear lost friends, and in a way, I have this most wonderful film (or Luc Besson et al) to thank for accompanying me, through a wonderful time in my life..
My Rating : 8/10I'm referring to the extended/long version of this movie.It is a dream to watch this film.
`Cut,' says our director Luc Besson, `OK Action, this time now in ENGLISH.' There are literally TWO versions of the same movie.
Because they had this English language version in the can, along with a American female lead in Rosanna Arquette, it got a big commercial US release.The male lead is played by Jean-Marc Barr who is a hot looking French dude who never really to made another big English language film.
'Le Grand Bleu' is unlike any Luc Besson film I've ever seen and what a movie it is!
Enzo and Jacques, and all the other characters in this story become dear friends as you watch this film again and again.
From then on we talked continuously for weeks.I just wish more people could see it, and not the us version - I've not seen it, but I'm terrified at the prospect of a different ending.One last thing - I absolutely have to have this film on DVD, but I don't think its on that format yet :( If I'm wrong...please let me know where I can get it..
Movie Review: "Le grand bleu" (1988)Being the opening film of the Cannes Film Festival on May 11th 1988 in its 41st edition, young, talented and promising director Luc Besson, not yet 30 years of age, already coming to full flourishment in proper exercised cinematic language in color, camera motion and acting beats with fellow casting members Jean-Marc Barr, Jean Reno and Rosanna Arquette struggling within the element of water to find purpose in life, concerning deeper and deeper pushed limits in open water free diving challenges, when suspense works to hyper-realistic conclusions beyond the usual love theme under an hypnotic soundtrack by exceptional composer Eric Serra alongside Besson's directions of utmost passion for his source material felt in every scene of the motion picture.Copyright 2018 Cinemajesty Entertainments LLC.
They were not real friends in these days, but there was something they both loved and used to do the whole day long: diving.Luc Besson makes some beautiful films, and tends to push the imagery into the realm of fantasy.
Jacques' best friend Enzo (Jean Reno) wants him to be his rival at the diving competition.
While Johana and Jacques fall in love, they try very hard to make their relationship work.Directed by Luc Besson (The Fifth Element, The Messenger:The Story of Joan of Arc, Subway) made an intriguing if flawed film about the sea, diving, love and friendships.
when they focus on the sea, especially the deep diving sequences and Jacques's connections to the dolphins are the film's best moments.
"The Big Blue" is a good one but if they were playing it at the film festival and i finally get to see it in a movie theater. |
tt0839762 | City of Rott | The story begins after the Earth's water supply has been infected by a strange parasite known as Rot Worms. Rot Worm eggs were delivered by rain, and there's no place on the planet that is free from the worms. Once hatched, they begin feasting on human flesh, turning their hosts into mindless zombies.
The film revolves around Fred, an elderly man with a walker, which he uses as a weapon. Fred appears to be losing his mind, believing his walker speaks to him as he travels through an infested city on a quest for a new pair of shoes.
While searching a mall for the shoes, Fred encounters a recently bitten nurse. With no knowledge of a cure for the infection, the nurse quickly becomes a zombie, forcing Fred to flee the mall. Outside, he meets Jon, a skilled shooter who decides to help Fred escape the city. However, Fred loses his walker in an ensuing scuffle with zombies, where it gets taken from him by the nurse. Unwilling to abandon his closest friend (even as his slippers assume the role of inanimate speaking object), Fred abandons Jon by stealing a motorcycle.
The motorcycle runs out of gas on a bridge, leading Fred to be surrounded on both sides by zombies. Fortunately, he manages to recover his walker from the nurse and kill numerous zombies, though he is unable to finish off the nurse herself. After fighting his way through the hoard of undead, Fred rescues another survivor, an old man carrying a bottle of prune juice. However, the man flees from Fred.
Deciding to rest on a park bench, Fred discovers a newspaper detailing a new type of parasite known as Brain Worms, which eat any intake of food and eventually eat the brain of their host. As becomes evident from the symptoms of partial memory loss, rapid age progression, hallucinations, and hearing voices, Fred has already been infected by one. Unfortunately, the blood which got on him during the fight on the bridge contains Rot Worms, which quickly overpower the lesser Brain Worms, turning him into a zombie.
The next day, Jon, who was unknowingly infected with a Brain Worm when Fred patted him on the back, discovers the now infected Fred. Jon attempts to kill him, but is surrounded and eaten by the zombies.
Eight days later, a man named Benjamin has begun to look for his wife in the city with his two sons and another man named Larry, the four using a van to store goods. While Benjamin has one of his sons pick up doughnuts, Larry gets attacked by the undead, then accidentally shot by the other son. Afterwards, it is revealed that the nurse was Benjamin's wife and she left the group in an attempt to help others. Benjamin tries to bring her back despite her infection, but is attacked and killed, while another zombie decapitates his wife.
A man named Hac is sent by his bitten friend Mac to find an antidote. Mac has begun to believe that the old man carries the cure in his bottle of prune juice. Though both Hac and Mac die before learning the truth, Mac's belief turns out to be correct. The bottle carries an antidote known as "Zombifate", which the old man constantly consumes. Fred catches up to the old man, who orders him to resist the worms' influence. Fred manages to temporarily overcome the infection and save the old man from zombies, but the man dies of a sudden heart attack. Fred tries to cure himself with Zombifate, but worm inside him refuses to accept the medicine. Then Fred begins to feast on old man's corpse consuming so much flesh that the Zombifate inside the old man's body forces the Rot Worms out of him, allowing Fred to ultimately cure himself and get to some safer position (outright stated in City of Rott 2 preview).
After the film's credits, a man who trapped himself inside a box laughs about surviving the zombies, but has been infected by a Brain Worm. | psychedelic | train | wikipedia | I am both a zombie film fan (A la Romero, and Simon Pegg) and an animation buff.
When I looked at the box in the store, I guessed that C.o.R would be quirky, at times repetitive, uneven, and (shudder) possibly entirely Flash animation.
There was enough in the way of Zombie-buff in-jokes (read the signs in the background- there's as much going on there at times as in the foreground) and silly, ham-handed social commentary to give me a few good giggles.
77minutes of average quality Flash-based animation...one (just one) interesting character...ooh..uhh...
City of Rott is a full-length animated zombie movie - yup, you heard right.
Hordes (and I mean HORDES)of undead stagger around Romero style, searching for the few survivors eking out a meager existence.Fred is a gnarly old dude, who just wants to find a new pair of slippers.
Or more precisely, it bitches at him a lot, warns him of zombie attackers, and acts as a lethal weapon against any ghoul who dares to mess with Fred.This is Fred's story.Poor guy just wants some quality footwear and to be left alone.City of Rott is funny, trippy and very, very, gory.
Maybe a second viewing will clear things up.Ultimateley, though,City of Rott is a triumph of sheer gruey imagination, and was put together pretty much by one guy.
Slippers: Worth Killing For. Here's the movie in a nutshell: You're an old fogey named Fred.
He goes out into a zombie infested City and searches for a new pair of slippers.
More on the line of old South Park, but better drawings, much better.The movie itself was done incredibly well, but I thought the film dragged a little.
Even when there was gore on screen and killing going on, I still felt "ok, let's get on with it." There were in my opinion too many scenes of zombies eating.
The movie has tons of gore, a pretty funny old man (personally nothing laugh out loud), and an original take on zombies.
For fans of animated movies and zombie/gore this should definitely be checked out.
If you love animated movies, zombies and gore, like myself, show respect to Frank Sudol and buy his f&cking movie..
As someone who generally can't get into anime because of the over the top humor, and clichés, it's rare and refreshing to find an adult animated horror film made outside Asia, that delivers bloody zombie carnage that I cherish so much.
First the good- Seeing an elderly man dispatch the living dead in bloody and inventive ways mostly with his trustee walker ( which talks to him by the way).
The Bad- The story really falls apart towards the end, and for the last twenty minutes or so the film just kind of wanders around like it has no idea where to go.I hate to give the film an average rating, but ultimately the last part fell apart, and I really thought the dialogue could have been a little more clever and humorous.
I'll give the film a very generous 7 out of 10, because this type of film is very rare for guys like me who aren't into anime..
Fred's journey through out the entire 77 minutes will revolve around finding new slippers as he expresses early on, his current ones are aching his feet.Now if you're a zombie movie fan or just like gore, you'll enjoy the countless zombie dispatches.
The movie is meant to be funny as well, so those looking for a serious zombie movie probably should stay away..as if the fact it was animated didn't give this away anyhow.
Do you like zombie movies with lots of gore?
Do like weird animated movies?
Instead of the usual frantic group of people running for their lives you have one senile old man and his walker looking for a pair of shoes.
If your looking for a way different take on zombie film then this flick just might be for you!.
Frank Sudol has done an incredible job of making an animated movie by himself and it looks somewhat reminiscent of a Cannibal Corpse cover throughout.
I was initially attracted to Sudol's artistic style but quickly became bored because of the repetitiveness of the movie.
While this would have been fine as a 5 or 10 minute short, there just wasn't enough story to fill a movie length feature and it became almost unbearably boring to watch.
I can't after watching this movie decide if it is either good or bad (hence the 5 out of 10) The story is just pointless and the 77 minute long movie consists of nothing but blood and gore and some slow scenes which just makes you feel really weird.
I can't in any way figure out what this movie is supposed to be good for.
"City of Rott" is an independent animated zombie movie which (if Google is any indication) is an extended version of an online movie of the same name.As you'd expect from an indie film, production values are limited.
In fact, the entire movie was done by a single guy - Frank Sudol.
Fred is motivated, despite the unfurling apocalypse, to find a comfortable pair of new shoes.The movie's biggest weakness is that even at 77 minutes, it's too long.
Even the movie breaks the fourth wall about this; in one zombie-killing sequence Fred says "Hey, didn't I kill you before?".
I am not good at reviewing movies but i can say thishere is a few bad things about the moviefirst: sometimes the animation is horrendous the fight scenes are good but when the main character is just walking around doing stuff it looks like hes just sliding instead of walkingsecond: since this is basically a one man project the maker had to voice it all by himself that ended up with some of the voices just sounding badthird: the ending is unfinished and you cant tell most people motives or why they do the things they do hopefully this gets cleared up in the next city of rottfourth: the old man (main character) takes up most of the movie like a good hour or so you see those 4 people on the little picture they get a small amount of time each and that girl is only seen in the start of the movie from what i watchednow here is some good things about the moviefirst: the gore is god tier flash gore its enjoyable watching the fighting because of it or even just the zombies eating flesh looks goodsecond: the idea for zombies is pretty good the idea has been used before but its still good and adds to the gorethird: the main character is pretty fun to watch its fun to listen to him talk or watch him do stuffprobably would give this a rewatch in a couple of years or when the next one comes out.
An old man, his walker and a city full of zombies....
For an animated movie of this type, "City of Rott" is rather entertaining.We follow the old man Fred who is on the streets of the city looking for a pair of new shoes.
And the city is filled with the walking dead, rotting corpses controlled by worms.Now what made "City of Rott" work out well enough was the sheer amount of gore and mayhem.
Sure, it is animated, but there was something oddly fulfilling by seeing Fred dispose of the zombies with his walker.
Time filler perhaps?As for the animation itself, well the style used here is not what you'd otherwise see in Anime, cartoons from the 80's and 90's, but it is more in the likes of Flash animated movies as seen on the Internet.
There is a lot of using the same figures over and over, but in overall, that was a minor flaw in the animated movie."City of Rott" is worth watching more than once, though years should pass in between the watchings..
City of Rott is a home-made, animated (Flash-based?) feature-length movie set in a post apocalyptic city where parasitic worms have turned most of the population into flesh eating zombies; wandering through the streets of the corpse strewn metropolis—an old man, teetering on the edge of insanity (he holds conversations with his zimmer frame!), desperately searching for a new pair of comfy slippers...City of Rott's creator Frank Sudol has gotta be admired for the dedication and effort required in making this gory animated movie—look at the credits and you'll see that he single-handedly wrote, drew, animated, scored, edited and voiced everything in the film—but even though I have nothing but respect for the guy, I do believe that, in turning his idea in to a 77 minute zombie epic, he chomped just a little more than he could chew.The initially rather charming concept soon becomes very repetitive, and as much as I love me some intense carnage (even animated intense carnage), watching a crudely-drawn, senile codger repeatedly smashing heads with his walking frame soon becomes very tedious.
Some fun can be gleaned throughout from the numerous in-jokes that proliferate the film (often in the form of signs/billboards/graffiti in the city), but in the end, this would have worked so much better if it had been kept to a running time of well under half an hour.4.5 out of 10, rounded up to 5 for IMDb..
I had never heard of this movie and had only come across it whilst searching for some zombie movies to satisfy my hunger.It was an unusual yet interesting watch to begin with; I've never seen a full animated zombie movie before.The plot was simple and to the point, even though it may not have made proper sense, it was funny.I found Fred to be a great lead character and enjoyed him throughout...well...You'll find out the rest.All in all, I enjoyed it quite a lot, may not have been the best movie ever but if you are into zombie flicks/animation this will satisfy your hunger.
There is also some good animated gore too, never thought I'd say that.ZJ.
The best thing about "City of Rott" is the main character, an strange elderly man which apparently is losing his mind: While at first sight his role in this kind of story seem a bit odd, the truth is that he shows a more interesting development than the rest of the cast, which are merely the typical clichés from zombie movies.I have to admit that, to certain point, it was very funny (and awesome) to see an old man fight alone against a whole army of zombies, only using his walker as a weapon (And even more awesome, is the fact that the old man is able to fight as the most fierce action hero) but as the movie advances, it turns very repetitive and boring.The animation quality isn't exactly what I would call incredible, but I have to recognize that this had a good atmosphere and some interesting designs (Mostly concerned to the sceneries and the zombies) On the other side, the last part of the film was very disappointing: There was a moment when things apparently end, but instead of that, the film just goes on and on, turning a bit tedious.There are some qualities about "City of Rott" that deserve some recognition, but the overall result feels like something forgettable at best, despite all the violence and gore..
"Newgrounds Flash Animation Style And A Repetitive Film Makes For A Boring Watch".
An elderly man and his trusty walker go in to City of Rott looking for some new slippers.
What follows is a gore hounds dream, animation style.What made me watch City of Rott?
A cartoon zombie flick with it's main star wielding a walker.
I have never heard of COR, but being a fan of horror films, and being intrigued by the cover art, which is unfortunately one of it's few highlights, I bought the flick and watched it immediately.
Then again, what can you expect from a film that was made entirely by one man.Frank Sudol or "FSudol" brings us a film that he wrote, directed, animated, edited, composed, produced, so on and so forth.
I was surprised with the variations of zombies that I found in COR, I was expecting the same face to pop up every now and then.The main character, Fred, is alone, unarmed and going insane.
Looking for a pair of slippers may sound humorous, but it wears thin after the film starts.
Along with Fred there is a nurse, who quickly becomes a zombie, a random civilian with guns to randomly shoot zombies and another old man, who coincidentally carries the cure to being a zombie.These aren't your regular day to day zombies, this time it's parasitic worms that infest the decaying bodies.
It's a new way to spin the zombie tale that could work for a feature film, but here it doesn't seem to flow very well.
After Fred gets bitten by the zombies the film becomes rather pointless.
The only reason for the film to go on like this is for Fred to get the cure, so you know what will happen.
Basically the entire film is watching cartoon character beat the living crap out of these zombies.
It becomes repetitive in the first 30 minutes, and you are asking yourself if anything new will ever come up.I will give Frank Sudol credit for it being a one man show, it has great blood and guts and a unique animation style that could work as a short film, but COR becomes very boring, very fast.
Frank, get more people on the same crew with you, put more time into the production, more then one year, and then come back with a film that will knock our socks off.
Relatively Fun Animated Zombie Gore-Fest....
I wasn't expecting too much out of CITY OF ROTT so I can't say I was disappointed.
When I initially began hearing about it awhile back I was expecting a bit more, but once I uncovered more info on it, I was prepared for the stylized but somewhat juvenile-looking animation and "silly" storyline.Fred is an old guy who talks to his walker and is roaming around a zombie infested city looking for a new pair of shoes.
The zombies in the city are caused by worms that infest human brains and take over motor-function, reanimating people in search of more food.
Fred ends up meeting a few other "survivors" at different intervals along the way while still avoiding infection - until the last third of the film where everything takes a slightly out-in-left-field "twist"...CITY OF ROTT is entertaining enough for the most part, but I can't say that I really loved it either.
It dragged at certain parts and many kill-scenes were repetitive - the whole production had a video-game-like feel in the way that the story and action played out.
Definitely an interesting film as you don't see too much American made "adult" animation - and definitely nothing as gory as this - so to zombie, animation, and splatter fans - I'd definitely say that it's a one-time "must-see" - but I'd suggest a rental, not sure how much re-play value this one has...7/10.
Indeed a true work of Art. Summary: All the World's water is infected with worms that turn people into zombies.
An Old Man Named Fred goes through a city just to look for a pair of slippers(Loofers as he calls them) with perfect knowledge that this is happening.The movie is well done.
The movie is a non stop action film with an unrealistic number of zombies.
The movie is insane, full of gore, and funny (in a sense).
Although the movie is-in general- for zombie fans.
Over all I say to all the zombie fans of the world SEE THIS MOVIE!.
good if you remember it was the first movie ever from a one man production.
I discovered this movie back in 2016, and after my first viewing I had a similar opinion to some of the other reviews and critique, but after re watching it a few times and checking out the filmmakers other works my opinion changed.If you're like me and grew up in the 90s and frequented the site Newgrounds.com then the look and animation shouldn't bother you much.it's got some great gory action, and some good bits of humor.And it's just impressive one guy made something to this scale that came out fairly well.
The animation reminds me of a Nintendo game, "Zombies Ate my Neighbor", or something like that.
I liked Fred listening to his walker to survive.
It had that "Boy and His Dog" appeal going for it, but alas the walker wasn't really talking, it was the worms feeding off Fred's brain (more symbolism).
The movie is slow at times, but so is Fred and his walker, moving through the city at zombie speed.
You might want to fast forward through some of the repetitive zombie kill scenes.
The entire movie involves the same scene over and over again - a poorly animated walker repeated splatters equally poorly animated zombies.Plot Summary: A completely unlikeable old man, argues with himself and his walker while looking for a pair of shoes.
For a truly funny zombie movie check out Shaun of the Dead or Dead Alive.
It's funny it's very surreal and it kicks ass, if you like zombies and animation this is definitely right up your alley.
The whole idea of the old man looking for a new pair slippers is great and the fact that he talks to his walker is just straight up funny, the script is wicked the humour is up there with the best if you like it surreal and the gore comes thick and very very fast.
Now the animation is a bit cheep but believe me that doesn't matter its a great film.
it's got elements of slither and pretty much all the good zombie films ever made. |
tt0045191 | Stolen Face | Dr. Philip Ritter, a plastic surgeon (Paul Henreid), falls in love with a gifted and beautiful concert pianist, Alice Brent (Lizabeth Scott). They meet by chance at a country inn, and romance soon develops. However, Alice is already engaged to be married and, afraid to tell Ritter, runs away. Ritter is devastated.
Back at his London surgery, Ritter receives a phone call from Alice, who informs him she is to marry David (André Morell). Meanwhile, Ritter's new patient is Lily Conover (Mary Mackenzie), a female convict whose face is disfigured. The love-struck surgeon believes he can change her criminal ways by constructing her new face to resemble that of Alice. He does so, and they marry. (Now identical to Alice, she is played by Scott.)
However, Lily has not changed her ways. She soon grows bored of Ritter's sedate lifestyle, and returns to a life of crime and partying. She is reckless in her behaviour, and unabashedly flirtatious with other men, and he comes to despise her.
As Alice completes her latest concert tour, David knows there is something wrong with her. He guesses she is in love with someone else, and calls off the engagement. Alice goes to see Ritter, who confesses what he has done.
Later, an upset Ritter leaves London for Plymouth, believing that the situation can never be reversed. Lily follows him, however, and takes the same train, where she becomes drunk and aggressive towards Ritter. Alice believes Ritter is so upset he may harm Lily, or even kill her if provoked, and she too joins the train. She arrives just as the two are arguing, and engaged in a physical struggle as Ritter tries to prevent the intoxicated Lily from falling out of the carriage. As Alice enters, Lily accidentally falls against the loose carriage door, and falls out of the train.
The film ends as Lily is discovered dead at the side of the tracks, and Ritter and Alice are reunited. | murder | train | wikipedia | null |
tt0094374 | Zhi fa xian feng | Sergeant Nico Toscani, a native of Palermo, is a detective in the Chicago Police Department’s vice squad. At an early age he became interested in martial arts, and moved to Japan to study.
In 1969, Nico was recruited into the CIA by Special Agent Nelson Fox and was involved in covert operations on the Vietnamese-Cambodian border during the Vietnam War. There, he became disgusted with station chief Kurt Zagon, who tortured prisoners. A stand-off occurred when Nico tried to stop a torture session, and he left the CIA. Nico returned to Chicago, joined the CPD, and got married.
Nico and his new partner Detective Delores "Jacks" Jackson, are now investigating a drug ring, and after busting two of the dealers, including Salvadorian drug dealer Tony Salvano, Nico finds C4 explosives. Shortly afterward, the men that Nico and Jacks arrested are released at the request of Federal officials, and Nico is asked to stand down. Later, the priest of Nico’s parish is killed in an explosion during Mass. Fox calls Nico and tells him to move his family to a safer location, saying that Nico is in danger.
Under pressure from the Feds, Nico is asked to turn in his badge. Nico eventually finds that the dealers he busted are linked to Zagon, who is still with the CIA, and who is accused of human rights violations by a Central American priest who was being sheltered by Nico's priest. While Zagon is torturing the priest, Nico bursts in and a gun battle ensues. Detective Lukich and Jacks are wounded during the shoot-out, and Nico has to flee.
Senator Ernest Harrison is investigating Zagon's group to reveal their covert operations and drug dealing. When Nico finds out that Zagon killed the priest and is planning to kill Harrison, he goes after Zagon. Nico confronts Fox, but they are interrupted by Zagon's men. Fox is killed and Nico is captured.
Nico is held in the kitchen of a hotel during a Harrison campaign rally. Before Zagon can kill Harrison, Nico breaks free and kills Zagon and all of his remaining men. After, Nico meets Sen. Harrison, who has been informed of everything. Harrison promises justice for what they did and Nico says he is now willing to testify on his experiences with Zagon and covert operations in the CIA. | violence, murder | train | wikipedia | Yuen Biao and Rothrock shine.
This Corey Yuen Kuei-directed actioner stars Yuen Biao as a gifted young prosecution lawyer.
Disillusioned with a system that allows crime lords to buy their way out of trouble, Yuen becomes a vigilante and starts to hunt down the bad guys.
On his trail is tough Gweilo cop Cynthia Rothrock, determined that nobody should take the law into their own hands.
The plot for this movie is fairly formulaic, but it remains one of the best HK action films of the 80s.
The reasons for this are some strong performances from the leads (Yuen has often been unfairly dismissed as a poor relation of Jackie Chan and Sammo Hung, while Rothrock must have been sick of playing the same part over and over) and some electric action sequences.
The most memorable scenes are; an attempt on Yuen's life by black American karate expert Peter "Sugarfoot" Cunningham; a bout between Cynthia Rothrock and her fellow US Forms champion Karen Shepherd; the inevitable showdown between Yuen and Rothrock; and the final confrontation between Yuen, Rothrock and the mysterious villain..
Excellent showcase of Yuen Biao's talents.
Despite having a thin plot, silly dubbing, disturbing brutality, and unnecessary humour, this film stands as an excellent showcase of Yuen Biao's talents.
Yuen Biao and Cynthia Rothrock are placed in some set pieces that are among HK's finest.
My favourite was Yuen Biao facing off against Melvin Wong.
It's the kind of fight that makes one wonder why he wasn't as popular as Jackie Chan..
Cynthia Rothrock turned down a part opposite Jackie Chan to play a larger role in this Yuen Biao action thriller.
Biao plays a lawyer who takes the law into his own hands when the bad guys shoot a good friend of his outside the courthouse (hence the UK title 'Above The Law').
Corey Yuen Kwai takes the action a step further than that in 'Yes, Madam', making Biao and Rothrock look better than ever in a number of impressive action sequences.Biao's acrobatic talents are showcased magnificently as he flips, kicks, abseils and uses all available weapons (vases, axes and dead bodies!) in an attempt to punish the crimes of others.This is the definitive Hong Kong action flick of the 80's, easily on a par with 'Police Story' and should take pride of place in any fan's collection.Also, if possible, get the 'Universe' DVD as this contains both versions of the film and the original language..
After 20 some odd years of watching HK action films, I have come to idolize the work of Jackie Chan, Yuen Biao and Sammo Hung.
Yuen Biao turns in a solid performance as always, but if you want a Yuen Biao "showcase", it's got to be "Dragons Forever" (1987, similar story, except Jackie is the lawyer).
The real show here is Karen Shepard and Cyndy Rothrock in a GREAT action sequence...every bit as good as Michelle Yeoh (Khan) vs.
Karen and Cyndy have made some mediocre films (Terminator Woman, Tiger Claws, China O'Brien, etc.) but NONE of those were even close to the performance turned in by both women in Righting Wrongs...a direct result of HK choreography.
Like the majority of Hong Kong flicks, the script is rushed and uneven, the acting is secondary, and the "plot" is occasionally laughable as it lurches awkwardly from set-piece to set-piece.
But none of this matters -- Yuen Biao is completely insane, and brings a vitality to his action scenes that a "big star" like Jet Li can't hope to match.
Cynthia Rothrock holds her own, for the most part, showing energy and interest that will fade rapidly in the coming years as she "graduates" to low-budget American fare.
I just got that new Dragon Dynasty version of the film, though I'd never seen it before last night.
I really liked Yuen Biao as well as the lead villain.
The film had some big laughs, perhaps occasionally unintentional, but also some great action.There were a lot of problems with the editing and stunt-work though.
Also, despite how talented all the stunt people and the leads are in the film's action scenes, there were way too many moments where I saw wires or could clearly see the faces of stunt-doubles.
I know you can never be perfect with such things, but it was just much more obvious than in many other films of the genre that I've seen.On sort of a side note, you ever notice the ramp effect with vehicles in action movies?
Here in Above the Law a.k.a. Righting Wrongs, you see it with a car chasing down Yuen Biao going off of a parked car.
And I don't know my models but it's probably a Mitsubishi since they made it into EVERY Hong Kong action movie in the 80s.
It was odd, but hysterical.If we're talking recommendations and I have to exclude anything with Jackie Chan, Sammo Hung, or Jet Li, I'd recommend any of the first four In the Line of Duty movies over this.
But it's still a decent action movie and any fan of Yuen Biao in particular really needs to see it..
Having first seen Righting Wrongs back in 1990 (released here in the UK as Above The Law) I was already a die hard fan of the amazing Yuen Biao and Cynthia Rothrock (along with the rest)!
And my love for them was very quickly confirmed with the pure awesomeness of the incredible martial arts action epic!Directed by the equally talented Corey Yuen Kwai, Righting Wrongs has some of the greatest fight scenes on film, featuring Biao and Rothrock at the top of their game along with the fantastic Melvin Wong, Karen Shepard, Peter Cunningham and more.This film deserves a worthy place for any serious fan of Hong Kong (or action) in their DVD collection and never tires on repeated viewings!.
Famed martial arts choreographer Cory Yuen (THE TRANSPORTER 1 & 2, X-MEN and ROMEO MUST DIE) directed a Hong Kong film, loaded with bone-crushing stunts and masterful fight scenes with an assembled cast of martial arts masters from the East and West to cross paths.ABOVE THE LAW (aka RIGHTING WRONGS) obtained a vigilante story with dark toned aspects that relies on police corruption and the righteous bending the law to seek their own justice.
The stunning martial arts choreography by Cory Yuen kicks into high gear to help make this underrated cop-fu classic a fan favorite.Acrobatic kung-fu genius Yuen Biao (ONCE UPON A TIME IN CHINA, SHANGHAI EXPRESS (aka MILLIONAIRE'S EXPRESS), THE PRODIGAL SON) plays a court prosecutor whose relentless determination to do away with an untouchable gangster (James Tien- Bruce Lee's THE BIG BOSS, FIST OF FURY) has led him to employ a series of unethical tactics.
His investigation becomes complicated by the arrival of a female inspector (played by 5-Time World Karate champion and weapons expert Cynthia Rothrock).Out of all the '80s era fight flicks I have seen Yuen Biao perform in, ABOVE THE LAW was one of his better efforts as an actor and screen fight performer.
He exchanges blows with undefeated kickboxing legend Peter "Sugarfoot" Cunningham in a (POLICE STORY-style) glass-shattering fight, he also battles Cynthia Rothrock in an engagement of traditional kung-fu, acrobatic fight moves and handcuffs.
He has a Jackie Chan stunt moment where he uses his speed and flexibility to dodge speeding cars.Cory Yuen staged these sequences wonderfully and the legendary fight between Cynthia and Biao shows their similarities in timing and skill, which makes their battle an all-time favorite.
Karen Shepard, who is another skilled fighter from America and an expert in the mixed art form of Wun Hop Kuen Do kung fu, faces off against Cynthia with the lethal chain whip.
Actor Melvin Wong (EASTERN CONDORS and DESCENDANT OF WING CHUN- the film referred in BULLETPROOF MONK-) also gets screen time to execute some martial arts against Yuen Biao.
The results of the screen fights earned the film a nomination for Best Action Choreography at the 1987 Hong Kong Film Awards.Of course, fans already know that Cynthia Rothrock is kung-fu's queen of action and a master in various forms of combat like Tae Kwon Do, Wushu, Northern Shaolin kung-fu and Tang Soo Do. Her skills made her a celebrated icon in the sport but unfortunately, she remains highly underrated and overshadowed by the mainstream success of Jackie Chan and Jet Li. Her roles in countless American movies suffer from bad plots and choreography but her presence in Hong Kong films shine like Jackie Chan, and Jet Li does internationally.
Her capabilities give her the advantage over many of today's mainstream martial art stars and it is disappointing that her films in the East do not get the proper recognition.For a film made in the '80s, ABOVE THE LAW was a great actioner in martial arts cinema, and all the skilled experts did a great job with their performance.I hope the overshadowing of this classic in the West will end with the new Dragon Dynasty release and capture a wider audience to gain her the type of recognition she deserves as a star.This film was also one of Cynthia and Biao's best performances in screen combat during that era but the praise goes to Cory Yuen because of his skillful direction and casting of martial arts action figures from both worlds to pull the strings.
Essentially the whole industry in HK is more or less like the American B-movie action market, starring the likes of Dolph Lundgren, Van Damme and of course Cynthia Rothrock.
The main difference though is the high level of quality in the action of the HK movies.
They feature the inane plots and hokey acting of DTV American movies but my god can those guys do good action.This film is virtually plot free but of course that isn't important.
What it does have is action legend Yuen Biao (Best known as one of the three dragons, with Jackie Chan and Sammo Hung).
Arguably Biao was also the better fighter than Chan, but of course Chan did the most amazing stunts of the three legends.
Also at the time perhaps the most popular female action star in HK was Cynthia Rothrock.
The high kicking carnage dished out by Cynthia, particularly in her HK movies is just hot, really darn hot!
Rothrock moved away from those movies in the early 90's and had a brief slew of theatrical films in the US before dropping into the DTV market where she remains a popular draw.
The problem is that American cinema doesn't spend the time and energy on the fight sequences like they do in HK.
Nowadays the average Rothrock fight scene looks very conventional, while of course still remaining sexy by the sheer fact she is kicking booty.
Righting Wrong of course is full to the brim of high octane and imaginative fights and the film never drags.
Rothrock is superb in the action department and has some great fights, amongst others a great fight with Biao, while Biao is also superb, showcasing some amazing moves and great stunts.
Yuen Biao, who attended Chinese Opera school with Jackie Chan and Sammo Hung, totally rules this movie!
He has incredible martial arts skills and uses them to the max in this action-packed movie.
Yeah, sure the plot and acting leave a bit to be desired, but for us martial arts fans we've come to accept the sub-standard acting in lieu of the awesome action sequences.
Cynthia Rothrock adds an extra dimension to the film with her excellent fighting abilities.
She is certainly able to keep up with Yuen's antics and from what I've heard, she really enjoyed making this film, (one of her earliest).
Well done action movie....
1st watched 2/2/2010 – 7 out of 10 (Dir-Corey Yuen): Well done action movie with incredibly well crafted action sequences.
The story is about a prosecutor, played by Yuen Biao, who likes to take the law into his own hands whenever he gets the chance.
Cynthia Rothrock plays a cop who's after him for the murder of one of the guilty parties that was let go by the courts.
A bad cop ends up being the real guilty party and the two stars eventually team up to bring him down but not before many deaths.
The fighting sequences are extremely well choreographed and you also feel the passion within the main characters and I think that's what makes the difference in this movie.
There is a little humor thrown in as well coming from side characters but mostly the movie is about the action.
– you took a simple 80's action-revenge movie and made it special despite it's simplicity..
must see, yuen biao, cybthia rothrock at their best.
action, fights, stunts all are very good and there s plenty of high quality, the scenario (script) will really amaze any watcher, it s totally different from the usual good guys win and bad guy looses, it s really incredible.
yuen biao is as usual astonishing..
Cynthia Rothrock's best film, and so much more!.
Her American flicks have been lackluster or worse, but under the direction of a top-notch fight choreographer (if I'm not mistaken, Biao Yuen himself was in charge) and editors who knew what they were doing, she looks wonderful.
I'd nominate "RW" as having one of the two or three best chick fights that I've ever seen,And Biao is way, way over the edge.
The extended battles are fantastic (including one with a corpse used as a Jackie Chan-style prop), so I'll forgive him the dopey opening sequence.This is GREAT HK noir!
Cynthia Rothrock is a phenomenal martial-arts dynamo (although in some scenes she is stupidly replaced by a male stunt man), and Yuen Biao is....well, Yuen Biao, if you've seen him in even one Jackie Chan movie you already know what he can do.
The sheer action involving these two almost redeems the rest of the movie.
Yuen Biao Rocks.
This movie is perfect for Yuen.
"Righting Wrongs" is a great showcase for all involved, with solid martial arts action throughout.
Yuen Biao shines, and I've never seen Cynthia Rothrock, and Richard Norton do better.
Most of the film remains extremely similar, but the conclusion has been extensively restructured, and ends quite differently from the original!
either film is just amazing, an early showcase for Corey Yuen's skill, exploited so well by Hollywood, now..
Classic slice of '80s Hong Kong action.
I'm a big fan of the kind of action film that came out of Hong Kong in the 1980s: this was the decade where Jackie Chan was at his very best, in terms of stunts, action and directing, and Sammo Hung made all of his best films as director.
Mention must also be made of Yuen Biao, though, who often joined up with both Chan and Hung to contribute some very good action to these kung fu flicks.
Occasionally, Biao got the chance to go it alone, as he does here playing a Charles Bronson-style prosecutor who, tired of seeing criminals getting away scot free time after time, decides to take the law into his own hands.
There's a huge sub-plot involving a cop named Bad Egg, who's played by choreographer Corey Yuen.
There's the usual mix of GREAT martial arts sequences, along with a nifty set-piece involving crashing cars in a multi-storey car park.Yuen Biao adopts the heroic mantle very well indeed, proving himself more than a match for the likes of Jackie and Sammo.
Cynthia Rothrock's on hand as a tough imported cop, kicking ass with the best of them.
I'm used to see him in straight, non-martial arts roles like his turn in BEWITCHED, but he gets to play a tough bad guy here and his fighting's excellent – he really convinces.
Great action is dotted throughout the movie.
Rothrock gets to tackle another female fighter in a great, extended fight, as well as tackling Biao himself in another good bit.
The best, though, is inevitably saved for the climax, an extended bout in a warehouse which doesn't disappoint, and then there's a James Bond-style bit on an aeroplane which makes for a nice change (I haven't seen anything like this in any other Hong Kong film of the 1980s).
The great Yuen Biao plays Hsia, a prosecutor who is tired of seeing the bad guys go free and the justice system constantly protecting villains and ignoring the victims of their crimes.
So Hsia decides to go after the baddies in his off time, which works out well because this lawyer is also an incredibly skilled martial artist.
Cynthia Rothrock plays Cindy, a CID agent who is constantly on Hsia's tail.
Her partner is Bad Egg, a slovenly cop played by the director, Corey Yuen.
The pedigree of the film is impressive, with not just familiar names such as the amazing Yuen Biao and Cynthia Rothrock (who also delivers one of the better performances we've seen from her), but the producers got some American fighters to fly to Hong Kong such as Peter "Sugarfoot" Cunningham and Karen Sheperd, who have both gone on to good careers since.As you may know, Yuen Biao came from the same Opera School that produced Jackie Chan and Sammo Hung.
The reason Melvin Wong looks so muscular and pumped up here is because he trained under Bolo Yeung.Above the Law features, on top of the ace fighting and stunt work, the same crowd-pleasing wacky comedy and lovable characters known in Hong Kong productions.
Also featuring some killer music, the movie is just a blast, an incredibly fun rush of fast-paced action setpieces.For an over-the-top 80's HK action film, it's hard to top the first-rate Above the Law.For more insanity, please visit: comeuppancereviews.com.
I'm very soft when it comes to critiquing movies, but this film is so far placed number one in the list of worst movies I've have ever seen in my life.I will say that the story is fine, but what bothered me the most was that TOO MANY characters die in this movie. |
tt0087844 | One Night Stand | The movie starts off with a flashback that's being narrated by Urvil (Tanuj Virwani). It is the flashback and a series of events from his past that has defined his today. The flashback starts off with a fashion show organised by his event management agency in Phuket, Thailand. And after completing the event successfully, Urvil and his colleagues go drinking to celebrate. It is here that his friends challenge him to speak to a rank stranger (Sunny Leone) for a few thousand rupees. An attempt to win the bet gets him introduced to the stranger who, in turn, introduces herself as Celina. What follows after that, is unlimited liquor drinking by the two of them, which ultimately lands them up in bed together. But, the very next day, when Urvil gets up, he finds out that Celina has already left the room, without leaving any details of her whereabouts. And when Urvil comes back to his home in Pune, he is welcomed by his beautiful and dutiful wife Simran (Nyra Banerjee). Things are absolutely smooth between the couple, until one day Urvil accidentally spots Celina in the same mall wherein he has gone for shopping with his wife Simran. That very sight of Celina freshens up his 'one night stand' with her, which, in turn, gets translated into his desperation to meet her again. Thereafter begins his unending quest to hunt down Celina from the length and the breadth of the world. Amidst all this, Urvil gets extremely busy with his company's big-budget event of a product launch.
It is here where he gets introduced to his rich client Adhiraj kapoor (Khalid Siddiqui)and his family, which takes the daylights out of Urvil. The mysterious lady Celina is none other than Ambar, wife of Adhiraj, who along with their young son Jahaan (Rehan Pathan) and Adhiraj's father Raghav (Kanwaljeet Singh) stay in their posh villa in Koregaon Park, Pune. Urvil loses interest in his job and wife and stalks Celina/ Ambar. His colleague David (Ninad Kamat) advises him to forget Celina in order to save his marriage but he ignores his advice. Urvil tails Ambar continuously. Being fed up, she asks him to leave her alone and forget whatever happened between them as 'one night stand' but he refuses to do so and Ambar haunts him so much that he reaches their home and embarrasses Ambar. He misbehaves with Simran, uttering Celina's name. She picks up a fight with him and on the pretext of dropping him to his office, she races their car in the busy street asking Urvil to confess as to who is Celina and about their affair. He is terrified due to the rashly driven speeding car and admits to Simran about the illegitimate affair with Celina. She drops him on the road-side and tells him that it's all over between them. He returns home and begs her to pardon him for his folly but Simran is firm in refusing. Ultimately, Ambar calls Urvil to a spot on the highway to inform him that he should forget whatever happened between them and leave her alone. Urvil blames her for his marriage turmoil but she retorts that he was himself responsible. When Urvil threatens her that he would reveal the secret to Adhiraj, she informs him that she would do so herself irrespective of the consequence. She leaves him alone brooding about his future. The film ends with Urvil quitting his job and moving ahead in life in search of a new beginning. | flashback | train | wikipedia | Brilliant early Duigan.
In the eighties, John Duigan was one of Australia's most innovative and charming film-makers.
Although he hasn't done much of note in recent years, "Flirting" (1991) and "Lawn Dogs" (1997) are 90s examples of his brilliance, and his forthcoming film, "Head in the Clouds", sounds promising.
"Lawn Dogs", with its magnificent acting, screenplay (sadly not by Duigan) and stunning cinematography, is probably his masterpiece, but for sheer experimentalism and surprising pathos, "One Night Stand" is hard to ignore, especially considering it was made in 1984.The story is very simple - actually, there isn't much of one.
A group of four people sit around in an abandoned Sydney Opera House, worrying about the end of the world.
But Duigan uses this merely as a point of departure.
With some of the most interesting, and subtle, uses of flashback that I've seen in a while, nice acting, and clever uses of "Short Memory" by Midnight Oil and Fritz Lang's "Metropolis", Duigan has come up with quite a gem.
It doesn't have any of the usual trappings of Australian film - excessive "larikanism", lack of subtlety and depth, cinematic blandness or an irritating effort to be noticeably "Australian" (despite the potentially cumbersome use of Sydney landmarks) - and has so many things that many American and world movies lack.
"One Night Stand" is a film with the potential to surprise in an age when we so often think we've seen it all.
It's dated a little bit - quite a bit, actually - but, well, it was 1984, so you can't exactly expect it to look like it was made yesterday.
But in terms of what it achieves - emotionally, politically, cinematically - it is avant-garde in the truest sense.
Not unwatchable, not difficult, just truly ahead of the game.
And so few films have really caught up in the 20 years since.I just hope that "Head in the Clouds" can show that Duigan still is, rather than just was, an amazing film-maker.
More people need to see "Lawn Dogs".
More people need to see the Danny Emberling films.
And, judging by the seriously low user-rating, and startling absence of user comments on IMDb, it seems very clear that more people need to see "One Night Stand"..
Okay, but not great.
Four young people, hiding after dark in the Sydney Opera House, learn that nuclear war has been declared in Europe and Central America, with US bases in Australia targeted.
Faced with the prospect that life as they know it may have ended forever, they must come to terms with their feelings for each other.
As with many non-action Apocalyptic films, it tends to drag a little: there was an excellent opportunity to really explore the characters, but what we have is little more than light conversation.
A strong finish almost makes up for the weak first hour...and who else found the American sailor character annoying?
At least there's a (rather extended) Midnight Oil clip to keep us going.
Rating: 6/10.
See also: ON THE BEACH (1959), ON THE BEACH (2000) (mini), and also read Nevil Shute's novel, ON THE BEACH..
Australian take on nuclear apocalypse.
I saw this film in the late 1980s on the local uhf television station.
I think this film is what piqued my interest in Australian films.
I have thought about this film from time to time and have looked for it but to no avail.This may not be a masterpiece but the film is rather enjoyable.
The setting takes place near a stage while on the world stage we are made aware some nuclear powers are waging war.The world is not over yet and you sense the realization the end is near has not completely sunk in but there is a sadness or sense of imminent loss.
I really like the fact that the actors looked like ordinary people and like ordinary people they responded to the news in an ordinary way as perhaps a person in their late teens or early twenties would.
It is a rude awakening to the harshness of life but somehow the characters manage to make the most of it.This film does not appear to be on dvd or vhs but I hope it becomes available soon.
It is sad that teen movies today seem to lack distinction..
Hilarious, unpreditcable food for thought!.
Well, what can one write about this movie?
Certainly an interesting 'end of the world' 80's movie.
We are introduced to 4 young 20something year olds in the down yonder just before the end of the world becomes their only reality.
Held up in the Sidney Opera House for what is likely their last night on Earth.
We follow these young people (2 men and 2 women) through their agonizing transition from lives full of promise to where their lives are ever so quickly coming to an abrupt end.
Extremely melodramatic!
The acting is simply splendid!!!
Those young actors really became entrenched in their characters.
Throughout the movie the young adults tune into a radio station about reports of World War III breaking out all across Europe and America and of their own impending doom after a Nuclear Bomb is detonated just south of Sydney.
Throughout the movie a white rabbit appears - for what reasons, I have yet to figure out - was the director trying to send a message to the viewer?
The most impacting scene is the video camera footage broadcast on local TV of distressed and burned survivors somewhere 'north of New York'.
This scene really packs a punch!
Especially since the movie just kind of tugs along and then WHAM you get hit with this very graphic and disturbing scene!
Burned victims, men and women crying out in agony, Soldiers in radiation suits guiding blind and burned victims to a make shift shelter where the news camera keys in on people with skin hanging from their bodies, charred remains of humans and animals and the piercing cry of women and children!
I don't think there is one scene from 'The Day After' or 'Threads' that packed a shocking punch as this one brief scene in the movie (One Night Stand).
Oh and Midnight Oil is in this movie!
Am I the only yank that likes this band?????
Extremely rare video to purchase.
It is not available on DVD.
I was lucky to purchase a copy on Ebay recently in VHS format!
The back of the VHS box states:"How would you spend your last night on Earth?
Four young people find themselves deciding just that, as they end up thrown together on what may be their last night to live.When Sharon, Eva, Brendan, and Sam hear on the radio that World War III was begun, they decide that the best way to deal with the situation is to try and have a good time.
They play strip poker, mix drinks, flirt, and joke around.
But between the banter they draw close together as they realize that these may be the last friends they'll ever have.' Featuring the music of Midnight Oil."In closing, I would love to see a DVD version of this film with a Director/Actor(s) narrative!
One other tid bit, this movie was filmed entirely on location: New York, Sydny and Paris..
It's the end of the world as we know it and I feel fine .
This film has all the hallmarks of an early nineties indie movie.
Small cast (four people).
Single locale (the Sydney Opera house).
Single plot thrust (the end of the world).
But look at the date.
So when John Hughes was messing about with teen - movies and the USA thought Tootsie was one of the greatest films of all time, Oz had greater concerns.
Almost creating its own genre - the pre-apocalyptic movie - this film deftly shows what would actually happen in case of such an emergency.
People would still go on dates.
They'd probably hang out.
Some sex might go on.
Then everyone might die.
What's so lovely about this film, is that they are real people.
You can't really tell them apart.
They don't have stereotypes.
In fact only the navy officer really stands out.
We like them because they are like us.
If I was in that situation, I'd probably go a bit stir crazy.
If you happen to see this film around, do go see - if nothing else you get to see what the Sydney Opera House looks like at night when everyone's gone home . |
tt0118586 | All Over Me | This film focuses on Claude (Alison Folland), a teenage girl who lives in Hell's Kitchen, New York City, and is the story of her sexual discovery and budding lesbianism. Claude's best friend is Ellen (Tara Subkoff). Her plan to start a band with Ellen is subverted when Ellen begins dating Mark (Cole Hauser).
Claude discovers that Luke (Pat Briggs), a gay musician who has just moved into her apartment building, has been stabbed to death in what might have been a hate crime. Ellen hints at the fact that she was there when Luke was killed, but Claude keeps her mouth shut in order to protect her. Claude then goes to a gay bar and meets Lucy (Leisha Hailey), a pink-haired guitarist who is playing in the house band. Claude goes to Lucy's apartment, but freaks out and leaves, returning to her apartment to find Ellen waiting for her. They have a fight which ends with Claude screaming that she would die without Ellen.
Claude goes out along with Ellen and Mark on one of their dates; Mark gives Ellen downers which make her violently ill. Claude brings her to the bathroom and forces her to vomit, and Ellen refers to Claude as her "Knight in Shining Armor." Mark is visibly furious but manages to contain himself. Claude leaves and goes to Lucy's apartment again, but leaves after a brief make-out session. On the way home, Claude is ambushed in the street by Mark, who questions her relationship with Ellen. Claude threatens to tell the police about Mark's possible involvement in Luke's death.
Claude goes home to find Ellen waiting for her. Claude tells her that they need to tell the police about Mark, but Ellen says she would go to jail if they knew about her involvement. Claude says she would never let that happen. Claude kisses Ellen and tells her that she loves her. Ellen tells Claude not to say that, and Claude leaves. The next day, Claude cleans out her room, removing all traces of Ellen. She goes to the police before work. Later, the police comes into her workplace and takes Mark away for questioning. Ellen tells Claude that she hates her. Claude says that she knows, and that she's sorry. Claude then starts seeing Lucy. | murder, queer | train | wikipedia | null |
tt0029948 | Broadway Musketeers | Isabel Dowling (Margaret Lindsay), Fay Reynolds (Ann Sheridan), and Connie Todd (Marie Wilson) are three women who grew up together in an orphanage, and who meet again later in life. Each woman's life has taken a very different path: Isabel is married with a young daughter, Connie is an office secretary, and Fay performs in nightclubs. The three are reunited when Fay is arrested and Isabel and Connie arrive to bail her out. They make plans to keep in touch.
Isabel is bored and unhappy in her marriage. When she and Connie go to a nightclub to watch Fay sing, she meets gambler Phil Peyton (Richard Bond) and they soon begin an affair. Stanley Dowling (John Litel) discovers the affair; he divorces Isabel and retains custody of their daughter Judy (Janet Chapman). Isabel goes to live with Phil whose gambling soon ruins them. Fay and Stanley fall in love and marry.
Isabel has been separated from her daughter for some time when Fay takes pity on her and one day allows her to take Judy; however, Phil puts the child up as security against his debts. The gangsters to whom Phil owes money discover he has deceived them and that Judy was kidnapped from her father; they kill Phil in retribution. Trapped with Judy, Isabel overhears the gangsters deciding to kill the two of them to cover their crime. In a bid to save her daughter, Isabel throws herself from a window with a newspaper clipping about the kidnapping in her hand, trading her life to clue police in to Judy's whereabouts. Judy is rescued and thereafter symbolically takes her mother's place in the trio's ritual birthday meeting. | murder | train | wikipedia | Enjoyable Remake of Three on a Match. I found this remake of Three on a Match to be a bit more enjoyable than the original, thanks in no small part to the presence of Ann Sheridan.Nobody could pull off (no pun intended) an above-the-shoulder striptease like Miss Sheridan. Wowser! I know she didn't care much for her well-known nickname but you can see why the name stuck.Elsewhere in the movie John Litel does his usual job of providing solid support and little Janet Chapman is something else. She has to be one of the most likable child actors that I've ever seen in the movies.It's interesting to note that the very last scene in Broadway Musketeers, Ann Sheridan and Janet Chapman embracing, is nearly identical to the final shot of Little Miss Thoroughbred, also directed by John Farrow.. A Remake of Three on a Match. This movie is a remake of "Three on a Match" starring Ann Dvorak, Bette Davis and Joan Blondell, but if you haven't seen "Three on a Match" then see that first then this, some things were changed but its pretty good and you see a resemblance, the title "Broadway Musketeers" was a wrong name for the movie, but its worth watching, if you can catch it on Turner Classic Movies, I've got it. Margaret Lindsay, Ann Sheridan, and Marie Wilson star in this remake, but I have to say the first one was better, Margaret Lindsay plays the part Ann Dvorak plays, a rich girl who's not happy and goes the wrong way, the beautiful Ann Sheridan plays the showgirl, burlesque dancer like Joan Blondell played in the first one, she cleans up her life and replaces Margaret's character lifestyle, Marie Wilson plays the part Bette Davis, plays the stenographer, her character isn't much. Like I said this isn't the best film, but these girls are more beautiful and glamorous then Bette Davis, Joan Blondell, and Ann Dvorak were, they added some glamour to the movie, and this film didn't make them stars like Joan Blondell, Ann Dvorak, Humphrey Bogart and Bette Davis became, but worth watching. Ann Sheridan was the only one to become big but she's much forgotten today, but in the late 30s and 40s she was the top pin-up girl, beautiful girl she was, glamour queen.. Considering how terrific the original was, I see no reason to see this film instead.. One of the better Pre-Code movies was "Three on a Match" (1932). Not only was it a terrific film but it's one of Bette Davis' earliest films. It also is extremely lurid--the sort of way only Pre-Code films could be. Now, six years later, Warner Brothers have remade the picture as "Broadway Musketeer"...but with many of the more salacious scenes missing (such as the ultra-violent ending in the original). Considering how wonderful "Three on a Match" was, I just couldn't understand remaking it...but on a lark I decided to give this other film a try.The film has nothing to do with Broadway...and none of the characters have anything to do with the theater. Instead, it's about three women who grew up together in an orphanage, Isabelle (Margaret Lindsay), Fay (Ann Sheridan) and Connie (Marie Wilson). The film begins long after the three friends went their separate ways. Isabelle is married to a very successful man and has everything a woman could have wanted, Fay performs a racy* routine in nightclubs and Marie is a stenographer...an underdeveloped part. However, despite Isabelle having a child and loving husband, she's longing for excitement and ultimately destroys herself and loses her family. At the same time, Fay and Connie step in to pick up the pieces of Isabelle's family. What's next? Well, for starters, Isabelle manages to make things even worse---even after her husband divorces her.This is a very competent film and the cast is fine. However, they certainly aren't better than the original cast and the script is amazingly tame and lacks the edge and excitement of the original. Worth seeing, perhaps...but I suggest you just see "Three on a Match".*The racy dance is hilariously tame--so much so that you could perform it at a Baptist picnic!! This is one case where the Post- Code standards just didn't make any sense, as she was arrested for this lewd dance...a dance where all of her clothes remained on her body and the gyrations were minimal! |
tt0074968 | No Deposit, No Return | Siblings Tracy and Jay begin their Easter holidays with disappointment as they hear their mother, Carolyn, whom they had expected to pick them up from school, is instead in Hong Kong. Before she left, she made plans that the two children spend the vacation with their grandfather, Los Angeles billionaire J.W Osborne. Neither the children nor Osborne are enthused. Osborne, who has bad experiences with the children, takes steps to ensure the same level of chaos is not repeated.
During the plane trip, Jay realizes he has mislaid his pet skunk, Duster. In the horror and panic ensuing from the loss, Osborne's loyal butler, Mr. Jamieson, fails to meet them at the airport, and the children make their escape in a taxi. Meanwhile, at the same airport, safe-crackers and robbers Duke and Bert sneak their way into the airport offices to crack the airport safe. However, after opening it, Bert accidentally locks it. Out of time, they escape out of the airport, only to discover their escape vehicle has been towed. They scramble for a taxi, shared with Tracy and Jay.
At Duke and Bert's apartment, Duke attempts to shake them off but, through Tracy's excellent play acting, his better nature prevails and he invites the children to spend the night. Unawares to the children, Osborne caught sight of them as they left the taxi, and followed them all the way to Duke and Bert's. Because the children appear to be in no immediate danger, Osborne leaves them where they are.
The next day, Tracy devises a plan to follow Carolyn to Hong Kong in which they pay for their plane travel by mailing Osborne a fake ransom note, demanding $100,000 by 4:00pm that same day. Meanwhile, Duke and Bert receive a visit from Big Joe, a local gangster to whom they owe money. The amount owed has shot up considerably since the three last spoke, and Joe reminds Duke he has 72 hours to pay it back. Desperate, they go along with Tracy's plan but fail to get any money, as Osborne knows about the scam.
Tracy does not give up and makes a bogus call to the police insinuating a kidnapping. This puts Sergeant Turner on the case, an officer hell-bent on catching Duke, who is known for the safe-cracking method and for having not stolen anything. It also brings Carolyn back to America, demanding an explanation as to how the children have gone missing. Time is running out for Duke and Bert. After several negotiations, the ransom is considerably lower, and a meeting is arranged by the docks, exchanging money for the children. However, the police only have ideas of catching the kidnappers and are completely unaware Osborne knows the children's location. Duke clocks on to their plan before they are caught, and a frantic car chase through the docks ensues. Carolyn leaps into the back of Duke and Bert's car as they speed off and is then made aware that her children are in no immediate danger. The chase ends in Sgt Turner's deputy, Detective Longnecker, writing off the police cruiser and driving it into the water.
Tracy and Jay make it back to Osborne's, having averted Big Joe. They go into his safe and hide when they hear him coming but find themselves in big trouble when Jamieson shuts the safe and locks it. Duke, Bert, and Carolyn trace the children back to the house and find Jamieson, who claims the children are not in the house. Carolyn is not convinced, and a sighting of Duster proves her theory. None of them know the combination to the safe however, and have only a short amount of time before the air in the safe runs out. Its then up to Duke to use his safe-cracking skills to open the safe. Sgt. Turner then arrives at the house and, upon witnessing Duke crack a safe to save the children, declines to arrest him. Osborne then pays off Duke and Bert's debts and reconciles with his children. Duke also manages to set up his own garage; the film ends hinting romance between Duke and Carolyn. | comic | train | wikipedia | null |
tt0108028 | Sakay | Sakay was a barber from Tondo, Manila who joined Andres Bonifacio's revolutionary secret society Katipunan. He fought during the Philippine Revolution against Spain and later in the Philippine–American War. Sakay remained in the field even after the capture of President Emilio Aguinaldo and the fall of the First Philippine Republic. He was captured, but was released during an amnesty.
Sakay then took to the mountains to revive the Katipunan, together with Francisco Carreon, Julian Montalan, Cornelio Felizardo and other rebel leaders. He proclaims himself as General and President of the "Tagalog Republic" (Republika ng Katagalugan), and engaged the United States Army and the Philippine Constabulary in guerrilla warfare. On occasion he was aided by talisman-wearing cultist warriors.
After years of fighting, Sakay was convinced to surrender by Filipino labor leader Dr. Dominador Gomez, who argued that the establishment of a Philippine National Assembly, instead of armed resistance, presented the soundest option towards attaining Filipino independence.
On the understanding that the America government offered amnesty, Sakay and his officers came down from the mountains. However, as a ruse, they were invited to a reception in Cavite and arrested by the Americans. Tried and convicted for brigandage, Sakay and Colonel Lucio de Vega were hanged while Montalan and others received life imprisonment. | avant garde | train | wikipedia | null |
tt0416044 | Mongol | The story starts in 1192 ("Year of the Black Rat") with Temüjin (Tadanobu Asano) as a prisoner in the Tangut kingdom. He conveys his memories about his earlier life through a series of flashbacks.
In the first flashback, embarking on an expedition as a young boy (age 9) twenty years earlier (1172), Temüjin (Odnyam Odsuren) is accompanied by his father Yesügei (Ba Sen) to select a girl as his future wife. Temüjin meets and chooses Börte (Bayertsetseg Erdenebat), although his father wishes him to choose a mate from the Merkit tribe. Temüjin convinces his father to allow him to choose Börte. He promises to return after five years to marry her. On their way home, Temüjin's father is poisoned by an enemy tribe. As he lies dying, he tells Temüjin that he is now Khan. However, one of his father's warriors, Targutai (Amadu Mamadakov), orders the other tribesmen to loot the dead Khan's camp. Targutai spares Temüjin's life, declaring a Mongol does not kill children. After falling through the ice of a frozen lake, Temüjin is found lying down in the snow by a young boy called Jamukha (Amarbold Tuvshinbayar). The two quickly become friends and perform a traditional ceremony declaring themselves blood brothers. Targutai later captures Temüjin, holding him in captivity. Temüjin however, escapes late one night and roams the countryside. Temüjin is later seen again as a young man (Tadanobu Asano) in 1186. He once again is apprehended by Targutai, who wishes to kill him now that he is grown. Temüjin escapes a second time finding Börte (Chuluuny Khulan), and brings her back to his family. Later that night, they are attacked by the Merkit tribe led by Chiledu (Sai Xing Ga), since Temüjin's father had years before stolen his wife from one of their tribesmen. While being chased on horseback, Temüjin is shot with an arrow. Börte whips the horse which Temüjin is on, telling it to go home. Börte is captured by the Merkit leader, as Temüjin returns safely to his family.
Temüjin goes to Jamukha (Sun Honglei), who is now a Khan himself. Jamukha agrees to help him get his wife back and attack the Merkit tribe, though only after a year passes. The attack on the Merkit tribe is a success, and Temüjin finds Börte alive and Chiledu dead. However, Börte is pregnant. Despite knowing that he is not the father, Temüjin takes the son as his own. Temüjin and his men leave early the next morning, and two of Jamukha's soldiers choose to join Temüjin because he distributes more plunder to his warriors than Jamukha. Jamukha chases down Temüjin, but Temüjin refuses to send back Jamukha's combatants and horses because he explains a Mongol warrior is free to choose his leader. Jamukha warns him that his actions will lead to future conflict. Taichar (Bu Ren), Jamukha's brother, is later killed while attempting to steal back Jamukha's horses; Jamukha and Temüjin go to war. Outnumbered, Temüjin's army is quickly defeated. Jamukha declares victory and decides to make Temüjin a slave rather than execute him.
Temüjin is sold to a Tangut Garrison Chief (Zhang Jiong), despite the dire warning given to the man by a Buddhist monk (Ben Hon Sun) acting as his advisor, who senses the great potential the warrior carries and his future role in subjugating the Tangut state. While Temüjin is imprisoned, the monk pleads with him to spare his monastery when he destroys the Tangut kingdom sometime in the future. In exchange for delivering a bone fragment to Börte indicating that he is still alive, Temüjin agrees. Thereafter, the monk succeeds in delivering the bone and the message, though at the cost of his life. As a means of getting to Tangut, Börte becomes a merchant's concubine, bearing a daughter along the way. Once Börte arrives in Tangut, she abandons the merchant and bribes the guard for the key to Temüjin's cell, and the two manage to escape back to their homeland.
Temüjin, upset by the increasing loss of traditional values in Mongol society, leaves his family once more and pledges to make the Mongols abide by the law. Visiting a holy site in the mountains, Temüjin prays to "The Lord of the Great Blue Sky" and declares three rules by which Mongols must live: never kill women and children, always honor your promises and repay your debts, and never betray your Khan. Subsequently, he gathers an army to unify all of the Mongols. In 1196, Temüjin declares war over Jamukha. By 1206, Temüjin engages Jamukha, in league with his old enemy, Targutai, in battle. However, a thunderstorm arises on the steppe, terrifying Jamukha's troops and causing their unconditional surrender, as Temüjin stands triumphant (as he is the only Mongol alive who does not fear lightning). Having defeated his "blood brother", Temüjin allows Jamukha to live, while Targutai is killed by his own soldiers while attempting to flee the battle. The traitorous men are ordered to be executed by Temüjin (as they betrayed their Khan). Jamukha's surviving troops are spared and integrated into Temujin's army. Afterwards, Temüjin is designated the Khan of all the Mongols – Genghis Khan of the Great Steppe.
A postscript indicates that Genghis Khan would later go on to invade and conquer the Tangut Empire by 1227, fulfilling the monk's prophecy. While the entire civilization was destroyed by the Mongol horde, a single Buddhist monastery was left untouched, as Temüjin honored his debt to the monk. | romantic, historical, murder | train | wikipedia | null |
tt0037180 | Plane Daffy | One after another of a company of carrier pigeons fall prey to the seductive wiles of "Queen of the Spies": Hatta Mari. The alarm is raised at pigeon headquarters when Pigeon 13 (a Mortimer Snerd-esque yokel similar to Beaky Buzzard) goes AWOL with the female Nazi spy bird. He reveals all his secrets (after she slipped him a mickey). In shame, Pigeon 13 departs to commit suicide, although after an off-screen gunshot is heard, he briefly returns to note "I missed."
Later, self-described woman-hater Daffy Duck volunteers for the next mission. Hatta tries to seduce him by hiking up her skirt to reveal her shapely leg and kissing him full on the lips twice. The first kiss electrocutes Daffy and melts him like butter, but the second kiss electrocutes Hatta Mari having the same effect on her. Daffy ultimately resists her charms, but swallows his secret message when the temptress corners him. After a frenetic battle, she x-rays Daffy and broadcasts the supposed secret ("Hitler is a stinker") to Hitler himself. Outraged, Hitler declares "Dat ist no military secret!" Goebbels and Göring concur -- "Ja. Everybody knows dat!"—then shoot themselves in the heads after receiving Hitler’s angry glare. Daffy Duck then concludes the cartoon by saying "They lose more darn ‘Nutzis’ that way," and then going into one of his famous bouncing fits whooping. | psychedelic | train | wikipedia | Tashlin at the top of his form!.
Frank Tashlin is not one of the first names that come to mind when discussing Warner Brothers cartoons.
with Tex Avery, Chuck Jones, Bob Clampett and Friz Freleng being more well-known.
That's not a surprise at all.
But it's a bit sad to think that the general public doesn't know more of him, particularly his work in animation.
He worked, like many people, for more than one studio and also made the successful switch to live-action direction.
A very talented man, to say the least.
This short is vintage Tashlin and he handles the material perfectly.
Everything here is great.
The ending, where Goering and Goebbels suffer a momentary bout of candor that costs them dearly, is absolutely priceless!
Hatta Mari is a precursor to Jessica Rabbit, as is Tex Avery's Red character.
Only Mari IS BAD-as well as drawn that way!
Pay particular attention to the scene in the squadron barracks when the commander displays her wanted poster.
Marvelous short and well worth tracking down.
Most highly recommended..
Hilarious, fast-paced and squarely aimed at adults.
Frank Tashlin's 'Plane Daffy' is a wonderful wartime cartoon which is very definitely aimed at adults.
Aside from containing three suicides and possibly the most cigarettes in any one scene in animation history, 'Plane Daffy' is based around the character Hatta Mari, a leggy blonde nazi pigeon who seduces military secrets out of carrier pigeons.
This makes for an extremely sexually charged cartoon, quite literally in one case!
Similar in many ways to the excellent Private Snafu cartoon rumours (which was written by Dr. Seuss), 'Plane Daffy' tells most of its story in rhyme, until Daffy finally arrives and the wisecracks get a little looser.
Daffy, despite having top billing, doesn't appear in the cartoon until it's more than half way finished but when he does, he knocks the action up a notch from witty setup to lunatic conclusion.Professing to be a woman hater (!), Daffy nevertheless succumbs to Hatti Mari immediately, resulting in the longest animated screen kiss I've ever seen.
Tashlin, always the Warner director who owed the most to live action techniques, treats Hatta Mari as if she were a real life screen goddess, never missing a chance to present a titillating angle of her top-heavy figure!
The sexual tension between her and Daffy adds a new angle to an age-old chase format and Tashlin's direction is extremely energetic.
Special mention must go to Warren Foster's script, which not only features the excellent rhyming narration ("relaxes" is rhymed with "enemy axis", to give but one example of the unpredictable wit on show) but several absolutely hilarious gags.
My favourites involve a military-secret-dispenser and a fridge light.
There are also lots of subtler in-jokes, such as the fact that Hatta Mari is not only a spoonerism of Matta Hari but also an old fashioned slang term for a loose woman (you get her pregnant, you hatta mari her!
'Plane Daffy' is the Warner animation studio at its bawdiest and also, frequently, at its funniest..
they realize that it's more than plain...if your paranoia is real.
While most of the WWII-era cartoons from Warner Bros.
had the characters kicking Nazi butt head on - or at least contributing to the war effort back home - "Plane Daffy" takes a different approach.
After several pigeons get seduced by female Nazi spy Hatta Mari and divulge national secrets, the army hires none other than the looniest of all ducks to deliver the secret.
But when Daffy meets the woman, it's up to him.Obviously, when there's the risk that someone's trying to attack you, you wonder whom you can trust, or who might be a spy.
Needless to say, they make it as funny as possible here.
The truth is, I might have gotten tempted to spill the beans to a babe like that woman!
But anyway, it's a really funny cartoon.Yeah, that's not a secret at all..
Terrific short toon!.
Daffy Duck is a woman-hating military worker who must send a secret message but then he falls in the hands of the seductive "Hatta Mari", whom happens to be a big-breasted blonde buxom Pigeon.Entertaining and excellent WWII toon featuring Hitler as the second villain, the animation is pretty good for it's time and that Hatta Mari chick MAMA MIA!
what a woman, this is definitely a cartoon for adults besides kids cause of Hatta.She makes men wanna drool and makes men wanna do it with her.10/10 ( a must see short)..
A classic for Frank Tashlin and Daffy Duck.
Most of Frank Tashlin's cartoons are hugely entertaining and clever, they deserve to be better known as does Tashlin as a director.
And Daffy Duck is one of Looney Tunes/Warner Brothers' best characters.
Plane Daffy is a classic for both.
The animation is fluid and colourful, with expertly camera angles(always one of Tashlin's directorial strengths), and the music is both lively and catchy.
The writing is fresh and fabulously witty, there is some brashness but also degrees of subtlety, and to call the gags hilarious is an understatement, very hard to pick a standout as they're all great in their own way.
Plane Daffy is easily one of Tashlin's funniest, and with the sexual tension and the caricatures at the end one of his daring too, managing to do that without offending.
The story is not exceptional from a premise point of view, but the breakneck pace, the fantastic humour and managing to not be afraid of being ahead of its time makes that not matter at all.
Daffy is on top form, the femme fatale character is both beautiful and dangerous and the voice work from Mel Blanc et al is spot on.
Overall, a classic.
10/10 Bethany Cox. A wartime gem!.
High-speed Tashlin wackiness!
When one after another of a company of Allied carrier pigeons falls prey to the seductive wiles of "Queen of the Spies" Hatta Mari, self-described woman-hater Daffy Duck is sent to carry military secrets through her net.
After a frenetic battle at slinky Mari's pad Daffy's secret document is revealed (via x-ray machine; he swallowed it) to Hitler plus Mussolini and Hirohito --who have to shoot themselves through the head after agreeing with it!
All the hallmarks of a wartime 'toon -- violence, sex appeal, ridicule of the enemy --plus Tashlin's signature brashness and blinding speed.
Ace!.
Film experts consider this the best WWII Looney Tune propaganda .
. while top Sex Education honchos slather PLANE DAFFY with praise for its uninhibited flogging of their ideal for Oral Sex to be reciprocated to the female in a heterosexual coupling.
Obviously, Warner Bros.
had a dual purpose in promulgating PLANE DAFFY.
Shaming the World-Wrecking Top Nazi leaders into shooting themselves in the head (and, sure enough, the Power of Warner's suggestion soon led "Der Fuhrer" himself, Adolf Hitler, into aping the cartoon versions of his henchmen Goering and Goebels here at PLANE DAFFY's close by shooting himself in the mouth in Real Life a few minutes after he viewed this animated short in his Bunker) was one of their priorities.
More importantly, the Warner Bros.
foresaw the havoc a Baby Boom would cause in America as all those millions of servicemen returned to their female counterparts, who lacked The Pill and most of the other Civilized Means of Contraception.
The only hope in keeping the U.S. Social Fabric from being ripped apart, with Boomers such as Hillary the the Trumpster STILL fighting like over-crowded kindergartners this far into the 21st Century, was the promotion of Population Stability through fully reciprocal Oral Sex. A close viewing of PLANE DAFFY tunes up 14 overt or subliminal allusions to female-on-male activity of this nature, as well as 27 male-to-female connections.
Without Warner's timely PLANE DAFFY warning, most of the Real Life tongue wagging never would have happened, and Millennials would be coping with TWICE AS MANY BOOMERS underfoot as we're actually putting up with Today!.
Warner Bros at their most political.
"Plane Daffy" is an American 7-minute cartoon from the year 1944 and everybody who knows a bit about history will immediately realize that this was done during the later days of World War II with the United States already being involved.
Daffy is the star here, even if he does not appear before half of the film.
It is all about keeping military secrets from a femme fatale spy who is a reference to Mata Hari.
In the end, we also get to see caricatures of Hitler, Mussolini and Hirohito(?) and two of them die.
This film was generally a bit darker in tone than most other Warner Bros.
cartoons, but this was of course to emphasize the seriousness of the matter here.
There are certainly films out there by the company that make a bigger impact in terms of comedy or story, but this one here is absolutely worth seeing as a prime example of how films (and cartoons more specifically) were used back then to get political messages to the people.
I recommend the watch..
Definitely not for children!.
Directed by Frank Tashlin, "Plane Daffy" is a World War II Daffy Duck cartoon that is quite bizarre.
Amidst some amusing rhymed narration by Robert C.
Bruce, we feast our eyes upon a very sad squadron of Air Force chickens at their flight station, weeping for their lost comrade.
It's up to Daffy, the "squadron woman hater", to deliver a secret military document and resist the flirtations of a slinky Nazi spy hen named Hatta Mari.Here are my favorite sequences from "Plane Daffy".
Daffy ogles Hatta Mari's leg and then gets electrocuted by her kiss.
When he escapes her hideout, he quickly returns, telling her, " Let's go back inside.
It's scaaaary out there!" And I love the caricatures of Hitler, Goering, and Goebbels at the very end."Plane Daffy" is a cartoon that lives up to its title, because once Daffy winds up in Hatta Mari's hideout, the rest of the film is absolutely silly!.
They Lose More Natzis That Way. Slightly boring.
A rare thing to find in a Daffy Duck cartoon, due to the narration of this cartoon.
I don't like hearing a story be read out to me slowly and painfully.
Although, everything else was just wonderful and funny.A man spills out all the secrets he know about the army to a natzi and then shoots himself in shame.
Wow, real appropriate for a children's cartoon.
That's sarcasm.
Any who Daffy Duck the women-hater comes to the scene, but he soon falls into the woman's trap.
But then he runs away swallowing the secret.
A projector tricks the woman thinking she is looking at his note with an x-ray and that the note says "Hitler is a Stinker." Hitler and two other natzis see it and say, "That's not a secret.
Everyone already knows that." Hitler gets outraged so they shoot themself.
Horrible.I don't really recommend this to anyone do to the lack of censorship and patriotic propaganda..
PLANE DAFFY.
A WWII classic.
All of the Carrier Pigeons have met their dooms after meeting Hatta Mari, a sexy enemy spy.
Enter Daffy Duck, woman hater, who goes out to deliver a secret document.
After a zany chase around Hatta's house, Daffy is cornered and swallows the paper.
He is then straped to an X-Ray and Marri shows the message to Hitler and his henchmen: "Hitler is a Stinker".
Hitler: "Hitler is a Shtinker?!
That's no military secret!" Henchmen: "Yah everybody knows dat!" After the two shoot themselves, Daffy replies: "They lose more darn Nutzis that way!" |
tt1441951 | Quartet | The plot takes place in Beecham House, a retirement home for former professional musicians, patterned after the real-life Casa di Riposo per Musicisti founded by Giuseppe Verdi.
Reg, Wilf and Cissy are retired opera singers who often worked together in the past; among other residents are Cedric Livingstone, a former director, and diva Anne Langley. All the guests in the retirement home continue to be engaged in their former professions in one way or the other, including lecturing and initiating young people to music.
Finances threaten closure of the home but proceeds from a yearly gala concert on Verdi's birthday hold hope for a continuation of the place. However, Cedric has become rather desperate because some of the most prominent singers have either died or decided not to participate at all. Reg, Wilf and Cissy were in the cast of a very highly rated recording of the opera Rigoletto, which includes a famous quartet for soprano, mezzo-soprano, tenor and baritone ("Bella figlia dell'amore"). This version is very prominent among opera buffs as THE Rigoletto of the post-war era.
One day, Reg is shocked to find his former wife Jean Horton, the missing soprano of the Rigoletto recording, turning up to live at Beecham House. Reg is angry not to have been warned as their parting was on very sour terms.
At first Jean tries unsuccessfully to mend things with Reg. In the ensuing conversations her infidelity arises, as well as her past marriages, but Reg comes to understand that all that is past. In the meantime, Wilf and Cissy convince Cedric that bringing together those who sang the quartet on the famous recording to sing it again for the Verdi Gala concert will sell enough tickets to save the home. Enchanted with the idea, they persuade Reg to overcome his objections to performing with Jean again. However, she is harder to persuade as she vowed never to sing again after retiring.
Cissy takes Jean flowers from the garden to cheer her up and asks if she wishes to discuss the quartet, but Jean becomes violent and attacks Cissy, which only aggravates Cissy's already delicate senile condition. Jean apologises and is finally persuaded to sing in the quartet from Rigoletto, after learning that Anne Langley will be singing "Vissi d'arte" from Tosca. The group prepares for their performance and, moments before their curtain call, Cissy gets very confused and attempts to walk out the door, saying that she has to go back to her family, but Jean manages to salvage the situation. During her conversation with Cissy, Jean expresses regret for all her past bad behaviour towards Reg and admits that she is still in love with him. Reg overhears this.
Just as the recital is about to start, the director of the home is amazed at the energy displayed by the guests of the home. The idea of rehearsing and playing before an audience brings life back to them, leading her to the conclusion that old age and art go together. As they are about to enter the stage, Reg asks Jean to marry him again, and once on stage she whispers her acceptance. | comedy | train | wikipedia | Some moments hit you hard man, real hard, you might be laughing one scene and then the next scene you just realized that the 'thumb up' from one old man to the next gives chills on how life can end at any moment and at any time.Dustin Hoffman, my man, you have made many people, many seniors of this country really happy, you have done what most always want but never will.Thank You, to the cast and to the crew!!!!!.
This is a movie for actors, and there are many terrific performances in this wonderful ensemble piece about the residents of a home for aging musicians, which we saw at our movie preview club.But the warmth of the story - the vibrancy of the seniors playing string quartets and practicing their cellos and clarinets, their friendships, annoyances, disappointments, and even loves - marks this film as something very special.Hoffman has taken a beautiful English estate and turned it into a world of music filled with well-drawn and compelling characters: the woman with advancing dementia who relishes the CD of her performing Rigoletto 40 years ago; the flirtatious Wilf, whose "advances" towards the women on staff are never offensive and always charming; the aging diva - the always wonderful Maggie Smith - who is horrified by the thought that by moving in her life is over.The best drawn (and in my mind, played) character is Wilf's best friend Reggie, who doesn't get Wilf's preferential treatment but has a quiet dignity and love of his life and his art that quietly shines through.
It's not often that I feel out of place at a cinema, but I on this occasion I did.Quartet, as you probably know, features a stellar cast of older actors; Maggie Smith and Tom Courtenay playing the reunited divorcées with a history; Billy Connolly as a pottering and senile old tenor, cracking double-entendres at every opportunity; and Pauline Collins, who in my opinion steals the show, as the ditzy ex-opera singer.
Yes ,you can see its development from a mile off, and it rarely addresses the more serious and harrowing aspects of old-age as Haneke's 'Amour' did, but it's good natured, well scripted and amusing fun.It's all through the typical rose-tinted, Downton-esque portrayal of Britain that we're all accustomed to, but with a cast like that and a gentle, sweet story, it's hard not to be eventually won over by its charm.
Here Reg found his niche in caring for his friends and holding classes for young people.Into this garden spot comes a new resident, a noted opera star played by Maggie Smith.
Life is definitely not retiring in this home because, as Cissy is fond of quoting Bette Davis' remark, "old age is not for sissies".Director Hoffman gives us many quiet moments to observe the entire ensemble as life swirls around the preparations for the all-important concert.
The other is that any film with Billy Connolly, Tom Courtenay, Maggie Smith and Michael Gambon is very unlikely to be less than very good.As it turns out, the film - set in a retirement home for classical musicians - is simply perfect: touching and amusing from the start, with generous but judicious doses of lovely music, shifting gears in an in-obtrusively sure-footed way.
Maggie Smith shows far more range than her now- stock Grande Dame parts usually allow her, including an unaccustomed vulnerability and a charming exercise, at one moment, of calculated yet shy girlish charm.As one would expect from a director who is a great actor himself, the palette of characters here is vividly and colorfully incarnated by actors who are often memorable even in the most minor parts.The music is both respectfully and affectionately integrated throughout, moving from noble classical pieces to a cheerful bit of music hall.
And is paid a surprising homage in the credits, which continue the film's nod to age and accomplishment well past its not very surprising but still satisfying end.Very few viewers, by the way, will sense the echos here - but no more - of a lovely French film from 1935 about a retirement home for actors: "La Fin du Jour":http://www.imdb.com/title/tt0031309/combinedRonald Harwood ("The Pianist", "The Diving Bell and the Butterfly", etc) tells a very different story, but anyone who enjoys this one and understands enough French should certainly seek out the older film (with the great Michel Simon)..
Based on Ronald Harwood's play of the same name, the film takes place at Beecham House, a home where retired opera singers Cissy (Pauline Collins), Reginald (Tom Courtenay) and Wilf (Billy Connolly) live.
As she is the ex-wife of fellow member Reginald, old rivalries, theatrical temperaments and drama evidently ensues and it becomes unclear whether or not the show will go on.While the film never gets any more drastic than this, it is delightfully charming to see veteran actors Smith, Courtenay, Connolly and Collins strut their stuff.
But as we see Courtenay's Reggie harbour old feelings for his ex-wife and Collins play the lovable confidante Cissy, it's Connolly who steals the show as the hilariously lustful Wilf.Although there isn't much material to let the actors stretch their acting capabilities, Quartet is a pleasure to watch.
This is the sort of film I normally strenuously go out of my way to avoid: the feel-good movie, especially the feel-good movie (Billy Elliot comes to mind) in which characters find "redemption" and "meaning" through Art. As a rule, the Brits do this kind of film much better (Brassed Off, the Full Monty) than Hollywood (no examples I would care to cite, I haven't had my breakfast yet); this is a hybrid, being a British written and produced movie, with an American director (Dustin Hoffman) making his directorial debut at the tender age of 74.So, why did I go to see this?
I can't say that I noticed the direction, one way or the other: I suppose you would have to categorize Dustin Hoffman as an "actors' director", which is what's called for in a film like this.
And stay for the end credits!A note on the actors: Michael Gambon and Billy Connolly carry the comedic parts and do so with obvious joy.Maggie Smith and Tom Courtenay are Jean and Reggie, a couple with a past, on whom the plot centers.
Maggie Smith's performance is flawless; Tom Courtenay looks a bit wooden opposite her (or is it the role?).Since the couple's love story is a bit dry and shallow, the key role in "Quartet", though, falls to Pauline Collins as Cissy - the emotional heart of the film.
This might explain why both films are about groups of British retirees and star Maggie Smith--and why both came out only about a year apart.The film occurs in Britain at a place called Beecham House--a retirement home for musical artists.
"Quartet" is a beautiful film directed by Dustin Hoffman, about a retirement home for musicians as the residents prepare for a benefit concert to keep the place going.The film stars Maggie Smith, Tom Courtenay, Michael Gambon, Billy Connelly, and Pauline Collins, as well as opera performers, including Gwenyth Jones, Nuala Willis, John Rawnsley, Melodie Waddingham, Cynthia Morey, Justin Lavender, Vivienne Ross, and Patricia Varley.The arrival of diva Jean Horton (Maggie Smith), once married to Reginald (Courtenay) is a reason for Reginald to completely panic.
As she's traveling to the home, she's rehearsing what she'll say to him: "We were different people then." Problems worsen when the well-meaning Cissy (Pauline Collins) who has moments of dementia, suggests that she, Cissy, Reginald, and Wif (Billy Connolly) perform the Quartet from Rigoletto at the benefit, something they performed many times.
The "quartet" of actors, along with Michael Gambon, are fantastic, as is the glorious soundtrack.Opera lovers and those who appreciate great acting will love this film.
The veteran writer, Ronald Harwood, adds the wonderful screenplay, based on his own play.The lead actors namely, Maggie Smith, Tom Courtenay, Billy Connolly, and Pauline Collins are all at the top of their game here.
Can the Quartet overcome their interpersonal resentments of the past and their problems with aging to help the gala be a lifesaver?I might mention that Michaqel Gambon, in a supporting role, as the Director of the upcoming gala adds very well to the mix, as does Sheridan Smith as the residence doctor and manager.I, not being an opera or classical music buff, had no idea that many of the residents of the home, who performed at the gala, were actually famous singers and musicians of the past.
Therefore Quartet is his proper directing debut and given his reputation as the infant terrible of the method acting school in the 1970s and 80s, Quartet is an unlikely story for Hoffman to direct.Hoffman has gathered Maggie Smith, Tom Courtney, Michael Gambon, Billy Connolly and Pauline Collins as patients in a retirement home putting on a show in this case an operatic and musical one to raise funds for the home for retired performers.It is a genteel, slight film and a kind of thing you feel you have seen it all before.
The acting is fine not only from the main stars but also many of the supporting and smaller roles all veteran performers of stage and screen.Smith plays a retired star who is adjusting to life in the home, she is a new arrival and she has history with Courtney's character as they were once married.
Set in a British retirement home for ageing musicians, Dustin Hoffman's directorial debut is a well-crafted drama, which deters away from negativity to focus on the bright side of elder life.
Randy old wolf Wilf Bond (Billy Connolly) and the Alzheimer challenged Cissy Robson (Pauline Collins) were competent voices, but the quartets strengths lay in their star duo of ex-lovers Reginald Paget (Tom Courtenay) and Jean Horton (Maggie Smith).
I'm sure this is a good film for the right audience -- by that I mean people who liked the set-piece bitchiness of Gosford Park, the long-playing social relationships of Downton Abbey, the humour of old folk forgetting things, or the nostalgia of opera.
He had a great cast with which to work: Maggie Smith, Tom Courtenay, Billy Connolly, Michael Gambon, and Dame Gwyneth Jones.They're all wasted in this movie that starts with a cliché and goes downhill from there.
Quartet isn't that film.All is pleasant at Beecham House for retired musicians, until the arrival of Jean (Maggie Smith), a diva who has history with and a mutual enmity for Reggie (Tom Courtney).
Together with Wilf (Billy Connolly) and Cissy (Pauline Collins) they comprised a renowned quartet and must perform together again to save the home from closing.Although the home's survival is dependent on the annual concert, no explanation is given as to how a beautiful stately home with such eminent figures from the operatic and classical music world could be forced to rely on its residents' fading abilities to limp through another year.That lack of depth is the major issue with Quartet.
Most of the residents appear to be at least a decade away from requiring constant care and surely they can't all be penniless and without families.Quartet is a sweet film from Dustin Hoffman, in his first foray into directing for 34 years (he was uncredited as co-director on Straight Time), with an enviable cast of British stalwarts.
Four cherished old British thespians playing retired opera stars living in a luxury retirement home: you can see how easy it was to pitch this movie to the Money Men. It's MARIGOLD HOTEL without the Club Class fares for cast and crew.
Pavarotti and Sutherland provide some of the background muzak, which clearly cannot be bad.Dustin Hoffman has directed a 'nice' little movie with a few acerbic lines, but the actors are in no way stretched and the script is too predictable.
This film about classical musicians living in a retirement home may not be entirely convincing in its casting of Billy Connolly and others as opera stars of the past, but it more than makes up for it in performances, individual appeal and humour.
Some lovely (if predictable) cameos from the stars and has a little of the feelgood factor we've come to expect from 'aging slightly disgracefully' British films but with a fairly unlikely story of a home for retired musicians where all they seem to do is play and sing and the home itself set in miles of unspoilt countryside where surely the residents can only expect to go barking mad, it really didn't cut it for me.
Many details of the movie probably worked better on stage, but Tom Courtenay, Billy Connolly, Maggie Smith and Pauline Collins are wonderful as renowned singers famous for their rendition of Verdi's "Rigoletto".In a convoluted plot mechanism, Beechum House needs a cash infusion to keep its doors open, and the answer comes from a hoped for reunion of the above mentioned quartet in this year's fundraising gala.
A first rate cast included Dame Maggie Smith; Sir Billy Connolly; Pauline Collins and Sir Tom Courtenay as the quartet in the film.
Quartet is a lovely entertainment with first class performances by Tom Courtenay, Pauline Collins Michael Gambon and Billy Connolly, but if you wish to see a real life version seek out Tosca's Kiss..
At a home for retired musicians, the annual concert to celebrate Verdi's birthday is disrupted by the arrival of Jean Horton (Maggie Smith), a long retired opera singer and the former wife of one of the residents, Reginald Paget (Tom Courtenay).Genial springs to mind.
Given a cast headed by Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins and Michael Gambon, the film, though undeniably warm at heart and pulsing with graceful old age beats, strangely has to rely on light entertainment brought out by Connolly's randy old man act and Collins' "genteel" dementia!
Director Dustin Hoffman, for his first big screen directing appointment, inches things along at a leisurely pace, and the strong cast respond with good performances; even if they are hardly challenged by a script and screenplay (Ronald Harwood) that is going only one way.
This well crafted movie about a home for retired classical musicians is, in spite of its American director (Dustin Hoffman, very British in feel, both because of its intelligence and subtlety and because Americans just don't make movies about old people.
Maggie Smith, Michael Gambon, Billy Connolly, and Pauline Collins are great as the main characters, accompanied by a solid performance of Sheridan Smith as the house doctor.If all retiree could live this well, the world would be a better place.Unless you'd be bored by the subject of retired musician, you should watch this..
In the last couple of years, Hollywood has given us "It's Complicated" and "Hope Springs", while British cinema has offered up "The Best Exotic Marigold Hotel" and now "Quartet" - all films majoring on characters in older age but designed to demonstrate that being in one 60s or 70s does not mean that one is not interested in love and even sex.
Of the four, "Quartet" has the oldest combined cast age but the slightest storyline.Set in a beautiful English residential care home for retired musicians and singers, the eponymous four are Reggie (75 year old Tom Courtenay) and Jean (78 year old Maggie Smith), who have some history, plus Wilf (70 year old Billy Connolly) and Cissy (72 year old Pauline Collins), who have incontinence and dementia respectively.
Directed by Rain Man himself, Dustin Hoffman, in his curiously bland first attempt at a feature film, "Quartet" isn't an insightful tale about getting old or as witty of a British comedy as it wants to be, or thinks that it is.The Plot: So while it's not about saving a community center per se, the plot of "Quartet" centers around a retirement home (mansion really) filled with a slew of curmudgeon opera singers, that is about to be shut down.
But that's not the biggest problem with this film.The ensemble cast here is pretty notable, with the likes of Maggie Smith, Tom Courtenay, Billy Connolly and Pauline Collins.
And having Pauline Collins' deeply senile character as part of an operatic quartet to be performed at the home was really stretching it a bit.Yet the film was entertaining,while also being disappointing..
Its scenes, emotional background more subtle, even despite the lot of jokes and humour that come from a few characters, especially the brilliant Billy Connolly.Filmed on set in the wonderful British countryside, full of great music, the film has a fantastic cast and it sends out a powerful message to everyone irrespective of age: we shall all get old one day, the fleeting moments of our lives are to be cherished because it will all be gone one day...It made me feel tearful a few times throughout it and I'm sure others in the auditorium felt the same.
Quartet (2012)** 1/2 (out of 4)Dustin Hoffman makes his directorial debut with this predictable but charming film about residents at a retirement home for musicians.
Its not perfect, but as you get older you work your way through that crazy idea.Loved it --------- Time stood still ----------Fantastic cast ------------Thought provoking ---------great countryside , --------can I book a room for my retirement there please.-----------You felt as if you were there, that's how could the filming was ---------- Billy Connolly a very famous Scotsman does slightly grab the limelight, but oh to be old like him..
In the movie The Quartet directed by Dustin Hoffman the character Cissy Rubson (Pauline Collins) quotes Betty Davis as saying that "old age is not for sissies".
It took only 75 years for Dustin Hoffman to direct his first movie.That he chose a film project way outside of Hollywood comprised of an entirely foreign cast (for an American actor and director) comes as a further surprise.But the biggest shock of all is how his new movie, Quartet works so well. |
tt0043644 | His Mouse Friday | Tom is first seen being ship-wrecked and lost at sea in a parody of Robinson Crusoe. He only has his old shoes to eat in order to survive. Tom though soon spots a distant tropical island and is catapulted there by a wave. After Tom finds it tough to eat a coconut and a tortoise he finds Jerry and decides to eat the mouse instead. Tom has Jerry on a frying pan but the rodent escapes and Tom chases him into a native village. Jerry creeps Tom out by playing tom toms and Tom gets scared.
Using soot from a cooking pot Jerry disguises himself as a black native complete with a deep voice and talks gibberish to Tom. He presumably tells Tom he has to be cooked to death and orders him to "hop the pot". Then he gives him vegetables to cut but to "hold the onions". Tom, accepting his fate, cooperates. He soon feels the heat after Jerry lights a fire. Tom though notices Jerry's loincloth has come loose exposing his brown fur. Discovering he has been played for a sap the cat taunts Jerry. Jerry using a bone tied to his head flies away and Tom gives chase. However, the cat ends up stopping at the feet of a group of real cannibals. When Tom looks up, he is frightened to see them with one of them licking his lips delightfully and fancying barbecued cat. In horror, Tom runs off. The cannibals chase after him. Jerry seems to have been safe now but he then spots a shorter and thicker-lipped cannibal who also licks his lips delightfully, fancying barbecued mouse. Soon, Jerry is so terrified that he runs off, then the cannibal also chases after the mouse before the cartoon irises out. | comic | train | wikipedia | Jerry's Voice In Here As To Be Heard To Be Believed!.
The funniest part of this politically-incorrect cartoon, I thought, was Jerry's voice.
He's on an island, a la "Robinson Crusoe," minding his own business when a starving Tom is washed ashore on his raft.
Tom sees Jerry only as a steak, or a leg of chicken, a hot dog or whatever.
The poor cat is dying of hunger and would eat about anything.
However, Jerry isn't ready to sacrifice himself.
He winds up painting himself dark brown, putting a bone on top of his head and brandishing a big spear - yes, a racist stereotype - and ordering Tom around.
It's Jerry gruff voice, imitating this rough African native, that should make you laugh.
He speaks gibberish for awhile and then English, telling Tom what to do, as he tries to make a vegetable stew out of him.It's amazing how dumb Tom is at times, as he goes along with this!
Can you picture someone sitting in a big tub under a fire and being made into stew....all the while tasting the "soup" and adding a little salt here and there so you taste better?If you aren't offended at Jerry's savage-native appearance, it's got some good humor, a cute ending and you should enjoy this.
Overall, however, the cartoon is entertaining....nothing super, but worth watching..
Politically Correct?
No. But still pretty good.
This isn't one of Tom and Jerry's best cartoons, as it just isn't as funny or violent as the typical film from this era.
However, if you simply look at the film from a technical point of view, it is superb, as the animation style and quality is as good as you'll find--and even better than the great animation from MGM toons from the 1940s.Now I understand that this cartoon has been pulled from circulation because it's seen as politically incorrect due to it being an insensitive depiction of cannibals.
While it is very true that Jerry puts on black powder to make himself look Black and he puts a bone on top of his head, I am sure that some might be offended by this (after all, minstrel shows and black-face comedy are sad things from our past).
Some might also NOT be offended because the creators of this cartoon are saying nothing directly derogatory about anyone but cannibals, and I for one, do not particularly like cannibals and don't mind offending them.
It's probably not a terrible thing that this one was pulled, but it always worries me when people do this as we are losing an important part of our history, as even the ugly stuff should be remembered.
After all, how can you know how far you've come unless you've seen where you've been?.
Didn't think much of it.
Banned cartoon in which Tom is stranded on what appears to be a desert island.
But it's not long before he finds Jerry, and he's bound to be Tom's diner.But things complicate as there's a tribe on the island, and Jerry dresses up like one of them to scare Tom and have him for HIS dinner.
Best moment: when Tom has to slice up the vegetables for the 'cat-soup' and throws away the onion.
Love that expression on his face.Off course the real tribe come in the picture as well as both Tom and Jerry have to run for their lives, before the cartoon comes to a sudden stop and we don't really know how things end.Apart from that one scene with Tom in the huge soup bowl there isn't much to enjoy here.
Not that offensive either, if that's what you're looking for.
Jerry goes native..
A shipwrecked Tom is washed up on a tropical island where he is terrorised by what he believes to be a cannibalistic pygmy, but which in reality is only cheeky Jerry mouse in disguise.Woah!
Tom and Jerry cartoons from the '40s and '50s featured quite a lot of gags that might be considered racially offensive these days, but His Mouse Friday has got to be most controversial of them all so far, with Jerry blacking up and pretending to be a cannibalistic savage (complete with grass skirt, bone on his head and 'Ooga Booga' dialogue!).
The cartoon also stars a whole tribe of equally offensive, racially stereotypical natives who turn up for the fun.Personally, I find such historically awkward, socially unacceptable entertainment absolutely fascinating—a snapshot of an era gone by when political correctness simply didn't exist.
Technically, the cartoon is as accomplished as one might expect, with great animation, well timed gags, wonderful music, and superb direction..
A decent cartoon, but it isn't really Tom and Jerry at their best.
From a very early age, I have been a huge fan of Tom and Jerry.
His Mouse Friday is not one of their best though, and I can definitely see why people will not be totally enamoured by it.
The story is rather slight and has a going-by-the-motions quality to it, while there are moments that will be seen as not just stereotypical but also politically incorrect and somewhat insensitive(though I will say I was not offended by it, others might though).
Apart from a cute ending and a priceless scene with Tom and a big soup bowl, there isn't much of note that one would deem as particularly funny.
This said, it is crisply paced and is interesting in that Jerry's voice is to be heard to be really believed.
The animation is still wonderful with lots of detail and beautiful colouring, and the music is as catchy, cleverly orchestrated and action-enhancing as ever.
Jerry is sweet and cunning, and while Tom is dumber than usual he maintains his likability.
Overall, decent but not one of Tom and Jerry's finest hours.
7/10 Bethany Cox. Not as offensive as I'd expected.
This 'Tom and Jerry' short opens with Tom adrift on a raft; he is so hungry that he starts to eat his shoe.
He then spots a small island, once there he tries to get something to eat but has little luck getting to the edible parts of a coconut and a turtle.
It is then that he sees Jerry although he is so hungry he sees him as food on legs rather than as a mouse.
He tries to catch and cook Jerry but he escapes only to reappear looking much darker, with a bone in his hair and waving a spear.
Jerry then orders Tom to get into a large pot and starts cooking him!
Tom obviously believes Jerry is a dangerous local.
While Tom cooks Jerry starts dancing; when his grass skirt falls off Tom notices that Jerry is no longer uniformly dark!
It looks as if Tom now has the upper hand...
at least it does until the real locals turn up wanting barbecued cat...
and Jerry doesn't get off either; a smaller member of the tribe wants barbecued mouse!To be honest I thought this short would be a lot more offensive that it turned out to be; the locals only appear briefly and they aren't really cannibals as they intend to eat a cat and a mouse; not fellow humans.
Some people might be offended by Jerry's blacking up but it was part of a disguise...
like donning a beret and a string of onions to look French, not a black-face minstrel impression which would be more offensive.Having dealt with the potential offensiveness one just has to ask whether it was funny or not; overall I'd say it had a decent number of laughs; I liked Tom eating his shoe and failing to open the coconut and laughed when he was forced to add vegetables to the water but told to 'hold the onion'.
The locals weren't exactly funny but it was good to see that Jerry's predicament at the end was just as bad as Tom's. |
tt0074885 | Mean Johnny Barrows | Johnny Barrows (played by Fred "The Hammer" Williamson) is dishonorably discharged from the army for punching out a fellow officer. Shipped back home to Spiddal, Johnny promptly gets mugged and hauled in by some racist cops for being drunk. Unable to secure gainful employment, Johnny finds himself on the soup line (with a cameo from Elliott Gould) and down on his luck.
Walking into an Italian restaurant hoping for a handout, he's offered a job by Mafiosi Mario Racconi (Stuart Whitman) and his girlfriend Nancy (Jenny Sherman) but Johnny turns him down. It seems that he's not slipped so far as to start doing odd jobs for the Mob. Eventually, Johnny lands a job at a gas station cleaning toilets and scrubbing floors for the mean penny-pinching Richard (R.G. Armstrong), who receives a beating for ripping off Barrows.
Meanwhile, a Mafia war starts brewing between the Racconi family and the Da Vincis (the family, not the painter). Seems the Da Vinci family wants to bring in all kinds of dope and start peddling it to black kids. The Racconis, being an upstanding Mob family, wants no part of that on their streets. And so it goes, with the Racconi family wiped out in a treacherous double-cross, with only Mario left standing.
Nancy is kidnapped by the Da Vinci family and gets a message to Johnny claiming that she was made to do "terrible things". Brought to the brink by poverty, the Man constantly screwing him and his love for Nancy, Johnny agrees to become a hired killer for Mario to avenge the Racconis. And so the body count starts going up as Johnny in all his white-suited glory gets mean and starts killing his way through the Da Vinci family. | violence, murder | train | wikipedia | null |
tt0048711 | Texas Lady | On a riverboat, gambler Chris Mooney loses heavily to Prudence Webb, borrows another $30,000 and loses that to her, too.
He offers her a partnership. Prudence declines, informing him that her father embezzled funds to gamble with Chris, then committed suicide after he lost. Prudence has her revenge and the money to pay back her late father's employer.
She rides to Fort Ralston, Texas to claim her inheritance, the Clarion newspaper, which her dad won in a card game. Stringer Winfield, the postal carrier, warns her that town founder Micah Ralston and ranch partner Sturdy own practically everything and everybody.
Clarion editor Clay Ballard tries to get Prudence's ownership overturned, but drunken lawyer Cass Gower sobers up and wins her case, even though Judge Herzog is in Ralston's pocket. A hired gun, Jess Foley, acting as a "deputy," kills Gantz, a rival rancher. Foley then makes a play for Prudence, asking her to dance and to teach him to read.
Chris shows up. Foley objects to his romantic interest in Prudence, who warns Chris to beware of Foley's jealousy and gun. Chris manages to hold off Foley, who also has Gantz's widow after him.
The crooked sheriff, Herndon, on orders from Ralston, gives 24-hour notice to Prudence to repay $6,000 in back taxes or forfeit her property. Prudence concedes defeat and intends to ride out of town with Chris, who gambled and failed to raise the money.
Her new neighbors collect the $6,000 on her behalf, also naming Chris as the new mayor, Cass as the new judge and saloon owner Moore as the new sheriff. Stringer rides for the Texas Rangers as soon as Ralston's men come with guns blazing, Cass getting killed. Law and order arrive in town, with Ralston & Sturdy finally relenting. | murder | train | wikipedia | Not bad for a Western.
Claudette Colbert is wonderful as Prudence, a woman who has to go to a little country town that's seemingly in the middle of nowhere, where she has inherited the local paper.
The men about town are naturally surprised to find that she's a woman, and don't exactly welcome her spritely ways and 'interference' with 'their' paper.
Luckily for Prudence, the card shark that she slayed in New Orleans comes to her rescue, which is nice of him after the beating she gave him in their game of poker - one of the film's most enjoyable scenes.
Not a wonderful movie, but not bad, and pretty good for a Western..
Go west Claudette, go west.
This was Claudette Colbert's second to last theatrical feature and if this was the quality of scripts she was being offered at that time it's no wonder she stayed away six years between this and Parrish.
First of all she belongs in some urbane urban setting not the Old West and try though she might she is out of place there.
Additionally she and Barry Sullivan, always a dull leading man no matter his costar, go together like oil and water sharing zero romantic chemistry.
The script is ordinary and the direction not terribly exciting plus the film is soft and fuzzy with over-bright color.
If you like Claudette or westerns it's okay but don't expect anything above the routine..
Get a grip.
>>Claudette Colbert looking far too old and matronly for the part of an ambitious small-town journalist and card sharp Colbert certainly doesn't look matronly in this film - she's just as slender and attractive as ever.I've just attended the WIllimasburg Film Festival, which showed this film.
It has great meaning for Gregory Walcott- it was his "breakthrough" role, and his wife was pregnant with his first child, which she gave birth to a week after the movie finished filming.In Walcott's biography, Hollywood Adventures, he tells the story of how he first met Colbert, who was concerned that he was so much younger than she was.
But if older leading men can be put in with actresses 20 years younger than them, than women should be able to get the same treatment.It is a bit episodic, but fun nevertheless..
Claudette Goes West.
Texas Lady marked Claudette Colbert's one and only western and I think this RKO film was probably something that they might have had Barbara Stanwyck in mind for.
Colbert though she gave a decent performer really is not a western type.
I suspect she wanted at least one on her film resume and took Texas Lady which was an inflated B film.After learning the game of poker for years, Colbert takes Barry Sullivan on and beats him handily.
Sullivan, a gentleman riverboat gambler had cleaned out her father who had embezzled money and then lost his ill gotten gains at the poker table and promptly killed himself.
After restoring the family honor, Claudette goes to Texas where she's inherited a newspaper.The paper is the paid for rag of the owners of the local Ponderosa, Ray Collins and Walter Sande.
Claudette starts agitating for a railroad spur to come to town.
But that will mean less dependency on the cattle barons and new people settling.
The plot here has certain similarities to The Man Who Shot Liberty Valance.
Claudette also gets some attention from fast draw deputy Gregory Walcott who kills a couple of small ranchers in the service Collins and Sande.In the meantime Sullivan comes to town as his reputation is shot to all heck on the riverboat scene.
Being both southerners to the manor born they find a lot in common.Texas Lady was a decent enough western, but it looks like it was edited considerably down and a lot of the story doesn't really make sense.
And Colbert is just not well cast in westerns.
But her fans might like it.
It sure is a far cry from the comedies she did in the Thirties and Forties..
Fairly uninteresting b-movie but distracting enough if you're in an undemanding mood.
On the way to a small Texas town to claim the local newspaper as her inheritance, Prudence Webb stops off to fleece a infamous gambler (Chris Mooney) in revenge for him winning a lot of money off her father a debt that eventually led to his suicide.
On arriving in the town, Prudence finds that the paper is run by Clay Ballard who denies that the paper was ever signed over to Webb's father and refuses to give up ownership.
Prudence turns to the law and quickly makes enemies in the town by using the court system to claim her inheritance and wins her case.
With the town's powerbase against her, who'd have expected that it would be Chris Mooney who would come to her aid?!
And so goes the story with this fairly run-of-the-mill western that is strangely coloured and lacking anything special to really justify watching.
The basic plot sees a bit of romance set against a back drop of a stranger in town causing a conflict with the bad element and, yes, it is delivered as flatly and unimaginatively as that summary suggests.
The basic characters don't really add anything of interest and I did struggle to really care about any of them mainly because they were fairly cardboard and uninteresting.
Of course, this being a b-movie sort of affair then it is maybe a bit unfair to be harsh on it because all it is aiming to do is fill time and provide a bit of entertainment and not much else.
In that regard the film does alright with poker games, fights, shoot outs, horse riding and action; none of it is anything special of course but it just about does enough to be distracting.The cast pretty much match this with average performances all round.
Colbert is OK but never made a lasting impression on me; she seems to enjoy the lead role and she matches the material.
Sullivan should have been the slick man of the film and brought a spark to all his scenes, instead he is rather bland and only really has chemistry with Colbert in his opening poker scene.
Support is nothing special at all and the "baddies" never really made much of an impact and thus didn't feed the tension within the narrative.Overall this is a fairly average film with nothing special to really recommend it for.
The story is OK and is delivered with enough stuff of entertainment value to make it passable and distracting on a wet Sunday afternoon but there are much better westerns than this around..
Claudette Colbert's next to last film....
She was 51 when she made this turkey, though she still tried the best she could to make it work.
NO CLOSEUPS of her AT ALL in the film, and everything is shot from her LEFT SIDE, or straight on.
A few glimpses of her right profile when she danced and the such, but 95% from her left side.
Incredibly hokey film, the color is faded, Barry Sullivan looks bored to tears, Ray Collins spends half the movie sitting down.
Gets interesting when the mean sheriff gets involved, and his resolution caught me off guard.
But all in all, lame and dull and not up to snuff.
Watch CLEOPATRA instead for a solid Claudette Colbert fix.
Or better yet, catch the milk bath scene from THE SIGN OF THE CROSS or any scene from IT HAPPENED ONE NIGHT for a good dose.
This movie just doesn't work..
What a hoot!.
My how the mighty have fallen.
Roles must have gotten mighty hard to come by for an actress of Miss Colbert's caliber.
This movie is very typical of 1950's oaters.
The one unusal aspect is that Prudence (Miss Colbert) is initially a strong, independent woman, kind of unusual for a western.
But in the end Gene Barry Sullivan Fitzgerald becomes her "protector".
This is a very cornball movie and Gregory Walcott who plays Jess Foley has got to be one of the most wooden actors ever to grace the silver screen.
One can almost see the pain on Miss Colbert's face as she delivers some of the corniest lines in movie history.
It is such a can of corn it is worth watching for the unintentional humor it delivers..
Actor Name Error.
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
"Hank" Ralston's Deputy was played by Henry Wills, not "Buzz" Henry..
I'm famous out West!.
One of the contributors to IMDb has mentioned that it'd be OK to watch this film when the weather was awful and there was nothing better to do.
Well, I've just watched it on a stunning October afternoon as the Friday afternoon movie on Channel 4.
How could I not have done in view of the fact that, apparently, Ms. Colbert was a favourite of my grandfather's?I can see what S.
H. Scheuer was getting at in his 'Movies On TV' when he said that C.C. was miscast in the lead role.
Maybe Bette Davis or Barbara Stanwyck would have been better and given the character the edge that it needed.As one called Chris myself I felt - with all the mentions of the name 'Chris', as if I were watching a film version of one of those 'stories all about your child' books one sees advertised in mail-order leaflets.
Was the script-writer being paid per 'Chris', or something?The Chris Mooney character was asked of his future plans.
I thought, humorously, that a re-naming to Jake, or something one would ordinarily hear more often in the context of a Western, might not have come amiss.
Alternatively, 'Texas Lady' could have the alternate title 'A Man Named Chris'!If your name's Chris you'll love this movie for all the unintentional humour.
Otherwise it has little to commend it.One of the stars I have given it is for the 'Chrisses', BTW..
Not Great.
Texas Lady is an extremely ordinary mid-50s programmer with a past-her-prime Claudette Colbert looking far too old and matronly for the part of an ambitious small-town journalist and card sharp.
Barry Sullivan provides her love interest as a poker player she beats for high stakes in the film's opening scene.
The storyline is daft, with Miss Colbert apparently considering dallying with the thuggish deputy employed by the cattle barons who own the town in which she has started her newspaper simply because he can't read.
When she realises he's a bit of a cad she decides to fall for Sullivan instead.
All in all, Texas Lady is poorly written, barely entertaining employment for has-beens and never-weres..
They Shoot Garbage, Don't They.
Horace McCoy, arguably best known for his Depression novel They Shoot Horses, Don't They, subsequently adapted into an Oscar-winning film, is credited with the story and screenplay here and clearly phoned it in.
The only possible reason anyone would want to spend time with it is the presence of Claudette Colbert in the lead role.
One can only speculate what made her get involved in something so cliché-ridden; money, a need to retain a career in front of the camera at what amounted to any price?
Who knows.
Barry Sullivan was a generally reliable support in A-movies (see, for example, Queen Bee) who just as often got to play a lead in pieces of cheese like this.
See it if you must but don't say I didn't warn you..
Very flat movie.
Flat and disappointing.
As suggested by others, Claudette Colbert didn't convince in her role, nor did the affable Ray Collins as the local big land owner, Mica Ralston.
Only towards the end of the film was the idea put over that he and the other cattle baron, aided by corrupt lawmen, were dominating the town.The barons and their henchmen never seem very threatening.The film's opening sequences suggest that Chris Mooney is an ace gambler, but he can't be that great if he's wiped out first by a woman who's only learnt the game a year ago and then by the owner of a small-town saloon, the Wigwam, Meade Moore.
And he's a very forgiving guy because he falls for the woman and immediately becomes close buddies with Moore.It doesn't seem to dawn on the barons that the US mailman would seek help once they let him through their cordon around the town.
Mind you, the help turns out be just two Texas Rangers, to whom Ralston meekly gives in.Yet again in a 1950s Western, I wondered if the sums being gambled had been inflated to present-day values to convey their size; $10,000 was a heck of a lot of money in the 1880s.Several of the supporting cast were very wooden.The best thing were some of the outdoor shots of the countryside, albeit photographed in slightly curious tints..
NOT Colbert's last film..
I read one review where they said that this was Claudette Colbert's last movie.
In fact, she made several made for TV films as well as the film "Parrish" after she made "Texas Lady".
Just thought I should set the record straight on this.
However, this same reviewer was right--everyone seemed VERY old in this film and perhaps it was in an effort to make Colbert seem younger.The film begins with Colbert beating Barry Sullivan in poker and taking control of his newspaper in Texas.
It seems that Colbert has been looking forward to beating Sullivan, as she blames him for ruining her father--who was a gambling addict.
Regardless, she heads west to assume control of the paper.
When she arrives, she finds some mighty unfriendly folks.
Later, when you find out who comes to your rescue and why, you'll most likely groan--it's THAT dumb.All in all, a stale film that simply is beneath the many talents of Colbert.
It's not a terrible film bit it certainly is a poor one--with a romance that comes from out of left field and a script that never, ever packs any excitement.
A sad little film. |
tt1176740 | Away We Go | Verona De Tessant (Maya Rudolph) and Burt Farlander (John Krasinski) are in their early thirties and struggling to meet daily needs and build fulfilling lives. When they learn they will soon become parents, they are confronted with the challenge of how – and where – to raise a child and build a happy family.
Six months into Verona's pregnancy, the couple visit their only family in the area, Burt's parents, Gloria and Jerry (Catherine O'Hara and Jeff Daniels), only to find that Gloria and Jerry have decided to move to Antwerp, Belgium, a month before the baby is due. They also announce that they will be gone for two years and they have already rented the place out to another couple, despite Burt's and Verona's situation. Frustrated with Gloria and Jerry's selfishness and careless attitude, Burt and Verona decide this is an opportunity to find somewhere else to raise their family, since they are both employed in situations where they can work from home and live wherever they choose.
They first visit Phoenix, Arizona, meeting up with Verona's old boss, Lily (Allison Janney), her husband, Lowell (Jim Gaffigan), and their two children. Burt in particular is disturbed by Lily and Lowell's crass and mean-spirited behavior toward one another and their children.
Burt and Verona next visit Verona's sister, Grace (Carmen Ejogo), in Tucson, Arizona. At Verona's request, Burt tries to persuade Grace to stay with her boring boyfriend. When Burt takes a call and displays his trademark humor, Grace tells Verona that she is lucky to have him and Verona agrees.
They next visit Burt's childhood friend and pseudo-cousin in Madison, Wisconsin, "LN" (pronounced "ellen") (Maggie Gyllenhaal), a college professor with inherited money and radical views about parenting. Burt and Verona bring a stroller as a gift, greatly angering LN as she and her husband Roderick (Josh Hamilton) are a "continuum home." When Roderick's condescension and LN's backhanded compliments to Verona get to be too much for Burt, he tells them they are horrible people and he and Verona leave but not before taking their son on a wild stroller ride through the house (which he enjoys).
Burt and Verona then visit old college friends in Montreal, Tom (Chris Messina) and his wife, Munch Garnett (Melanie Lynskey), and their diverse family of adopted children. Verona and Burt are happy to have found a loving family and a nice town and decide to move to Montreal. After dinner, Tom confesses to Burt that Munch has recently suffered her fifth miscarriage and that they seem unable to have biological children.
In the morning, Burt receives an emergency call from his brother, Courtney (Paul Schneider), in Miami, whose wife has left him. Burt and Verona fly to Miami, where Courtney worries about his young daughter and the potential effects of a divorce on her. Burt tries to comfort Courtney while Verona spends time with his daughter. Burt and Verona spend the night outside on a trampoline, promising to love each other and their daughter and have a happy home.
The next day, Verona tells Burt a story about her childhood house and her parents (who were both killed when she was 23). Moved by her memory, they decide to settle in Verona's old family home. Realizing it is the place for them, they sit together happily, overlooking the water. | realism, adult comedy, cute, psychedelic, humor, philosophical, romantic, entertaining, storytelling | train | wikipedia | John Krasinski and Maya Rudolph shared great chemistry as a couple expecting their first child and trying to decide where to settle down and raise their family.
in the end, this movie doesn't offer any solutions to life's quirks, but it looks at them and even celebrates them.it's not Mendes' best film, but it's a very enjoyable film with a great cast and lots of laughs, and should appeal to a pretty wide audience.
Definitely worth a Go. Director Sam Mendes last movie showed a couple deteriorating right in front of our eyes in "Revolutionary Road", and in a way he makes up for that depressing slog with "Away We Go".
First time screenwriters (and husband and wife) Dave Eggers and Vendela Vida waste no time in making them two identifiable people, and in the way they survey life's odd, complicated, and wonderful little moments, "Go" never fails at being a funny, thoughtful and heartwarming little gem that you'll fall in love with.John Krasinski (The Office) and Maya Rudolph (Saturday Night Live) play Burt and Verona, a mid-thirties boyfriend-girlfriend (Verona has a marriage issue) who get the shock of their lives when Verona gets pregnant.
There is a point where the interspersing of comedy and drama starts to get old but luckily a third act of genuine lessons and happy mediums lead to some of the movies best scenes.And these are star-making turns from Krasinski and Rudolph.
Away We Go sends the two main characters into different locations, but all the people they meet are people they already know, or think they know.When Verona De Tessant (Maya Rudolph) learns that she is pregnant, the question for her and her partner, Burt (John Krasinkski) is, Where do we live after the baby is born?
Just six months after introducing us to one of the most unlikable and miserable movie couples viewers had ever seen in "Revolutionary Road", director Sam Mendes takes us on a little detour from his usual style/genre and allows us to meet one of the most likable on-screen pairings in recent years with "Away We Go".TV's John Krasinski is the amiable goof-ball and insurance-futures' salesman Burt and SNL alum Maya Rudolph (in a quietly revelatory performance built on her gift of perfectly timed facial expressions) is his long-time girlfriend Verona who does illustrations for medical textbooks.
The tale of these two thirty-somethings trying to do the right thing not only for themselves but for their daughter-to-be is filled with humor and warmth that allows us to relate to both the chaos around the characters and their desire to shield their baby from it.Under Mendes surprisingly laid-back director's hand, the material and the performances rise above the clichés of the "she's having a baby!" sub-genre of dramedies while successfully interweaving elements of "discovering yourself on a road trip" indie flicks.
Episodic and sometimes meandering in nature, the film's acts range from laugh-out-loud hilarious (including a scene-stealing Allison Janney making a bid for worst mother of the year in grand comedic style) to laughably absurd (witness Maggie Gyllenhaal as a self-righteous alterna-mom with an unfounded hatred towards strollers) to unexpectedly poignant (in an unexpected side-trip to Miami to help Burt's brother through a crisis).
The script doesn't even come close to answering that question, supplying instead an improbable, unbelievable succession of obnoxious characters (with the exception of the sad, perfect pair in Canada) whose parenting (we are meant to believe) inspires our protagonists to begin the search for "home." The problems here are numerous, but the biggest problems are a script apparently adapted from a freshman short story effort, a terrible performance by John Krasinski (did no one notice he's doing a Seth Rogen imitation?), whose character is such a lamebrain he apparently sleeps in his eyeglasses, and many "unearned" moments papered over with hip alternative ballads.
Mendes is a very interesting director in that sense, because despite his being one of the most visually striking and prominent directors working today, with his last four films being among the most gorgeous-looking films in recent memory, his origins are on the stage, and that background is actually very prominent in this film.Plot-wise, this film tells a story that we have all seen before – the road trip movie.
The story establishes a series of supporting characters who are also expertly played by a very impressive supporting cast; Maggie Gyllenhaal and Allison Janney particularly stand out as friends of Krasinski and Rudolph, respectively, who provide very opposite views about life and long-term relationships.Ultimately, this is a fun, well-made, enjoyable, quirky little indie film; it's funny and charming and light-hearted while also delivering an interesting and thought-provoking parable about marriage, long-term relationships, life and the various approaches couples have to all those things.
They have a succession of rental cars and everywhere they go they are plied with liquor.If things could possibly go any more downhill that comes in Montreal, where Burt and Verona love the family they visit, who have six adopted children, till they go to amateur night at a bar that has pole dancing and the husband (Chris Messina) reveals that his wife (Melanie Lynskey) just had one of many miscarriages and that they are both miserable.Earlier in an airport a lady comes up with a boy she is obtrusively instructing, and then she asks him a question and he recites a little speech full of horrible menace -- something about trying to smother his sister.
This movie is about totally-in-love couple (Bert and Verona) who are about to have a baby who decide where they want to raise their child by traveling to different places where they know people.
Away we go is sort of a road movie that tells the story of a young couple expecting their first child, they decide to travel all across the U.S and to Montreal, Canada to decide which place is better for their child to live in.
The cast was really good, Maya Rudolph, usually known from its comedic roles, with this one she proves she can also do drama and in a very good way, John Krasinski also delivers a very good performance and the supporting roles of Jeff Daniels, Maggie Gyllenhaal and Catherine O'Hara deliver convincing acting jobs and helps the movie with his evolution.
I am a fan of good comedies and independent smaller movies that are not about action and flashy special effects (which I also enjoy) but about looking closely at the characters, exploring the lives and desires of the ordinary people, and finding kindness, love, and gentle humor in every day situations.
I like to follow the sympathetic characters on the journey of self-discovery and in search for the perfect place for them to live - just like the couple in Sam Mendes' comedy "Away We Go" 2009).
Burt (John Krasinski) and Verona (Maya Rudolph) are 30-something educated, independent, intelligent, and what is quite unusual in the modern movies, truly loving each other unmarried couple who have been together for years and expecting their first child.
Two main characters, expecting parents Burt and Verona as played by John Krasinski and Maya Rudolph are believable and likable even if not always interesting.
This is a movie that is an adult comedy meaning it's not a rated R frat-house comedy but a comedy for grown ups, a serious comedy but don't think it's not hilarious.It's hilarious, well written, very well directed by Sam Mendes drawing out performances by Maya Rudolph & John Krasinski that I didn't think was possible & also an impressive supporting cast with notable performances by Maggie Gyllenhall (who is always fun to watch & interesting), Alison Janney, Catherine O Hara & that crazy chick from "Two and a Half Men".One of the best movies I've seen in 2009 (so far and the best comedy by far!).Could easily go 10/10 but I'm very stingy with my voting, LOL..
but picture Bill Murray being a young couple and the movie being good.Director Sam Mendes, being renowned for his distaste for the monotony of suburbia as shown in American Beauty and Revolutionary Road, has crafted a beautifully shot experience of different slices of life across North America.
Cinematographer Ellen Kuras, frames the movie beautifully, showing something lovable about each of the locations, and taking the time to show the little quirky things that one might find when she stops and smells the roses.But what ultimately carries the movie is the genuine love between Miss Rudolph's Verona De Tessant and John Krasinski's Burt Farlander, a homely couple about to have a baby.
from Burt's parents, played by Catherine O'Hara and a mature Jeff Daniels (whom you cannot recognize from Dumb and Dumber), to an affected Allison Janney (whom you will not recognize from Juno), to a whimsical Maggie Gyllenhaal, to very touching roles played by Carmen Ejogo, Chris Messina, and Melanie Lynskey.It seems like every year (2006's Little Miss Sunshine, 2007's Juno, 2008's The Wackness and The Wrestler), a small-budget, whimsical/slice-of-life movie comes along that is something that people say, "I wish Hollywood would make more of these." So far, Away We Go is that movie for 2009.
Away We Go is a fun little independent movie that proves that John Krasinski can do more than The Office and Maya Rudolph can do more than SNL - they both give great performances, as does the supporting cast.
I wasn't expecting much out of this one but to my surprise it had all the ingredients for a decent romantic comedy,the movie is actually pretty good.I say it has the same attire but put on in a different way.The film is about a couple who decide to move someplace they consider to be perfect for them and their unborn baby,so they go on a trip to find out the very same.The film is a romantic comedy dealing some serious issues of life.The film is quite promising if one decides to watch a romantic comedy and spend some time laughing and feeling good.All Romantic comedies are usually similar and this one s no exception but its still worth 90minutes of your time.Definitely a promising film of 2009..
Let's not forget that this is a comedy, a broad and whimsical one, with huge laughs in many of its scenes, which are merely bookended by sweet, sentimental ones.Played with ready companionability by The Office's John Krasinski and the unique Maya Rudolph, who definitely stands out despite being a relative newbie surrounded by quite a familiar cast, Burt and Verona live not far from his parents, in an underheated, shabby home with a cardboard-covered window.
He takes on a cross country (as well as part of Canada) journey with Burt (John Krasinski, who plays Jim on "The Office") and Verona (Maya Rudolph, of "Saturday Night Live" fame), a couple who are three months away from having their first child.When Burt's parents decide to move to Europe, Burt and Verona agree to move elsewhere so their baby can grow up somewhere with family and friends.
It's a pretty novel approach to the romcom, more like a road movie than anything else, and yet it delves deeply into questions of love, marriage and relationships.In case you didn't know, Maya Rudolph's character is pregnant throughout the film and the themes focus heavily on children: how people raise them, how people FAIL at raising them, and how people try admirably in unlucky circumstances.
So in many senses "Away We Go" is like a newborn -- there's just a crisp, organic feeling to it.Burt (John Krasinski of "The Office") and Verona (former SNL regular Maya Rudolph) are an unmarried couple expecting a baby girl who after learning Burt's parents will be moving away from them before the baby's born decide they have an opportunity to pick somewhere completely new to start their family.
Krasinski takes the sweetness of his "Office" character Jim and turns it into a completely goofy but serious guy in Burt and Rudolph, always considered a comedienne, brings a surprising amount of warmth and range to Verona."Away We Go" is an honest, sweet, likable film that provides so many different examples of characters and situations that bring unique perspective and insight about parenting, family and when it's all said and done, what home really is.
Such is the power Sam Mendes' new film "Away We Go" has; it's a simple film, one might even go as far as mistaking it for an independent flick, but it has that spark of ingenuity and that quality to touch viewers profoundly and satisfyingly.It's about a couple, Burt and Verona (John Krasinski and Maya Rudolph), who are expecting a baby.
They don't seem to be, at first, like remarkable people, but within a few minutes after the film has started, we find ourselves embracing their love for each other, their spirit and their personalities, until we're convinced they just might be the most endearing, special couple we've ever seen.They want to live in a positive environment for their baby, and since Verona's parents are dead, and they want the baby to have relatives (other than themselves, of course), they live close to Burt's parents.
It was a quiet movie, slow moving and such a small piece of the characters' lives that at first I wasn't sure what story they were trying to tell, but it doesn't, nor should it, end with a baby being born, it ends with them coming a little bit closer to understanding where their place in the world is and what they want for themselves and their children.The acting was fantastic from the two leads.
It manages to make you laugh, cry, and feel completely satisfied.Away We Go is about Burt (John Krasinski) and Verona (Maya Rudolph), a quirky, 30-something couple who are expecting a child.
Suddenly faced with the reality of having no family in the area and no reason to be there, he and his partner Verona head out on the road to visit various family and friends around the US and Canada to try and decide where best to settle to have their baby.With films like Revolutionary Road and Jarhead under his belt it was a real surprise to see English director Mendes suddenly making what appeared to be an indie-spirited comedy with two TV comedians in the lead roles.
The story is rather simple: a young pregnant but not married couple Burt (John Krasinski) and Verona (Maya Rudolph) live in Chicago, too near parents (Catherine O'Hara and Jeff Daniels) and under the influence of Verona's wildly mad boss (Allison Janney), so when the idea of finding a place to raise a perfect family arises they are off and running to Montreal (where they visit the very bizarre couple Maggie Gyllenhaal and Josh Hamilton, steeped in the far out reaches of 'being natural' in everything), progressing on to Miami where they encounter the apparently happy family (but painfully bruised parents Chris Messina and Melanie Lynskey), and on to Tucson - searching for just the right place to be a family.
Burt (John Krasinski) and Verona (Maya Rudolph), play a couple expecting their first child.
The acclaimed film American Beauty opened many doors to director Sam Mendes, but it could also be argued that it created unreal expectations to many people about his future work.And even though his following films were well received, none of them ended up being as memorable as American Beauty.Away We Go, his most recent film, is not the exception; however, I liked it very much, and I think it deserved much more recognition than it got because of its intelligent screenplay, excellent performances and valid message.In summary, I had a fascinating time of laughs and reflection about the subjects of family dysfunction which obviously interest to Mendes (besides of American Beauty, his film Revolutionary Road also rounded on those subjects) with Away We Go.Away We Go has that distinct "taste" of independent cinema, with sensible characters facing eccentric characters who represent different aspects of society with humor and ingenuity.And the best thing of all is that, at the difference of other similar films, all that elements feel very naturally integrated to the screenplay in here.What is more, we have Mendes' solid direction and the perfect performances from the two main actors, who bring a lot of honesty and realism to their characters.John Krasinski and Maya Rudolph are more famous for their work on TV, but their developments in Away We Go are so good that they feel as veterans from the big screen.I truly hope that, in sight of their work in this movie, they get more offers from casting directors in Hollywood.In supporting roles, we have also great performances from Allison Janney, Catherine O'Hara, Jeff Daniels and specially Melanie Lynskey in a brief and almost mute interpretation which evokes a deep level of emotion and intensity.I wish she had more screen-time, but her work and the one from the rest of the supporting actors are reduced to brief cameos in which different social contemporary clichés are very well parodied.The only members of the cast who did not convince me were Maggie Gyllenhaal and Josh Hamilton, because they feel too forced on their roles.But, in spite of that, Away We Go is an excellent film which brings a very interesting satire which perfectly endorses the central message: the rules and expectations from the society do not necessarily drive to happiness; the compatibility between the people and their tolerance to the eccentricities from their peers are more important, at the same time they make their relationships richer and they teach to appreciate the person from him/herself, and not for his/her function on the world.In summary, that is another fascinating level to this brilliant film, which I enthusiastically recommend if you wanna watch a high quality film..
Movie Critique - Away We Go. John Krasinski and Maya Rudolph are two very dynamic actors who seem to have the perfect chemistry for this style of film.
Here is a low budget, dramedy film with an top director and excellent cast and quite a funny little film.Away We Go focuses on Burt (John Krasinski) and Verona (Maya Rudolph), a couple in their thirties who are about to have their first baby. |
tt3341584 | Saikin, imouto no yousu ga chotto okashiindaga | High school girl Kanzaki Mitsuki "inherits" an older brother when her mother remarries a fellow divorcée with a son. Soon after, her new stepdad is transferred overseas and her mother follows him there, leaving Mitsuki to live alone with her new stepbrother, Yuya. Feeling abandoned by her mother, she stays distant from Yuya, never really getting along very well with him nor even keeping a conversation with him. One day, Mitsuki is visited by an angel/ghost named Hiyori, who takes over her body and makes sexual advances towards Yuya. Hiyori is the lost spirit of a girl who in life loved Yuya deeply, however she died before she could confess her feelings and thus can not reach the gates of heaven and obtain eternal peace.
In order to reach heaven, Hiyori puts a chastity belt on Mitsuki that fills up every time Mitsuki has sexual feelings from Yuya, whether it be from simply going on a date with him to kissing and sex. For every time it fills up a little, Hiyori gains a step on a bridge that connects her current situation and the literal gates of heaven. If Mitsuki doesn't help her then it will result in both their deaths. If she wants to get rid of the annoying Hiyori, Mitsuki has to make some bold and sexy moves against her own brother, even if he is just a stepbrother. As the series progresses Mitsuki questions if the feelings towards her brother are of true love that goes beyond just brother and sister or if they are a result of Hiyori's feelings towards him. | romantic | train | wikipedia | Lots Of Fun. I was surprised by the story arc because it was all new as far as I could tell and have not seen much like this. Yet the plot and subplots conveyed emotions with aplomb. I watched a subbed version with subtitles so I may have missed some things, but the exploration of pure love coupled with some engaging sexinesswas very entertaining. Good illustrations and good entertainment for two hours.. A horrible porno and nothing else. This is my MU review of the identical manga: How is this getting turned into an anime and that is also the sole reason i looked at the manga but i wish i didn't. The setting is overused and creepy, the characters are just the worst and the art is bland and amateurish but if you want to read a series where the leading "lady" is raped by a half lesbian ghost every 10 pages while pissing herself once a chapter than this one is for you. If not don't even start but manga by Dragon Age tend to be street trash in general so what did i expect. An explicit sex comedy about a ghost that is actually readable would be My Lovely Ghost KANA (7,5/10) and that Patrick Swayze movie is a decent watch too. Koi Kaze (8/10) further proves that a manga about incest can work just fine and Sensei o Mite Kudasai (7,5/10) would be an example that hentai doesn't have to suck all the time or even be misogynistic. So stick to all of them and just walk way. Update: The anime won the "audience price" for being one of the worst animes of 2014 by ANN so there is that too. This is shonen Borderline-H at it's worst.. Recently, My Sister is Unusual. When school girl Mitsuki's mother remarries she finds herself with a new step brother named Yuya; then a new posting sees the adults going oversees leaving the two step siblings living alone together. She doesn't really get on with Yuya so is not too happy. Then one day something strange happens; she meets the ghost of a girl called Hiyori and her life changes in some rather disturbing ways. Hiyori puts a chastity belt on Mitsuki and tells her they will both die if the gauge on it becomes depleted
the only way to prevent this is to get in sexual situations involving Yuya
something that naturally horrifies Mitsuki! She can't remove the belt and is terrified that somebody will find out about it and think she is a pervert and to make matters even worse Hiyori frequently possesses her and puts her in awkward positions. Yuya is rather confused as well; on minute his new step sister is being disturbingly forward the next she is standoffish.Every season it seems there is at least one controversial anime series and this season it was 'Recently, My Sister is Unusual'; even with the censoring of views of Mitsuki's chastity belt (possibly only in the TV version) it had plenty of awkward moments; some of which were more amusing than shocking. The fact that it involved step siblings just made it even weirder. Thankfully it wasn't all like that and much of the show was actually quite funny. The animation was good enough; of a similar standard to most current anime shows. Overall it isn't a terrible series; certainly not as bad as the plot synopsis might suggest but it isn't a must see by any stretch of the imagination
if you want something weird and aren't too easily shocked it isn't too bad though!These comments are based on watching the series in Japanese with English subtitles |
tt0085780 | The Keep | Within an uninhabited citadel (the “Keep” of the title) in World War II-era Romania lies entrapped a dangerous demonic entity named Radu Molasar (Michael Carter). The inner walls of the citadel contain 108 T-shaped icons, supposedly made of nickel. When the German Army under the command of Capt. Klaus Woermann (Jürgen Prochnow) occupies the castle to control the Dinu Mountain Pass following the commencement of Operation Barbarossa, Molasar is unleashed by a pair of looting soldiers who identify one glowing icon as being made of silver. In the ensuing days, Molasar kills several soldiers. A detachment of Einsatzkommandos under the command of sadistic SD Sturmbannführer Eric Kaempffer (Gabriel Byrne) then arrives to deal with what is thought to be partisan activity, executing villagers as collective punishment.
At the instigation of the local priest, the Germans retrieve a Jewish historian, Prof. Theodore Cuza (Ian McKellen), from a concentration camp. He deciphers a mysterious message emblazoned on a wall of the citadel. Molasar saves the professor's daughter, Eva (Alberta Watson), from sexual assault by two Einsatzkommandos by feeding on their essence, and then enlists the aid of her grateful father to escape. Cuza is also cured of his debilitating scleroderma by the touch of Molasar and therefore becomes doubly indebted to the entity, who is taking on a solid form. However, a mysterious stranger named Glaeken (Scott Glenn) suddenly arrives to foil this plan. After an unsuccessful attempt by the professor to have the stranger stopped, the two supernatural beings confront each other. Molasar, who is not perturbed by Christian crosses, is weakened and drawn back into the innermost recesses. Glaeken is transfixed, taking the place of the seal that was broken by the German looters. | fantasy, gothic, murder, allegory, cult, good versus evil, psychedelic | train | wikipedia | I wish that Mann had been a more experienced director when he tackled this really bizarre film, but all things considered it is really a damn fine movie.
As much as Manhunter (one of my all time favorites) and Heat (right up there with them) are ranked by most as very good films, THE KEEP, if for no other reason than its novelty should be accorded more respect than it gets.Read the other reviews here and you can more or less understand the story line.
I can't ever know for sure, but I don't think that Mann, with all his individual sense of style (remember, his visions and realizations virtually defined a substantial part of the 80s -- whether you liked them or not) was all that concerned about the impact of the trappings, but more on what they allowed the story to play against.
However it's Mann's surreal direction, Alex Thomson's arresting photography and the moody electronic music score by Tangerine Dream that clicks in this atmospheric combination of fantasy, war and horror.
Most of the cast are merely okay while Gabriel Byrne plays just about the most blood chilling and convincing Nazi I`ve ever seen in a movie , but Scott Glen is wooden and Ian McKellen gives an awful performance as Dr Cuza , a Jewish intellectual who seems to have all the speech patterns and mannerisms of a Hollywood producer .
My understanding is that Michael Mann produced a film which was about 3 hours long and spanned most of the book - keeping largely to the plot as written.
Actually if you look at this, there's already a lot of reviews here, so strangely enough this film is not as forgotten as its ashamed director would like it to be.THE KEEP starts out extremely well with a spellbindingly dreamlike and somewhat pretentious sequence with the Germans rolling into a small Romanian hamlet during WW2.
Another thing this film has going for it is Michael Mann's completely OCD touch to the whole thing which oddly suits the subject matter.Not to mention the inspired casting; Jurgen Prochnow shines in his first major English-language role as a conflicted Wehrmacht captain matched by a cold and calculating Gabriel Byrne as his closed-minded S.S. superior.
Scott Glenn and Alberta Watson do about as much as they can with their very underwritten protagonal characters and Ian McKellen hams things up considerably as a Jewish professor who tries to maneuver the demon into destroying the Germans for him.Actually, come to think of it, this film would have done just fine without Glenn or Watson - they seem only to exist to sidetrack the film into romantic drama territory which adds nothing.
What's odd about Mann's film is that while it strains for a sophistication above it's generic roots, it misses out on the un-forced passages of contemplation in the book, where Wilson ruminated on his different character's inner desires.
To his credit, Mann addresses in it in an original way, and tries to say the two are differently similar: the age old evil of 'Molasar' (never named in the film, but listed in the credits and faithful to the book), designed to look like some demonic Teutonic Knight, was born of hatred and a lust for power, much like the Nazis.
The Korean R-Point was a much more creepy war-horror movie, making the grim observation that the horror unleashed on its small island setting is cyclical, like the cycle of war, an idea Mann never touches upon.However, The keep remains more than just an interesting 'curio' as it's often termed, thanks largely to the scale of the production and some truly draw-dropping visual effects: the Nazi troops passage through the mountain pass in the opening credits, with Tangerine Dream's distinctive score rattling in the background, is a triumph, and the troop's violation of the vast crypt, the 'camera' pulling away for an age, is magnificent.
But this is one movie for which it is apparent that the director was forced into some choices that did not turn out well.Like most fans, I found the book to be great (though Wilson, once he came up with this mythos, went on to milk it dry in both succeeding stories and in his Repairman Jack series) and the movie to be a pale imitation.The loss of Veever basically plunged this movie into a hole from which it could not pull itself out.
The crux of the problem is not the fact that it hasn't aged well - though the 2005 viewer will have to work hard to see past the rope effects, discordant music (supplied by Tangerine Dream - nice) and distinctly non-erotic sex scene - but rather the fact that the whole film feels unfinished.
Several poorly edited shots also jar the viewer out of the experience, making the entire affair seem amateurish and sloppy.The acting is patchy, with the cast straight-jacketed by an awkward script which offers some of the stronger players a few chances to shine (except Glenn, who is made to struggle along in an appalling whisper) but despite the opportunities the situation affords, this never rises above the mediocre.All in all, this film is hard work, but worthwhile if you look at what was achieved with an obviously limited budget.
He's as wooden as the 'special' effects.Ian McKellen struggles to hide his embarrassment.Gabriel Byrne, by the end of the film, can't even be bothered to look too scared of the 7 foot demon (but then again who can blame him!)
it is very crisp and stimulating, and any cinematographer should take notes from this one.Critic Tim Brayton echoes Wilson, saying, "After a brilliant opening act, the plot gets flabbier and flabbier until around the half-way point, when it stops making any sense whatsoever." This may be blamed on the severe editing, or perhaps on Mann's desire to make an epic when the studio would not allow it -- cutting more than half of the film is bound to create plot holes and continuity gaps.I find it interesting that the last time this film was publicly released was in 1995 on laserdisc, a format that is basically dead.
I'm not a fan, but I have heard of it.Anyways, I red the description for The Keep and it sounded interesting and it had Ian McKellen starring so I thought, I'll give this one a whirl, as a horror fan anyway, I love the whole supernatural/horror deal.I couldn't find it to buy anywhere, so like everyone else in the same situation I turned to eBay where I found a number of people selling this film.
The beginning promised great things.The action takes place in Rumania,a country where Dracula legend was born(you can always visit his castle nowadays)!WW2 could provide the movie with an appropriate historical background.The first third is absorbing:the soldier's arrival in a blinding light-which will contrast with the soon -to- follow darkness of the fortress.This place seems to contain secrets of the ancient times and recalls for a while the strange fort of "il desero dei Tartari" (Zurlini,1976).For a while too, we feel that the movie has in store some psychological terror,close to that of "the haunting"(Robert Wise,1963)The invisible enemy -Rumanian partisans- could have been a captivating topic,had it been fully exploited.The captain's dream puzzles the viewer-He dreams he 's sailing to Constanza,the Rumanian harbor-, but here again ,the sequence leads to nowhere.Things are beginning to go wrong as soon as the special effects show up.The white smoke was already used by...Cecil Blount De Mille in 1956(the ten commandments)!And the monster (the beast in you) recalls "forbidden planet" (1956 too!).The biblical references do not help;the film would rather get bogged down in unwitting and laughable parodies of Abraham's sacrifice and of the All-Mighty on the Mountain thing .There were problems and M.Mann who intended a two-hour movie saw his work reduced to hardly 100 minutes.This may account for the numerous incoherences in the second half.The captain's dream certainly had a purpose which we 'd always ignore.But the fact remains (nonetheless ) that the cinematography is superb ..
9.) Tangerine Dream can't release the full score because: a) Virgin records won't let them, (maybe) or b) Tangerine Dream is mad at Michael Mann himself because he hardly used any of their score and re-edited the music they gave him (even stealing parts from LOGOS Dominion theater) to fit his movie, without their permission.
I'ts possible Mann was waiting on Tangerine Dream to finish their score for THE KEEP and just used bits and pieces from LOGOS as a temp track, which was never meant to stay in the movie (at the time).
We need Anchor Bay on this.11.) UPDATE: "documentation : Studio Magazine July/August 2006 (France) article/overview on the career of (Michael Mann) excerpt/rough translation : "Critical and box office failure (details on the plot) This feature film, ignored by the filmmaker himself during his interviews, has not been released in DVD and can't be seen in theaters or on TV.".
Shortly, German soldiers are being-found...completely-carbonized.With an incredible-cast of Ian McKellen, Gabriel Byrne, Jurgen Prochnow, and Scot Glen, the Keep is still a very-good film with high production-values.
Not only does this film feature the worst performances of Gabriel Byrne's and Sir Ian Mckellen's careers, it also commits the sin of wasting one of the best performances ever given by Jurgen Prochnow in a sloppy, under-plotted, under-thought mess.
While the Germans procure the services of an aged, ailing Jewish historian (Sir Ian McKellen, the "X-Men" franchise), their humane, level-headed officer Woermann (Jurgen Prochnow, "Das Boot") butts heads with his brutish young associate Kaempffer (Gabriel Byrne, "Miller's Crossing") over methodology, and a strange mystery man named Glaeken (Scott Glenn, "The Silence of the Lambs") is drawn to The Keep to fulfill some sort of mission.Michael Mann ("Heat", "Manhunter"), here following up his smash debut "Thief", also adapts the novel by F.
First, I will admit that it's patently obvious to anyone who has watched Michael Mann's other films that the studio totally butchered this movie.
Mann has disowned the film, and I am sure it's because the version he FILMED is nothing like what was theatrically released.What makes The Keep so special is not just the originality of the story line or the performances by the principals, esp.
Ian McKellen, Jurgen Prochnow or Gabriel Byrne, but more than anything else, the fusion of cinematography with music, done by Tangerine Dream, and this is actually a better score than they gave Mann for Thief, as hard as that might be to believe.I know the author of the book the film is based on (who once emailed me personally after seeing a post of mine on alt.rec.arts.movies many years ago) hates this film due to the substantial changes Mann made to the story line, but that aside, this is a brilliant film which creates an atmosphere of dread and fear which far surpasses many more typical genre films.It's a tragedy that due to several contractual issues The Keep will never ever get to DVD.
For Theodore this task brings the promise of an ultimate solution to the Nazis, as the maleficent force promises their destruction in return for his freedom.As these characters intertwine in the misty Gothic backdrop created by Michael Mann and his talented cinematographer Alex Thomson, a sense of dread permeates (aided in part by great haunting atmospherics by Tangerine Dream).
And when the embodiment of evil is finally shown, he just kind of looks like an over-inflated version of the Silver Surfer.Prochnow, McKellan, Glenn, Prosky and Byrne all stand around and say things that made more sense to Mann, probably, than to them, but everyone looks so bored by what is happening, that some of the inherent boredom seems to trickle out into the viewers' minds.
Then there are bad special effects, a ridiculous plot which makes no sense, completely underdeveloped characters and some supernatural nonsense and the obligatory unsatisfying ending.If you wanna see Germans in a war movie, see "Die Brücke" or maybe "Das Boot" (though definitely not the odious "Stalingrad" which is almost as bad as this!).
'Michael Manns 'The Keep' Is one of his Interesting ventures into the cult mainstream, Essentially 'The keep'is about a platoon of war weary soldiers, circa 1943, Are Led by the magnificent Jurgen Prochnow, station their brigade in an ancient village high in the Carpathian mountains,(actually a disused quarry in wales,) The outfit set up garrison in a ancient castle Fortress, There are numerous and unusual crosses strewn throughout this building, According to the locals the structure was not built to keep anything out, but in fact it was built to keep something in' Later That night two soldiers on guard that night, have their curiosity get the better of them,And foolishly decide to plunder the keep's Cross's the pair inadvertently unleash a powerful demon housed inside.
who is convinced that the work is that of the evil force inside, Prosky,contacts the ailing medieval scholar Dr Cuza,played by a dubbed (Ian MCKellen, who along with his Ravishing daughter Alberta Watson, are on their way to a death camp, are in the nick of time are Luckily rescued, Dr Cuza discovers the Demon who day by day is growing more powerful, Somewhere across the water, is the mysterious stranger Glaeken, who makes his way to the keep with his date with destiny, which culminates in the ultimate struggle for good and evil,Love it or hate it 'The Keep' has a lot more to offer Despite its butchered Hour and Half running time, In the vaults of Paramount,somewhere inside their must be more material that is crying out for reconstruction.
The acting is for the most part terrible, and coming from respected actors like Gabriel Byrne, Jurgen Prochnow and Ian McKellen is a great insult.
Unlike other films of this era, like Ridley Scott's Alien, Blade Runner and Legend or even Michael Mann's phenomenally great Thief (which strangely he made first) The Keep today comes off as bad and often just downright silly.
And even though the demon is actually kind of creepy looking he's shown on screen in such long medium shots that his appearance quickly goes from scary to just 'a-guy-in-a-suit'.And while Tangerine Dream's music was used to great effect in Scott's Legend, their synth-electronica sound is completely out of place in a WWII setting!
If you see the film first, it is unlikely you will want to read the book because the film is a low budget B movie (and thats being generous) that self-explains why they won't bother releasing it on DVD.I am still amazed that the likes of Ian McKellen, Gabriel Byrne, Scott Glenn and Jürgen Prochnow were in this film - they are totally out of place in this dire waste of time - 1983 or not.
A few things I liked about this film:Many of the people involved in the film, notably Michael Mann, Gabriel Byrne, Jurgen Procknow, Ian McKellen and Alberta Watson, went on to much bigger and better things.The first 5 minutes look greatGreat soundtrack by Tangerine DreamAtmospherics are frequently good, before they are ovetaken by the awful special effects..
It's really not done in a typical thriller/horror style and Michael Mann seemed to have more eye for the visuals at the time rather than for its script, which he also wrote himself by the way and based it on a novel by F.
The story is told in a typical Michael Mann way, which means that its slow and it takes its time to set up things.
Also none of the characters really ever work out within the movie, mostly due to the fact that the story just doesn't flow very well.It was a movie that still definitely seemed to have potential and its source materials seems to be good and interesting enough but Michael Mann's style of directing just didn't seemed right for this movie and prevented it from ever really truly working out as a genre movie.
It's an enigmatic and mysterious experience and the film has quite a lot of gruesome images at display (granted, the latter is not saying much about the story being any good or not, but it helps to uplift things as the special effects were handled well at the time).
But let him do his acting-thing in movies like "The Keep" and "Das Boot" (1981), and he becomes highly believable (good directors know how to bring the best performance out of actors).
But even though award-winning director Michael Mann delivers a film full of stylish touches and terrific production designs, his film proves far from wholly satisfying, thanks to stilted performances, some horribly dated visual effects (and lots of dry ice!), and an intrusive and totally unsuitable score by Tangerine Dream that oozes the '80s with every note (I really like TD's brooding synth sound, but it simply doesn't suit the era in which the film is set).The result is a film that both impresses AND invites derision, at times exhibiting flair and atmosphere, but looking a lot like a tacky '80s pop video for much of the remainder..
I tend to like Michael Mann's work, and I loved this movie.
Director Michael Mann provides us with a war time horror movie.
If you watch this movie a dozen times, you'll discover something new in each viewing!!Powerful acting, a mind-blowing musical score by Tangerine Dream, and a GREAT good-vs-evil storyline make this movie a must-see!!The nazi's unleash something more vile and terrible (than themselves) upon the world!.
This movie had all the ingredients: decent director, Tangerine Dream's atmospheric score, great cinematography by the late Alex Thomson, some decent actors (Glenn, Prochnow, Byrne, McKellen), and to top it all, the great source - a very good horror book by F.
His confrontation at the end with Molasar is incredible.All in all, the movie is one of my all-time favorites, and deserves a look if anyone is interested in a great story of good vs. |
tt0449581 | Crimes of Passion | Bobby Grady (John Laughlin) is an ordinary middle-class electronics store owner who occasionally moonlights doing surveillance work. He attends a group therapy session because his wife, Amy (Annie Potts), has lost interest in sex and he fears their marriage is in trouble.
Grady is soon approached by the owner of a fashion design house to spy on an employee, Joanna Crane (Kathleen Turner), who is suspected of selling clothing patterns to his competitors. Grady discovers the accusations are unfounded, but also finds out that Joanna is moonlighting as a prostitute using the name China Blue, and shedding her business attire for provocative clothing and a platinum wig.
Grady keeps quiet about Joanna's double life. After having an erotic encounter with her in her China Blue persona, Grady begins seeing her on a regular basis, first professionally, then romantically. However, their involvement is complicated by his guilt and her intimacy issues — not to mention her clientele of regular patrons and their bizarre sexual fetishes.
Among them is the "Reverend" Peter Shayne (Anthony Perkins), who alternately spends his time delivering soapbox sermons on the street, visiting peep shows while sniffing amyl nitrite, and patronizing prostitutes. Shayne has been seeing China Blue as a customer and declares a misguided need to "save" her. (When he says, "Save your soul, whore!", she replies, "Save your money, shithead.") Underscoring Shayne's contradictory nature is the cache of sex toys he carries in a small doctor's bag with his Bible.
Grady admits he may leave his wife and children, but Joanna feels put-upon and depressed. She seeks solace in turning tricks because the encounters are not fraught with emotional entanglements. She dominates a young policeman in an S&M session, penetrating him with his nightstick, and endures a botched three-way in a limousine. A session with a dying man whose wife wants China Blue to give him sexual gratification one last time inspires Joanna to reveal her real first name, suggesting for the first time that she is the proverbial "hooker with a heart of gold."
Shayne grows increasingly psychotic: he carries a sharpened metallic vibrator he nicknames "Superman" and starts stalking Joanna. He moves into a seedy motel next door to her nighttime place of business and watches her activities through a peephole. He also sets up a shrine with candles and numerous photos of her. Sensing that he is mentally unhinged, Joanna no longer wishes to see him, but Shayne follows her home to her actual apartment. Once there, he begs her to kill him.
Grady comes there to tell Joanna that he has left home. He hears shouting from her apartment, breaks down her door and finds someone he assumes is Joanna, cowering in terror, not realizing it is actually Shayne in her China Blue disguise. Joanna, now wearing Shayne's clothing, leaps from the shadows and stabs Shayne with the "Superman" vibrator before he can attack Grady with a large pair of scissors. Shayne dies, convinced that his sacrifice has "saved" them both.
The film ends with Grady addressing his group therapist about his new relationship with a woman named Joanna. | murder | train | wikipedia | Buckle Your Seat Belts You are In For A Ride!.
This is a slick roller coaster ride of a crime drama.
because of the many, many, plot twists it's hard to summarize this movie without giving away something so all I can say is that this movie starts with a plan for a married man along with a beautiful co-worker of his to defraud his employers out of millions of dollars and ends up with blackmail and murder.
All of this is common in movies like this, but what isn't so common is that in Crimes of Passion, while you may think you have everything worked out but at the finale you never know who is going to walk away alive.I gave it seven stars out of ten only because there was maybe one or two plot twists too many; those last two being just a little too improbable to really set well.
At the end all I could only say was, "Oh, good grief!" Like all roller coaster rides, this one left me dizzy at end, but it kept me watching nonetheless..
partly predictable, derivative, but somehow entertaining.
This has Lifetime stamped all over it, which is never really a great thing but doesn't have to be a bad thing.The stars, although IMDb doesn't list them, are Jonathan Higgins, Dina Meyer, and Amy Sloan.
The Dina character sues the Higgins character for sexual harassment, and there the fun begins.If you're familiar with the genre, most of this movie can be figured out in the first reel.
It's nonetheless entertaining in its derivative way.
Dina Meyer does a fine job and is a beautiful woman, and Jonathan Higgins is convincing as a nervous wreck.
The end has a neat twist to it.It's a little slow-moving and, as stated, you can see most of it coming a mile away, but Meyer definitely elevates it..
worth watching until the end.
Crimes of Passion serves twists and turns at every move and is worth watching until the end.An unfaithful husband and his mistress set up a sex harassment charge only to be tricked at every turn.Jonathan Higgins is suitably pathetic as the dithery,unfaithful husband, Dina Meyer stunning as the temptress.The location scenery in this film is beautiful and sensitively shotThe final shot is worth waiting for and should make errant husbands wonder a/ why any woman would actually fall for them and b/ why any man should even think about straying.
Delicious..
much better than standard Lifetime thriller.
The bare outline of this story is familiar, as several reviewers have noted.
But many successful theatrical thrillers also tread familiar narrative ground.
The thriller is a genre that covers a relatively limited range of plot lines, but we don't mind, provided the story has some element of originality, the characters are engaging and the direction is well paced and properly suspenseful.
It's unfortunate that the brief description of the plot contained on some venues already gives away the central twist.
Still, there's enough left to keep the viewer engaged.
The acting is uneven, from the typical Lifetime amateurishness to a few professional performances, especially in this case from Amy Sloan, playing the wife of the male lead.
But what kept this viewer engaged was the story line, which was good enough for a theatrical release - IF a bigger budget, a better director and better actors were provided.
Nonetheless, this movie is far better than what we expect from Lifetime.
The plot line, even when sometimes predictable, never drags and the twists, even when anticipated, somehow work.
Crimes of Passion is worth your time..
One of the best ever made-for-TV movies..
Had this movie reflected the normal, routine acting, direction and production values of a made-for-TV movie, it would have to be rated 5 to 6.
But this was a big screen quality production which proved it can be done for a modest fee.
The little known actors were excellent, the lighting, sound and photography were as good or better than the most expensively produced big screen movies.
The plot, while very good, was greatly enhanced by the quality of the production.
We'll certainly research, record and view more made-for T V movies, based on this experience and we'll specifically seek out the offerings of the production company responsible for this film..
Iinteresting but slow moving.
This is another LMN soap opera detective story with so many twists you lose track of the concept.
Interesting characters, mainly the three leads, Amy Sloan, Jonathan Higgins and Rebecca Walker.
With some good supporting players in the shady lawyer and "best friend" to Jonathan.
Won't go into plot, only yo say it went on too long and commercials interfered with the suspense.Amy Sloan as the "other woman" did a remarkable job and is a gorgeous knockout that you can understand why the hubby left his wife for her.
The hubby, Jonathan Higgins, was at times too much of the nervous twit.
I just wanted him to end it all.
He gets on your nerves after a while.
The wife, not so attractive Rebecca Walker, is mis cast and rather a dull and boring actress.
But, even her bad performance didn't take it away from the other two.
Fortunately she isn't in the picture that much.The title should be changed to Crimes of Stupidity.
For there certainly was no passion in this film between the players.
I give it a 5 for the writing..
Ending flushed the movie down the toilet..
This movie was full of action and I stayed up until 3 in the morning to see the end unfortunately it all went down the drain.
In the end every interesting character is dead while the whiny and annoying Ex-wife walks away free with all of the money.
Like any good book, if the ending stinks then it wasn't worth reading in the first place.
Yes she is supposed to be a victim in all of this, but I could not find any way to feel sorry for her.
She only came across as needy and impossible to please.
Don't get me wrong, great movie with plenty of action and plot twists, but the ending ruins it for me.
I would have been happy if at least Jonathan Higgins had lived and just went to prison.
The way it went just totally turned me off..
Stick around for this one.
Some Lifetime flicks drag in spots - this one does - but "Crimes of Passion" is more fascinating, overall, than most, and does provide serpentine twists at the conclusion.
These, and decent performances by the four primary characters, make it worth watching through to the end, despite some occasional convoluted plot developments and the above-mentioned "drag."One of the two primary leads, Jonathan Higgins, could be called "a poor man's Nicolas Cage." He bears resemblance to the latter, and Nicholas is often low-key and a bit off-center in his characterizations, as is Higgins, but with just a proportion of Cage's talent, and none of his charisma.
He's also not in the best of mental health, and throughout (especially when attempting to reach his out-of-town shrink towards the end), seems like what "Monk" might be, were he to engage in criminality (but sans Tony Shalhoub's personality and talent level).**** Spoiler following ****I would add this to conform to this site's requirements, and this might perhaps provide information as to the ending -- however, I don't believe it would really "spoil" it, and might serve to encourage some who might change channels to watch to conclusion.Married leads "A" and "B" are splitting-up; she appears at times during the opus to claim her needed stipends from hubby, and they banter nervously and loudly throughout.
But "A" has conspired with the winsome "C," to gain a large wad of cash, however, unfortunately, professional investigator "D" has knowledge of their deed and windfall, and wants a major cut.But ----- "C" is really in cahoots with "D," and, near the climax, this is revealed to "A." In the ensuing tussle, "D" if offed, and then, as "A" and "C" are about to have some sort of showdown, all of a sudden "B" appears at the remote locale.
She's the only one not preciously involved in the nefarious activities, but she possesses the means to dispatch "C" forthwith.At this point "A" is dangling from the edge of a deck, high above-ground (from which "D" previously fell to his demise).
So there now remains only the original couple ("A"/"B"), divorce still only pending, with him needing her assistance, or he'll fall to his demise alongside "D."Scene dissolves to "B" being questioned, alone, and exonerated at police station.
The only "innocent" heretofore in this opus, she walks freely from the station, opens the trunk of her vehicle.
Guess what she views in the satchel firmly stored in the trunk..
More story than the usual LMN thriller.
This fast moving and plot filled thriller is entertaining and watchable.
After a fake sexual harassment suit goes down things spiral more and more out of control.
Dina Meyer is always watchable and pretty..
A Devious Cat-and-Mouse Game.
The characters in this film are so repellent that they even make the attorneys look like saints.Jerry Dennings has spent ten years moving his way up in to a VP in a large corporation.
But in this film, he turns out to be the hapless looser in a scam to defraud his company of $10 million.Jerry's partner in crime is the much more savvy Rebecca Walker, who is the key player in the $10 million settlement for wrongful termination of Jerry from his job.
It is clear that Rebecca has all the brains in the planning of the scheme, as apparent in the following dialogue:JERRY: How do we know they haven't sent these photos to the police?REBECCA: Because we're not in jail.With this level of banter, the film is lively, and the plot twists keep piling up.
Nearly all of the characters are shady with the possible exception of Jerry's mousy wife Shannon, who just seems to keep showing up at the most awkward moments in Jerry's tumultuous life.
Although he he is now unemployed and has received a $10 payout, he finds a way to keep constantly on the defense from his fellow schemers.At stake in this film is a $10 million payout for the last man or woman standing.
The question is who will have the most resolve, stamina, and creativity to eliminate the cutthroat competition for the big jackpot..
Get Ur Freak On. Well, I went to a DVD exchange store looking for the 1984's classic, and the attendant came to me with this.
After asking which year it's been released in, she responded me it was the 84's.
Long story short: I was fooled.
The internet comments towards this made me feel like I was about to have one of the worst film sessions of my life but, fortunately, in fact, I ended up enjoying this version.
"Crimes of Passion" delighted me due to its fast paced story; there are a lot of things going on all the time, so you never have time to get things straight.
The plot is filled with people with bad spirit; characters you think you're liking are, most of the time, just another deception.
So, that being said, it's evident that we're given a lot of twists that bring some surprise to the story-- albeit appealing to the old greedy moral lesson we've all seen before.
Also, I agree that some twists are over the top, making me doubt whether I was seeing a good movie or not.
Either way, defects aside, "Crimes of Passion" is a very entertaining picture for those who like suspenseful thrillers, and maybe the female attendant wasn't that mean with me..
Dina Meyer is The Only Miscast Here !.
Another TV production, so why to watch ?
I tell you...It got (Dina Meyer) in it, OHH then let's watch it for sure !
The movie got on it the name of (Brad Mirman) the writer of cinematic slick flicks like (Body of Evidence - 1993).
In fact this kind of sexual thrillers became a common fashion after the exploding of (Basic Instinct) at the start of the 1990s to have movies like : (Sliver - 1993), (Jade - 1995), (Wild Things - 1998).
So (Crimes of Passion - 2005) is just tracking this previous work yet by the average TV's measures, and without the heavy sexuality.
But all in all it looked like another rip-off from the good old (Double Indemnity - 1944) !Maybe the chain of surprises at the first half was good however the cold acting with the very very traditional direction ruined it.
And the second half was completely predictable for me.
Although I'm a scriptwriter but it doesn't take one to disclose it because any moviegoer with brain can uncover the whole thing, and at the middle of it also.
I was guessing a lot of twists that some of them turned out to be better than the original ones eventually.
For instance : the hidden conspiracy between (Meyer) and the other man conceals more malicious conspiracy between (Meyer) and the grasping wife (Rebecca Walker), and perhaps they're lesbians too !, or some things like that.The main weak points were : too many dialogues, yes, it's a TV but not a TV series !
Not to mention that the writer forgot about a consecutive commercials would interrupt it all the time !
The assured hypothesis that (Jerry) or the husband or whoever the jerky victim was, would kill for the sake of his hot mistress !
Why it's that assured ??
Over and above that twist at the end, when the wife takes the money for herself, it's nothing but a try to make you leave your seat feeling deceitfully that it's overall kind of a new.
As they knew so well that you've already watched the same story so many times before especially at the near 1990s, however it was hotter and more artistic in previous movies!Speaking of which, I enjoyed the wicked, haunting, very steamy presence of (Dina Meyer).
She's hot in every possible way.
Her way of talking, looking, moving was purely electrifying.
Her intro is one of the best scenes I've ever watched in a TV work.
I will never ever forget her coquettish gaze at the elevator, with or without the camera abutting her lovely butt in that tide black dress previously for the whole first 3 minutes !
She was bigger than the little movie, better than ones preceded her in the same role such as (Sharon Stone, Linda Fiorentino, ..), and she was the only miscast one in here indeed as nobody was bright as her.
Which makes you wonder, why she's still stray in movies like this away from being a movie star in Hollywood ??
where there are many who really don't deserve such fuss, or such blockbusters, in comparison !It's too ordinary, close to poor, movie with good plot but familiar, and without too much renewal except being weaker than its likes, with ironically a lead star who was stronger than her likes ! |
tt1954399 | Dragon's Dogma | The game begins with a knight named Savan proceeding through a deep canyon and eventually a temple. After fighting a Chimera, he passes a set of doors leading to an unknown beast. The story then progresses a number of years until the next appearance of the Dragon, a sign of the end of days.
During its raid on the fishing village of Cassardis, a dragon approaches the hero of the story, telling them that he or she - depending on the choice of the player - is the "chosen one", and proceeds to tear out their heart. Due to having their heart taken, the hero is revived as an "Arisen," and is destined to find and kill the dragon that stole their heart. The Arisen proceeds to an encampment along the way to the capital, Gran Soren. During their stay at the encampment, a hydra attacks. The Arisen cuts off one of its heads, and proceeds to the capital with the head to be presented as a gift to the duke of Gran Soren. After reaching Gran Soren, and investigating a hole known as the Everfall, the Arisen works for the Wyrm Hunt, and proceeds to do various tasks, including uncovering a cult known as Salvation, who want the dragon, known as Grigori, to destroy the world.
After working for the duke, the Arisen is tasked with stopping the leader of Salvation, Elysion, who is attacking a castle. After reaching the top of the castle and defeating the attackers, Grigori arrives and kills Elysion, and it is revealed that Grigori has captured the Arisen's love interest.
The Arisen arrives at the Tainted Mountain to fight Grigori, and is presented with a choice, to sacrifice the kidnapped love interest, or to face the dragon. The Arisen fights the dragon, and stabs it in the heart. The Arisen recovers their heart, and goes back to Cassardis with his/her beloved. After a few days of peace, the Arisen treks back to Gran Soren. Along the way, several details are revealed. The sky has been blotted out and replaced with greenish gray clouds that rain ash, and all normal monsters have been replaced with much stronger versions. After the Arisen reaches Gran Soren, it is revealed that half of it has collapsed, leaving a gaping hole. The Arisen goes to meet the duke, and is surprised to see that the duke has turned into a frail old man. It is revealed that the duke made a deal with Grigori to make himself immortal, but without Grigori, the deal is now forfeited. The duke attacks, blaming the Arisen for his condition, but he is swiftly beaten. Guards arrive, and the duke accuses the Arisen of placing a curse on him and of making a deal with Grigori. The Arisen is then hunted by the guards. The Arisen is chased to the hole in the town, where creatures begin to fly out of the hole, with one bumping the Arisen into the hole.
The hole is actually The Everfall, a center for the strongest monsters in the world and a nexus that connects all worlds together. There the Arisen meets a pawn named Quince, who tasks the Arisen with collecting 20 Wakestones to unlock a portal. After unlocking the portal, the Arisen enters the portal and finds the Seneschal, the mastermind behind the workings of the entire world. The Seneschal is a mysterious being, covered in a glowing light and having two voices, one a woman's, and another a man's. After a short fight, the Seneschal is revealed to have been Savan, the knight at the beginning of the game, who defied Grigori after entering the temple, then chose to fight him and win.
The Arisen and their main pawn fight Savan, now known as the Seneschal, and his pawn. In return for defeating the Seneschal, he/she takes Savan's place, becoming a new fount of will to the world. Before dying, Savan reveals information about being the Seneschal, and tells the Arisen that he is not the only Arisen currently, as there are multiple universes with their own respective pawns and Arisen. As a result, he is only the Seneschal of this universe, though it is a bitter reward, as the Arisen cannot be seen by anyone in the world once they return from their throne. Using the Godsbane, a sword granted to him by Grigori and Savan, the Arisen stabs himself in the heart. The body of the Arisen and the main pawn are sent hurtling back to the world. The pawn wakes up on the beach, and it is revealed by the change in his/her voice that the pawn's form has changed into that of the Arisen. The pawn is then greeted by the Arisen's love interest, and they walk along the beach to Cassardis. If the player romanced Selene (who was earlier revealed to be a former pawn from a past Arisen, her grandmother, who had given Selene her body and will to allow her to live as a human), she reveals that the Arisen has given his/her pawn their will and body to free them from the eternity of a pawn's life. | revenge, cult | train | wikipedia | Dragon's Dogma is What Dreams are Made of. What can I say, it's one of those RPG games again. And I love it!! Out of all the different RPG games out there this one is the most unique. Here is the why. The pawn system! It is one of the best ideas to come to a game console in a while. You create your right hand helper for the game (sorcerer, fighter, stryder, etc
) and then you can choose from other players created pawns to round out your team. If you are either on-line, off-line, or not even playing, other gamers can choose any pawns to help in their journey. What this means is that your pawn gains knowledge to new areas, battles, and quests while he is out fighting for someone else. Some might say, "So What?", I say "Question me again I rip your heart out!" This idea is brilliant because the pawns will always help you out in your adventure, with knowledge you haven't yet acquired, because they have retained the information and experience from other gamers that choose your pawn.There is a ranking system allowing people to rate your created pawn on helpfulness, battle, and appearance. Be sure to make your characters inclinations (type of AI) and appearance incredible because these reviews stick with you for life. If you make the right pawn money will be made, and gifts will be more likely when your pawn is released from the user.We learned about the unique pawn system but I haven't talked about the surrounding aspects. This is a beautiful game from the perspective of gameplay. The combat is fast and powerful. The game has hours upon hours for main quests but sometimes you just might come across a Hydra or a Griffin that you will have to take down. Now these are some of the best battles in the game till you reach the mysterious dragon. During your adventure you will have access to many classes to choose from at your disposal. If your not happy with the combat of a warrior you can change to a sorcerer just like that. Each weapon or spell you use is over the top. A lighting whip takes up the whole screen, meteor strikes make your hair stand straight up, and epic bow battle makes for serious fun For me personally, it's all about the little details to make my guy and my pawn look sweet. Just like any role playing game you will spend hours tracking quest and customizing your main character, but Capcon added the pawn so you are that much busier.My lovely Capcon-anites could have taken the time to make the graphics a bit better and the pawn system is great but sometime aggravating when they don't come to your aid.This is a fun game no doubt about it and I definitely recommend that you at least try this bad boy out up to level 10. MINIMUM... Understand! Minimum!Boon - The Rehash Critics***Sleep? WHY!!! I got pawns to take care of***. Generally Great Game; Lacks Fluidity. Now let me start off by saying I'm not picky with video games, this is just my honest opinion. This shouldn't contain too many, if not any spoilers either, and also, for some reason this seems to be the first review for the game, but whatever.I like the concept of this game. It is essentially a fusion between Shadow of the Colossus and Final Fantasy (without the turn-based element). You basically run around doing somewhat interesting, yet monotonous quests, and ultimately fight boss enemies which have very cool concepts. There is also a day & night cycle, which has a very survival-esque feeling to it in the sense that death is inevitable if you just wander around outside at night. You also get to manage your own 'pawns' to decide the course of action in your various adventures & battles, which is fun because of the element that only some of your pawns will be effective against some type of enemies. Overall it seems like a fun game, but I feel like it just lacks something more.For one, the level-up system. I cannot begin to put into words at all how I can despise a level-up system in a game like this. Let me explain.When you pick your classes in the game, you are basically given 'set' attributes that are auto-levelled when you level-up, and these attributes are dependent on the class you picked (e.g. Strider = Dexterity) You cannot set these attributes yourself, you are instead forced to let the game choose instead of being given the creative knowledge to do so yourself. This will ultimately lead to giving the player less creativity with their own characters as it prevents them from focusing on one attribute that could be more important.Another thing I'm not too fond of in the game is the fluidity in combat as well. While the concept of working as a team is nice, there is no option to lock-on to an enemy you're fighting, and as a result, you'll probably miss about 30% of the time. However there is sort of a 'magnet' effect when you're close enough to an enemy which will sort of force your character to attack in that general direction. This however is no excuse for the lack of a targeting or lock-on system. Although before I eat my own words, I should mention that there is a class which lets you lock-on; The Mage. From what I can tell that's the only class, and it's range with the targeting is limited nonetheless.A Slightly less bothersome part of this game is the graphics. Let's be honest people. What year was this made? 2012. Surely anyone would find that a game should have socially acceptable graphics in 2012. The graphics in Dragon's Dogma are essentially the same as Final Fantasy X's graphics.. just slightly more polished. As for animation; namely with the way the character's lips move, abysmal. I wouldn't be a reviewer if I didn't mention the Pro's and Con's of a video game, but honestly. Just abysmal. In fact, when I made a new character just the other day, I noticed a 'preacher' of sorts in the intro who had the lip-sync of a modern-day Madonna, and the lip-animation as if someone stretched and ironed their lips. But that's it for Con's as far as I can tell, let's get into the Pro's.Game-play Wise; Not too bad. I just mentioned that the combat and graphics weren't so hot, but the gameplay in general is actually decent. You basically run off of quests to complete the game. Most of which are basic-to-advanced gathering quests, and some of which are escorts and timed quests which can actually have a severe detriment on your playthrough if you neglect them. As I mentioned before, you also have the Day & Night cycle which is a basic fundamental in any open-world game, but is more expanded upon in a game such as this due to the more threatening factor that nighttime withholds. You also have random merchants in the game that act as Rescue quests since they're being attacked by enemies. Speaking of enemies, they're mostly randomized around the world you're exploring, since they're always a constant threat. It ranges from Bandits, to Goblins, to Wolves and much more.Sound-wise; Not too fond of it. The title screen music sounds almost like a Swan Song as if someone's dying, which makes little to no sense considering the theme of the game is more-so about saving people/killing bosses rather than blood/death/violence.Control-wise; Not too fond of this either. The controls in this game are all generally good for the most part, however the controls in combat almost feel like you're supposed to be extremely precise and fluid with your button combinations in order to win. I'm not too fond of that at all, but for the most part it's OK. I do like the grabbing mechanic a lot, as it allows most enemies to be KO'd through vulnerability, and bosses to be climbed upon and dealt extra damage.Replayability; Excellent. This game probably has more replayability than any other game I've played in a long time, and that's mostly due to the different multi-class combinations you get later on, as well as the different pawn/team setups. All in all, I give this game a 7/10. I feel that it would be more deserving of an 8-9/10 if it had a slightly better front on the animation and sound, as well as the level-up system. In fact, I might be willing to push this to 9/10 if the level-ups weren't fixed. Nonetheless, I can safely recommend this game to any fan of Medieval RPG's. |
tt2458106 | Ninja: Shadow of a Tear | American martial artist Casey Bowman has settled down at the Kōga ninja dojo and married Namiko Takeda, who is pregnant with their first child. One day, while shopping for a pendant in town, he encounters and fends off against two knife-wielding muggers. Later that night, Casey goes grocery shopping, but when he remembers that the muggers took his wallet, he rushes home only to find Namiko slain, with markings of a barbed wire weapon around her neck. On the day of the funeral, the dojo is visited by a former student named Nakabara, who offers Casey to train at his dojo in Thailand to ease his pain, but Casey declines the offer. Remembering the fighting style of the muggers he encountered, Casey heads to the Azuma dojo to find out their whereabouts before ambushing and killing them in a dark alley.
Days later, Casey takes Nakabara's advice and travels to Bangkok. While sparring with Lucas, one of Nakabara's students, Casey suddenly loses his temper and assaults him with a bokken. Nakabara reminds him to control his emotions by having him undergo the fire walk practice, but Casey stops halfway through the walk due to memories of Namiko lingering in his mind. He goes on a drinking binge at a nearby bar and gets into a fight with several drunk patrons. The next morning, Lucas is killed by the same barbed wire weapon used on Namiko. Nakabara reveals to Casey that his father and Sensei Takeda (Namiko's father), along with a man from Nagoya named Isamu, were the three top students of the Kōga dojo. When their sensei died, Isamu challenged Takeda for control of the dojo; Takeda killed Isamu in the fight and continued as sōke. Isamu's younger brother Goro witnessed the fight and swore to avenge his death, even if it took three generations. Years later, Goro became head of one of the largest drug cartels in Myanmar. Nakabara urges Casey to return to the United States, as being Takeda's son-in-law has makes him one of Goro's targets. Instead, Casey asks him to help him find Goro. Nakabara gives him an old map of Burma from his father's days in World War II, with markings indicating locations of ninja weapons.
Casey heads to Myanmar, where he befriends an Indian cab driver named Mike. Later that night, he enters a bar and fights a group of drug dealers. He returns to his hotel room to rest, only to find himself arrested by the State Peace and Development Council, who accuse him of being an American spy and torture him. He escapes from his cell and extracts information on Goro's whereabouts from SPDC General Sung before Mike drives him to the jungle. There, Casey finds a cemetery of Japanese soldiers and arms himself with a boxful of ninja weapons buried under a wooden gravemarker with the Nakabara clan symbol. He sneaks into Goro's hideout, setting the complex on fire before facing Goro's right-hand man Myat. The fight ends with Casey stabbing Myat in the heart and breaking his neck. He then squares off against Goro before slashing him in the midsection. In the middle of the fight, Goro wraps his barbed wire manriki around Casey's neck, but Casey uses his strength to free himself and throw Goro to the ground before decapitating him.
Casey returns to Nakabara's dojo, only to discover that Nakabara was the one who murdered Namiko and Lucas. Nakabara is revealed to be a drug lord himself, and he used Casey to wipe out Goro's cartel to monopolize the Southeast Asian drug trade. He then gives Casey the choice to either join him or die. Both men engage in an intense fight until Casey kicks Nakabara through a thin wall, revealing a room full of ancient artifacts. They continue the fight in the room with weapons, with Casey slashing Nakabara in the midsection and Nakabara impaling Casey's left shoulder with his wakizashi. Nakabara lunges toward Casey, but Casey grabs a manriki and wraps it around Nakabara's neck for the kill. Later, Casey reveals Nakabara's true motives to Toji, one of the dojo's students. Knowing that such actions would ruin the dojo's reputation, Toji states the incident never happened and bids Casey farewell. Casey returns to Japan and drops Namiko's pendant in a pond, bringing closure to his loss. | revenge | train | wikipedia | And finally, the incredible Scott Adkins and the amazing stunt team put in some amazing fights.One scene in particular is Scott Adkins versus 6 guys in a dojo and the entire fight is filmed in one take with zero editing...like the Alphonso Cauron of DTV shots.
Just a perfect movie that looks like a big budget Hollywood flick.
The action is incredible and everything came together to make one of the best fight films of all- time.
Hollywood, please wake up and give Adkins/Florentine a budget and I think you would be amazing at what they can do.If you are looking to check out other great DTV movies and save yourself the trouble of all the nonsense and garbage I have seen, check out the following.
Scott Atkins is the new van damme.I cant say much for the plot / storyline however the acting was fine, and the action was beautifully choreographed.
I have long been a fan of Isaac Florentine, for many many years now.His films always aim to grab that feel from the 80's classics of Hong Kong cinema, yet are often marred by weak story lines and silly acting.That said, one thing that always stands out is the fight scenes - and none more so than this awesome sequel, Ninja: Shadow Of A Tear!I liked the first Ninja movie and thought Scott Adkins, as always, proved his worth as a martial arts actor.
There was just a small hint of 'meh' that surrounded the first causing it to be slightly forgettable.It seems though, with Shadow Of A Tear, that hint of 'meh' has been thrown to the side!Again, acting and story line plays second fiddle to what is possibly some of the best fight scenes ever put to film in a Western production!Beautifully shot, crisp with amazing choreography, I felt that Ninja: Shadow Of A Tear stands punches and kicks above the over-rated hit, The Raid....
The action and the fight scenes are the best and the budget is smaller than the first Ninja.
Best part is that they casted Scott Adkins and he actually knows martial arts.
Let's face it most ninja movies now days suck balls and have actors that can't fight.
I thought about NiNJA GaIDEN, maybe the should cast Adkins as the lead role for a movie version from the classic Ninja GAiden video game.
Best action from Scott Adkins since Undisputed.
It is up there with Undisputed, Great fight scenes and taken in one shot which makes it look even better.
Good fighters this time unlike the first Ninja movie, not to mention highly coordinated kick #@$@# fight scenes.Lets see if Raid 2 and TYG2 can outdo Shadow of a Tear,...Scotty seems better than ever,I wish this came out in Theater would have been nice to see this on the big screen.
The last time martial arts king Scott Adkins and action filmmaker extraordinaire Isaac Florentine worked together, their output was fantastic.
UNDISPUTED III was one of the best fight flicks ever made and remains the high standard for other karate movies to strive for.
In the three years since, Adkins has continued to make a name for himself both inside and out of movie theaters, while Florentine hit a bit of a low point with his Christian Slater vehicle, but fans have unanimously wondered what sort of film the two of them would deliver if paired together again.
No, in my opinion, NINJA II is not the equal of "U3." It is, however, a vast improvement over its flawed prequel and is without a doubt the best pure martial arts movie of 2013.The story: upon the murder of his beloved Namiko (Mika Hiji), the returning Casey (Adkins) attempts to track down her killer - a quest which leads him into the dangerous urban sprawl and deadly jungles of Myanmar.I think this is the kind of movie Florentine was trying to make the first time around, when he made NINJA.
Improvements on the production values and the general presentation of the ninja (no more ridiculously impossible physical feats) are superficial pluses to a generally more down-to-earth movie: the villains and rivalries feel more personal this time, and the shifting environmental settings make for a more interesting aesthetic presentation.
Additionally, for a movie with the word "ninja" in its title, there is disappointingly little ninja-ing: Scott's the only real representative of the shadow warriors this time around, and doesn't suit up until the final 25 minutes.
Subjectively, I also question the cultural sensitivity behind casting Indian actor Mukesh Bhatt: I love his performance, but laughing at him playing a goofy, subservient taxi driver in an American movie is kind of uncomfortable.The fight content so ample that it's a genuine surprise whenever Adkins' character *doesn't* resolve a situation by fighting.
Florentine's record for this kind of action remains unblemished.Dramatically, the movie is on the upper end of average for the DTV sphere.
There's plenty of action in the film and the fight scenes are pretty well choreographed.
A good movie if you love martial art films.
If you expect something similar to a recent big budget film like 'Ninja Assassins' this is a far cry from that, but check it out for yourself..
While I have seen my fair share of Dudikoff starring Ninja movies, I'd rather watch something like this.
And while this movie does not have any big surprises in it (you will be able to know where this is going, waiting for the next action scene to start), it is highly enjoyable.Especially during the well choreographed fight scenes.
Plot: Ninjitsu master Casey is back and out for revenge when his pregnant wife is murdered.This is easily my favorite Scott Adkins film to date.
This has the best story because it's straight forwarded and simple which is what I like about the action films from back in the day and this brings that back.
Ninja: Shadow of a Tear continues the story of Casey Bowman (Scott Adkins), an American raised in a Japanese dojo.
His brooding and occasional bouts of rage feel justified - not just merely cheap tricks to make him seem more antiheroish - especially when his true character shines through most of the time.The action and the fight scenes are still the best part of this franchise.
Adkins is a skilled martial artist and the film makers have a good eye for shooting the fights in a way that makes them seem exciting and new.
There's flair to them, but no so much that it seems unrealistic.Ninja: Shadow of a Tear is easily recommended for all those that enjoyed the first film and want to see more.
It's also a good martial arts action film in general..
The plot was the typical and very stereotyped "revenge" type; which granted probably describes like 90% of all martial arts movies.
No this didn't instill any kind of fear/grit/toughness to me, it just made me want to reach out into the screen and slap this Hollywood uncle tom of the Japanese Ninja world silly.Typically in such a movie you need a strong lead (think Brice Lee, Chuck Norris, in other genres like: Clint Eastwood, Bruce Willis, Steve McQueen, etc.) but this actor sadly just couldn't carry it.Only mildly entertaining.
The story is simple and like the "Undisputed" DVD franchise you don't need to watch the first to better understand the movie's characters or plot.It has great replay value as well I've watched it numerous times now and if your an action junkie like me, you'll love it.
This film essentially takes up where the intial movie left off with "Casey Bowman" (Scott Adkins) having gotten married to "Namiko Takeda" (Mika Hijii) and now in charge of his late master's dojo in Japan.
Even so, like so many action films these days, some of the fight sequences lacked a certain amount of realism.
Very 1980's storyline, and it could have been much better.The movie does offer lots of action and does it in a good way.
Just disconnect your mind, lean back and enjoy the mindless action here.There are far better ninja movies available, both new and old..
Best of Scott Adkins, a cult classic martial arts film, much better than the original!.
In addition, if you're not able to take an action cult classic martial arts film, ignore this review, as well.
We'll both be better off.Ninja II: Shadow of a Tear (2013) is the best film of the two, It is a cult classic action martial arts flick, that I really enjoy and Love.
Not the biggest fan of Scott Adkins, I got introduced in him by watching him in Undisputed II: Last Man Standing (2006) as Yuri Boyka which I have enjoyed that flick.
Still Ninja II: Shadow of a Tear is classic sequel that I love and the acting performances was good, but the fight choreographer was outstanding!
The fights are realistic and also the plot is original and it is realistic, I love that Casey Bowman (Scott Adkins) is one man an only hero who fights of a drug cartel, he has no sidekicks, he is alone.
About the cast: in this film is also Kane Kosugi son of a real Ninja martial arts master and sensei Sho Kosugi.
I know a lot of people wanted to see a lot of Ninjas in this film but there was only one (Scott Adkins), which I didn't care as long the action is entertaining and fun.
The film isn't long or boring or lame, it is what is a great action martial arts flick a true classic!
The fight scenes are excellent and for a revenge movie its really very good.
Full of martial art scenes giving you the same excitement when you saw the classic action movies such as the Matrix.
There are almost too many awesome fight scenes in this movie to pick a favorite but I think it has to be the fight sword fight between Casey and Goro by the end of the film, which the sword fight was set in flames, awesome!
It's easily the best fight scene I've seen this year; no shaky cam, no CGI, just Scott Adkins showing us what he can really do.
This is his best movie since the Undisputed series and I really hope we get a third entry.Overall: Ninja II: Shadow of a Tear get's a solid 10 by me which is clearly my favorite action martial arts film of the year!Ninja: Shadow of a Tear (also known as Ninja II) is an American martial arts action film directed by Isaac Florentine and starring Scott Adkins, Kane Kosugi, Mika Hijii and Shun Sugata.
10/10 Grade: Bad Ass Seal Of Approval Studio: Nu Image Swingin' Productions, Millennium Films Starring: Scott Adkins, Kane Kosugi, Mika Hijii, Shun Sugata, Vithaya Pansringarm, Jawed El Berni Director: Isaac Florentine Producers: Boaz Davidson, Frank DeMartini, Tom Waller Screenplay: Boaz Davidson (as David White) Rated: R Running Time: 1 Hr. 35 Mins.
The acting is mediocre at best, I watched it purely for the fight scenes with being an admirer of the many varied forms of Martial Arts, also being a fan of Scott Adkins.
Of course every movie needs a storyline, although I think the storyline could have been completely baseless and the action scenes would still have kicked major ass.
Scott Adkins is a very talented fighter and in this movie, he gets to highlight his real skills.
Featuring dojo matches, and a wide array of ninja weapons, this flick is an example of a martial arts movie made right.
So yeah, it's has a passable story for a martial arts action movie and the fights are cool to watch and choreographed excellently.
Overall this is a cool martial arts ninja movie.
And the "big twist" revealed in the final few minutes is painfully predictable - you'll see it coming long before it unfolds.Despite these problems, the movie manages to redeem itself, mainly with the action sequences.
NINJA: SHADOW OF A TEAR is a follow-up to the surprisingly decent NINJA, an action flick starring Brit martial artist Scott Adkins and directed by direct-to-DVD helmer Isaac Florentine.
This one has a different scope in that the chief character, Casey, having been banned from returning to the USA after the events of the first movie, trawls southeast Asia in a straightforward and undistinguished revenge storyline.Okay, so the plot is nothing new, it's the kind of simple, join-the-dots stuff you'd expect to be written by a high school student.
The acting isn't much to write home about, either; Adkins is passable, a briefly returning Mika Hijii is a joy while she's around, and Kane Kosugi is slowing becoming a younger version of his father, but nobody else makes an impact.It's good news, then, that this film really hits home when it comes to the action stakes.
NINJA: SHADOW OF A TEAR packs a punch in terms of hard-hitting martial arts action, and it's filled to the brim with well-choreographed mayhem.
Plus Adkins is blessed by nature so he's a great martial artists who actually looks pretty good on screen.
It's a sure bet in my opinion.Hopefully Adkins and all can do more of exactly that - top notch ninja flick the likes of which we haven't seen since the 80's.
Casey Bowman (Adkins) is a master Martial Artist who runs a dojo with his wife Namiko (Hijii).
There are many elements that make it so enjoyable and entertaining - there is minimal CGI, the fight choreography (by Tim Man) is excellent, you can actually see all the fights, Scott Adkins is a great hero you can truly get behind and is a rock-solid Martial Artist, and, perhaps most importantly, the plot is old-school action at its finest.
A marked improvement over the first film, Ninja 2 delivers the action goods with style and aplomb.
The choreography, by Tim Man (seen in the film as Goro's right hand man), is excellent as well, creating a perfect formula for fantastic, hard-hitting action sequences that elevate the film above it's weak plotting...and unfortunately...acting.I will, however, always forgive guys like Adkins and Kane Kosugi their flaws in the acting department, simply because of what they are able to do once it's time to turn the juice on.
Shoestring budgeted action films that cruise on talent alone are still out there...and guys like Adkins and Florentine are making films that crush their Hollywood counterparts.
In this reviewer's opinion, however, Ninja Assassin wishes it was Shadow of a Tear.See this movie...unless you're a female or a pussy..
In every martial arts or any movie now that you think of it, a successful bad guy/warlord/drug dealer/ mafia/kingpin whatever you want to call him; either wouldn't bother himself with small peanuts or has a vendetta against the whole rival and wants them all wiped off the earth and usually saves the boss for last.
After watching ten or fifteen martial arts movies, in the last 4 or 5 months, finally I've watched a great one.
One of the best martial arts movies I've ever seen, awesome.
As a die hard Scott Adkins fan, I've loved Undisputed, but to me this is his best movie ever.
The story may not be as good as Undisputed, but the action is ten times better, just brilliant.
You find this time around you see Casey has become a broken man after what happen & the story take him on a one man revenge that end up in a big final fight scene at the end.Scot Adkins with out a doubt is the new van damme he dose a pretty convincing job as a man broken but what he is best at is the fight scene which is perfectly filmed with no camera shaking to a point you cant see anything, the fight is brutal & fast.
It start off pretty slow at first but you get the odd fight scene in-between which break the slowness down, with the story which you don't see coming is a twist which is cleverly put in which kinds of make you think wow did see that.Though Ninja Shadow of a Tear is on a small budget, all of the aforementioned problems are fixed.
And that's a good thing.The plot preamble is done and dusted in the first ten minutes, which leaves the rest of the running time devoted to a plethora of exceptionally well choreographed fights, stunts, explosions and action sequences.Casey (Adkins) is an American Ninja-type working in a dojo as a ninjitsu master and happily settled in conjugal bliss with his cute Japanese bride.
For starters ignore the glowing reviews.The fact is that this is the best film from Adkins since Boyka II -- and we all know that at the time he did SHADOW, the Boyka III was still in development -- yet at the end of the day, when the points are tallied, this is still not a very satisfying movie.And don't take my word for it.
Great fighting, of course, and Casey's final opponent delivers quite an impressive performance which gets a righteous treatment from the professional camera work, but honestly, it's not the kind of movie that I would want to see more than one time.
Although my expectations were not high seeing how it is a Florentine movie and a DTV release I was still underwhelmed.Despite the many things I didn't like with this film the action never left me disappointed.
Also the film had seemed to get this weird message across that revenge can get you happiness and inner peace...they never say it out loud but it is always kind of there.Looking at the other reviews and the 6+ rating it makes me wonder if I maybe have watched a different movie.
The first film was pretty much a cool excuse for some ninja martial arts and weapons action from Adkins, and this sequel is no different whatsoever, but this is a good thing.A completely childish plot with unreal amounts of clichéd moments and corn, but who are we kidding here its all about the fisticuffs and nothing more. |
tt0118548 | Absolute Power | During the course of a burglary, master jewel thief Luther Whitney (Clint Eastwood) is forced to hide upon the unexpected arrival of Christy Sullivan (Melora Hardin), the beautiful young wife of elderly billionaire Walter Sullivan (E. G. Marshall), during her drunken rendezvous with Alan Richmond (Gene Hackman), the President of the United States. Walter Sullivan is Richmond's friend and financial supporter and the owner of the mansion Luther has broken into.
Hiding behind a one-way mirror, Luther watches as Richmond becomes sexually violent towards Christy when he playfully slaps her across the face. When she retaliates by slapping him back, Richmond becomes angry and aggressively assaults her. When she attacks him with a letter opener in self-defense, Secret Service agents Bill Burton (Scott Glenn) and Tim Collin (Dennis Haysbert) shoot her to death. Chief of Staff Gloria Russell (Judy Davis) arrives and makes the scene appear as if a burglar killed Sullivan's wife. Luther escapes with some valuables as well as the bloody letter opener.
The next day, Detective Seth Frank (Ed Harris) begins his investigation of the crime. As Tim had noted Luther's license plate number during the chase, Luther quickly becomes a prime suspect in the burglary because of his reputation as a thief, but Frank does not believe it likely he murdered Christy. Just as Luther is about to flee the country, he sees President Richmond on television, publicly commiserating with Walter on his loss. Incensed by the fake sympathy, Luther decides to bring the President to justice. Meanwhile, Burton asks Frank to keep him informed about the case while a Secret Service agent wiretaps Frank's office telephone.
Luther's estranged daughter Kate (Laura Linney), who works as a prosecutor, accompanies Detective Frank to Luther's home to search for clues. Photographs in the house indicate that Luther has secretly been watching her for years. She still suspects Luther of the crime, and therefore agrees to set him up. Frank guarantees Luther's safety, but through the wiretap Burton learns of the plan and Collin says that he will kill Luther at the cafe. Someone also tips off Walter, who hires a hitman (Richard Jenkins) to kill Luther. The two snipers, each unaware of the other, try to shoot Luther when he arrives at an outdoor cafe to meet his daughter. But they both miss, and Luther escapes through the police cordon because he came prepared, wearing the uniform of a police officer beneath his coat. Luther later explains to Kate exactly how Christy was killed, and by whom.
Luther begins to taunt Chief of Staff Russell, first by sending her a photograph of the letter opener, then tricking her into wearing Christy's necklace in public. Correctly suspecting that Kate knows the truth, President Richmond elects to have her killed. Luther learns from Detective Frank that the Secret Service has taken over surveillance of Kate, so he races back to Washington D.C. to protect her. He arrives at her jogging path just moments after Collin has used his SUV to push her and her car off a cliff. Collin tries to kill her again at the hospital, approaching her bed with a poison-filled syringe. Luther, who lies in waiting, subdues Collin by jabbing him in the neck with a syringe of his own. Collin pleads for mercy, but Luther says he's "fresh out," delivering a fatal dose.
Luther finds out that Sullivan gave no reason publicly why Christy stayed home; on the night of her murder, Christy said to Richmond that she told Walter she was sick. He incapacitates Walter's chauffeur and replaces him, telling Walter what happened on the night of the murder. Walter is unconvinced until Luther explains how Richmond lied in a speech by citing Christy's excuse for staying home, which he could only have learned from her. He shows Walter the letter opener with Richmond's blood and fingerprints on it, and also informs him that he has since returned the items stolen the night his wife was killed.
Luther stops the car and hands over the letter opener, dropping off Walter outside the White House. A trusted Walter is able to get through security with it and enter the Oval Office. Meanwhile, alerted by Luther that his phones have been bugged, Frank discovers that a remorseful Burton has committed suicide, and uses the evidence Burton left behind to arrest Russell. On the television news in the next morning comes the shocking news, "confirmed" by Walter, that the President has committed suicide by stabbing himself to death. Luther is happy to know that Walter got justice after all.
Back at the hospital, sketching on a pad, Luther watches over Kate in her hospital bed. Detective Frank visits briefly, whereupon Luther suggests to Kate that she invite Frank to dinner sometime, and then continues to draw a new picture of his daughter. | suspenseful, neo noir, murder, violence, romantic, revenge | train | wikipedia | null |
tt0100240 | The Neverending Story II: The Next Chapter | Bastian Bux is having troubles at home: his father Barney's busy workload is keeping him from consoling Bastian's fear of heights. As such, he then heads to an old bookstore where he again meets Mr. Koreander, who proceeds to help find a book on courage. While waiting, Bastian rediscovers the Neverending Story's book, and is shocked to see its words disappear off its pages. Deciding to take the book instead, Bastian returns home and finds himself able to claim AURYN right off the book's cover while hearing the Childlike Empress summon him to Fantasia.
Aware of his arrival, an evil sorceress named Xayide orders a creation from one of her servants to stop him. The servant creates a memory machine that will strip Bastian of a memory each time he uses AURYN, until he is unable to remember where he came from, or why he is in Fantasia. Xayide then sends a bird-like creature named Nimbly to persuade Bastian into making him wish. As the two arrive in a populated area of Fantasia called Silver City, the sorceress sends large monsters referred to as giants to attack. Despite Nimbly's attempts to make him wish them away, Bastian is able to escape from them without doing so. After falling into a secret passage, Bastian is contacted by the Childlike Empress, who tells him of a new threatening force to Fantasia, which is keeping her prisoner in her own castle as well as causing the stories of the ordinary world to disappear, and that he must identify and defeat it.
While trying to gather Silver City's inhabitants to help him out, Bastian is reunited with Atreyu, who has heard about what has happened. As the two try to figure out how to get there, Nimbly manages to persuade Bastian into making a wish, which he uses to create a vicious, fire breathing dragon. However, it goes out of control and flies off with Atreyu trying to pursue it with his horse, Artax. With help from Falkor, Bastian is able to chase the dragon to Xayide's castle, where it is destroyed by its defenses. After a brief reunion with Rock Biter, Bastian and Atreyu, who has caught up, make their way into the castle's entrance with the latter's "army": several wind up toys. Although Bastian gets through, Atreyu is captured. Once getting further into the castle by wishing for climbing steps, Bastian manages to free Atreyu from a giant and the two battle it with the use of a spray can, an item the former had wished for. After the giant falls over and cracks into pieces revealing a hollow shell, Bastian identifies the threat as "The Emptiness", the form of humanity's dying imagination. The two make their way to Xayide in her throne room who admits defeat, stating she had wanted to bring order to dreams and stories, which she consider as forms of chaos. The sorceress is then forced to bring them to the Childlike Empress' castle to free her after Atreyu threatens to kill her.
Having noticed his son's disappearance and the Neverending Story's book, Barney takes the latter to Mr. Koreander's bookstore to ask him of Bastian's whereabouts. The owner simply tells him that he'll find the answers inside the book, much to Barney's confusion. Returning later with a police officer, he is shocked to see the bookstore abandoned as a result of the Emptiness. Looking inside the book, Barney is surprised to see his son's exploits in Fantasia being written by the book itself and that he is mentioned within.
During the travel to the Childlike Empress' castle, Xayide tries to trick Bastian into believing that his friends will turn against him and manages to get him to wish for a series of ridiculous wishes. It also becomes obvious to Atreyu that they are being led aimlessly. Becoming worried, Atreyu and Falkor believe that the only way help Bastian is to remove AURYN from him as they have learned of the memory machine and its effects on him. Bastian overhears them, and through a confrontation with Atreyu believes that he has turned against him. The two then fight, with Atreyu being knocked over a cliff and falling to his death. Returning to Xayide, Bastian discovers the memory machine for himself and learns that he only has two memories - consisting of his mother and father - left. In an attempt to use Artax to follow Falkor, who has taken the fallen Atreyu away, he is nearly killed by an attack from Xayide. Now on foot, Bastian is encountered by Nimbly once more, who has had a change of heart after seeing one of his memories, and guides him to his friends' location before flying off.
Arriving back in Silver City, now in a heavily ruined state, Bastian finds Falkor with Atreyu's lifeless body, and uses his penultimate memory of his mother to wish the latter back to life. Shortly afterwards, Xayide arrives with her giants and tries to force Bastian to use his last wish to return home. Rather than do so, Bastian uses his wish for the sorceress "to have a heart". Overcome with compassion, Xayide explodes in a blast of light, destroying her giants and restoring Fantasia. Having been freed, the Childlike Empress thanks Bastian for his help and shows him the way home: a cliff overlooking a waterfall to help Bastian overcome his fear of heights. Encouraged by Barney and Atreyu, Bastian jumps off and returns home safely. As he reunites with his father, AURYN reappears on the front cover of the Neverending Story's book. | good versus evil, psychedelic, fantasy, romantic | train | wikipedia | Michael Ende's lovely book is in two parts; Petersen's 1984 film is really just the story of Part I.
We open with one of the cheesiest sequence of allegedly humorous pratfalls I think I've ever seen; in a matter of MINUTES, I lost faith in the film, as had everyone I was watching it with.And so much of the original talent is missing as to make the whole exercise pointless.
The Never Ending Story 2 did not seem to be as good as its predecessor, however this movie wasn't all that bad.
However one downfall was this film seemed a bit distant to the original making it seem like they are two totally different stories when in fact they are one.
But all in all this was a pretty good movie and it wouldn't hurt to get an idea of what the second half of the story is all about.
Not as an adaptation.Many have complained that the personality of the characters from the original movie were contradicted and the film had little continuity.
This movie did not live up to my expectations at all (when I saw it again recently)The movie covers part of the book's story, with Bastian meeting Xayide.
Although part of it is followed closely, Nimbly did NOT work for Xayide, there was no Memory ball thing (AURYN made Bastian lose his memories on its own) and the end was a cheesy replacement for the Fountain of Life.In the original story, there was much more substance.And the thing that annoys me most: If Bastian met the Childlike Empress in the last movie, why did she appear to him in this one?
The 1st "Neverending Story" was one of my favorite movies as a child so naturally, I couldn't wait for the sequel.
"The Neverending Story II: The Next Chapter" is a sequel to the original and much beloved 1984 film.
The original one has a cast you just gotta appreciate, but I can't say the same about this one.Bastian is now played by Jonathan Brandis, Atreyu by Kenny Morrison and the Childlike Empress by Alexandra Johnes.
And how come Bastian has a mother now, considering she's not alive in the original film?As for the visuals, only a few are still good, but aside that Fantasia is simply not the same Fantasia I love so much from the 1st movie.
THE NEVERENDING STORY II is a wonderful and breathtaking familiar film with adventures and imagination but inferior to excellent original.
A lonely and grieving little boy named Bastian(the sadly deceased Jonathan Brandis substituting to Barret Oliver) is only living with his father( John Wesley Shipp in similar role to Gerard McRaney)but his mother has deceased.He seeks refugee in the library where meets a bookkeeper and is taken a fantastic book .Thus, again he enters the storybook world of Fantasia through the ¨Neverending story¨ tale .
They'll have to fight a magical army of giant bugs on two legs that threaten our friends.The story is an enjoyable fairy tale with great charm from the original novel by Michael Ende,trying to incorporate too much dreamland with fantastic beings like a giant bird named Nimbly, the large flying pink poodle dragon named Falcor ,among others weird and bizarre creatures .They have been made by big puppets and no by means of computer generator effects but at the time had not been invented.
The visual beauty of the impressive scenarios give the movie a real sense of wonder.The production design and sets are visually rousing and appealing.The film contains an agreeable moral message about reading books.It's followed by a new sequel, the third part titled: ¨Escape from fantasia¨(directed by Peter McDonald)with Jason James Ritcher.
I have to admit I was actually looking forward to seeing this film, especially since I had seen the first Neverending Story when I was a little kid.
It was undoubtedly one of my favorites; it was filled with fantastic characters and a storyline that didn't talk down to me.Then I saw this movie.I have never been a big fan of sequels in the first place, especially if the first story didn't have an ending.
Bastian and Atreyu look completely different (I know the original actors had aged), Pyorncrachzark (Rock Biter) had a child, and shots from the original film were used for horse-riding sequences.
For me though I watched this movie with the realization that this sequel looks a lot worse than the original.
The story is basically the same except this time the kid gets sucked into the fantasyland and his father is reading the book.
This does not help the story, nor does the fact that a children's movie sequel should not come six years or so after the first, because you are unable to use any of the original cast.
Although a lot of things have changed in the sequel (actors, settings, characters, etc.) it's not as bad as everyone says.
I don't think it was as good as the original, it is definitely worth watching and if you can find it along with part one for ten dollars you should definitely get the movies.
The original Bastian wasn't really a god actor and this one definitely did a good job.
Anybody who thought that the sequel to the 1984 smash hit 'The NeverEnding Story' would surpass it's original in box-office draw and fan count would be 100% wrong!There is no way ANY prequel, sequel or gatwequel would manage that feat - especially considering the first film is one of the best kids/adult films ever made!Although the parts of Bastian and Barney Bux are more recognizable faces nowadays then their original counterparts (Jonathan Brandis was a Sequest DSV regular while John Wesley Shipp resides at Dawson's Creek), they didn't seem to have as much 'panash' as the originals.Granted, they're great actors and play their parts fine, but it just seemed that they didn't appeal to me as much as the previous ones.Anyway, on with the actual story.
When Bastian happens to stumble across Mr. Koreander and TNES book again, he returns to Fantasia to fight 'The Emptiness'.Auryn gives Bastian the power to wish for anything he wants, however, villainess Xayide (mediocre Clarissa Burt) has hatched an evil plan - for every wish he makes, a memory he has from earth is taken away.Atreyu is back too, (this time played by Kenny Morrison) and also returning are Rockbiter (now with Junior), Falcore and The Childlike Empress (who's cut, died and curled her hair).The story is good, but just not as good as the first NeverEnding Story's one was.
The special effects are improved a fair bit, and a welcome addition to the colourful cast of characters is Nimbly (played suavly by Martin Umbach).As I said, not as good as the first, but then, they could've done worse - they could've made the third edition the second one!.
Better than the first movie, Bastian takes us through a new adventure when he must save Fantasia from being swallowed up by "The Nothing." With our familiar friends Atreyu and Nimbly, they must team up to save The Childlike Empress and all creatures of Fantasia.
The NeverEnding Story 2 still has the imagination of the original and some wonderful visuals that make up for it's lack of good writing or acting.
this movie is great family entertainment: it has a good story, good special effects and imaginative characters.
True, it's not quite as good as the original, but i've always liked this movie because of its great look and great special effects.
I mean, at least the filmmakers tried to make a decent sequel to the film (however, they had source material to go off of, as the first movie was only based on the first half of the book, which probably explains everything).
I'll be brief: you are in for a real stinker when you've noticed the sequel has recycled stock footage from the first film because the original imagination and production value was so high (think Atreyu riding on his white horse, which has magically came back to life in part II).
I, like many others, watched The Never Ending Story as a child and of course loved it, I remembered the characters, the basis of the plot and the lesson.
My Take: Fine special effects can't save the weak points in this weak sequel.I've read some rather sad reviews about this sequel to Wolfgang Petersen's classic fantasy "The Neverending Story", based on the book by Michael Ende, mainly because it's hardly based on part two.
Still, however, I couldn't quite recommend it other than a second look."The Neverending Story II: The Next Chapter" is made back then, where movies don't have CGI to do the special-effects as realistic as today.
There he grabs the NeverEnding Story again, and is swept into the world of Fantastica to save it from the evil sorceress Xeida, and her armored red mechanic slimy giants, who's faces look like pirahnas, and Xeida steals one of Bastians Memories each time he makes a wish with Auryn.
Like the first NeverEnding Story Taught that reading is good this one teaches an inspiring message about courage (overcoming fears), remembering who we are, and learning to live mor happy, and appreciating what is seen.
The same bastian/atreyu/child-like empress in a two part film would have made far more sense then the huge gap between I and II that made the actors too old too come back.
But even with that, they age Bastian up, aged his father down, and, I believe, age the child-like Empress who shouldn't have aged at all.The best thing that can be said about NeS II is it was loads better than NeS III, though forced to re-cast it still tried to hold onto the spirit of the original characters.
I wish the makers of the first film had thought ahead and invisioned a two part work the way the makers of LotR envisioned thier trilogy.The good things about NeS II: It was actually somewhat derived from the second half of the book.
The Bad thing: The time gap with NeS I made some parts of Bastian's character development repetative and parts of the 'new versions' of the old characters story conflicted with the previous film.
not as strong as the first.Bastin, this time, can go into the book as well as help Atreyu fight off evil empress that has a wish machine that everytime he makes a wish a piece of his memory is gone.Ok I guess, but not like the first.
Honestly, the only things that tie it to the original is the movie title itself, character names, the book store owner is played by the same Actor, and, LUCKILY, they still have the original Luck Dragon and Rockbitter props.It is not a horrible movie, per say, but all of these changes make it a mere shadow of the glories of the original film.
Although the kids do an admirable job in this movie, by not casting all of the original actors, it causes a disconnect, because we are looking at people we do not recognize as, say, Bastian, who is now a blue eyed blond.
From what I heard, this movie was actually an adaptation of the second half of the book the original film was based on.
Most of the actors from the original film are gone and they can't represent the story nearly as well.
NeverEnding Story 2: The Next Chapter wasn't terrible, but I will admit I was disappointed.The film does look spectacular, with lovely costumes and sets- the image of the silver boats on the river was a beautiful image.
Not to mention some contradictions in comparison to the original, then again NeverEnding Story 3 had a lot more contradictions, and did do an even worse job than this film.
Barrett Oliver as Bastian was great in the original, and I do appreciate that they made him older and wiser here, but I did think as the hero Jonathan Brandis was rather feeble, but he did try his best with superficial material.Overall, disappointing, but it wasn't that bad.
Its sequel appeared to be more formulaic, and the dialogue spoken by most of the human actors was too wooden and unconvincing.I had to laugh also at the main villain in this movie, Xayide (played by Clarissa Burt).
It just didn't seem that the Xayide character created enough conflict, at least not to me.The movie probably would have been better if at least some of the original main actors (not to mention the director, Wolfgang Peterson) were brought back, and the film was made no later than three years after the original movie.
But that'll be difficult when the emptiness is taking over and all Bastain's wishes are causing him to loose his memory of his father and late mother.The Neverending Story Part 2 isn't a bad family film, but it's really cheesy.
I would recommend just staying with the first Neverending Story movie, but this is worth a look as a family film, but I'm just too in love with the first film.4/10.
"The Neverending Story" is thought by many to be a classic fantasy movie for both kids and adults alike.
None of the principle actors return from the first film, and the replacements look and sound nothing like the characters in the first.
Another sequel we didn't need or want as Jonathan Brandis takes the role originated by Barrett Oliver in the original and goes back to the fantasy world in the title via reading an impossibly large book.
Life is not neverending; and this film is not a story, it just never ends.
I better not mention the plastic operations that Bastians father had after the first part?Is there anything good in this movie, beside pathetic acting?
'The Neverending Story 2' is the sequel to the first film.
Meanwhile, back in the real world Bastian's father is looking for his missing son.The original film was never anything that special but I must admit I quite enjoyed the adventure and the dark tone it took at times.
The sequel tries to basically ape the first film, with a similar story but with Bastian inside the world full time.
It work anywhere near as well as the reasonably good original and instead it feels like it is just trying too hard for the majority of the time.
Instead it only got worst, because this movie kept destroying every good idea of the original story.
Why was it kept so simple ?!!I bet, because in some Hollywood executives head, as usual, Fantasy is just for children and children are too stupid to care about changes in books.If there is a diference between the original NEVERENDING STORY, and this sequel , is that we clearly see that the first one was made as a children's movie but for adults to enjoy, specially the adults who read fantasy.
The new BASTIAN, is good, and it could have been in the original movie, but the new ATREIÙ, is simply unbelievable AWFUL !
He´s too city american to play a character like that !This kid seems to think he´s in America all the time, not in a fantasy world !
This movie would be the worst adaptation of a book ever, but unfortunately we have NEVERENDING STORY III for that.
And i thought things couldn´t get worst.But if we forget about the book for a moment, is this movie any good ?
It has atmosphere, better story than the usual for an american fantasy movie, an excellent soundtrack and it´s entertaining to watch.
So i can´t totally hate it as a fantasy movie.As NEVERENDING STORY, it´s very bad, and a total waste of an amazing story.SO, everybody,if you have to see this, READ THE BOOK first, because you´ll never forget it.
And you will appreciate better what was NOT done with this movie.But in the end ,there are worst things you could watch, so it isn´t that bad.
Part II was full of okay actors and the story just wasn't as good as the first movie.
It seems the late Michael Ende was unhappy with the first movie; I shudder to imagine what he thought of this one.And no, I haven't seen the third film, although I hear it makes this second chapter look so much better by comparison.
I remember watching the trailer as a kid and going "Nope!" - possibly the first time in my life I chose to avoid the sequel of a franchise I liked because it looked terrible.Maybe one day someone will make a worthy sequel to the first film and a good adaptation of the second part of Ende's novel.
Though new actors play Bastian Bux and Atreyu, they are quite good for the most part.
Upon watching the original The Neverending Story, I was delighted & so pleased with how entertaining it is, even for a twenty-one year old such as myself.
All of your child actors have aged drastically in that time, so they simply couldn't use them which makes the whole film feel like a disjointed story not truly connected to the original.
Overall, if the original Neverending Story is your favorite film ever, you probably won't like this one.
Half of the movie is The NeverEnding Story.
It's not entirely bad, but it's just not what the original story was about.Half of the movie is Ende's stuff.
This movie came out in the early 90s, and, just like the first Never Ending Story, and is still super cheesy!
He seemed less stiff and more believable as a real character.Like the first Never Ending Story, this movie was extremely creative.
Even though I was too little to remember when this came out, I'm very sure kids were excited to see the characters again in a new movie when it came out.This sequel was more menacing than the first.
Because of this theme, I do not think this movie is appropriate for little children.I liked the message behind both Never Ending Story movies. |
tt1697062 | Dead Space 2 | The game begins in an asylum on the Sprawl, a densely populated civilian space station built onto the last remaining shard of Titan, one of Saturn's moons, and site of the first planet crack. Isaac Clarke awakens with no memory of the past 3 years since Aegis VII, having just been awoken by Franco Delille (protagonist of Dead Space Ignition), an engineer on the Sprawl who was sent by Daina to rescue Isaac. With the already-ongoing Necromorph outbreak, an Infector kills and mutates Franco into a Slasher in front of Isaac, leaving Isaac to escape on his own.
While running away from the chaos of the Necromorph outbreak, he stumbles upon a bloodied Foster Edgars, a scientist that oversaw Isaac and Nolan Stross' sessions, put him in a neck hold with a medical knife to Isaac's neck. Isaac pleads with Edgars to let him go while they can still evac the station. Edgars frees Isaac from his straight-jacket and kills himself. Soon, Isaac is contacted by Daina Le Guin, a woman claiming to have a cure for his "condition". He is also contacted by fellow patient Nolan Stross (a main character from Dead Space: Aftermath), who endured a treatment similar to Isaac's. Daina explains that Sprawl Director, Hans Tiedemann, is building a new Marker using information encoded in Isaac and Stross' brains. She also claims that a self-replicating signal was imprinted on Isaac's mind by his previous encounter with the Marker, putting his life in grave danger, which Tiedemann kept in check with memory suppressants. Ignoring Stross, Isaac fights his way through the city (still filled with survivors trying to escape the Necromorphs) to reach Daina. Along the way, Isaac experiences hallucinations of Nicole, which become more vivid as "she" tries to deter him from his task. Once he reaches Daina, she reveals herself to be a Unitologist agent and has Isaac restrained. Isaac pleads her to leave him alone and give him a cure but she assures him that there is no cure and claiming that they need him to build more Markers to spread Convergence, an event foretold in Unitology, across the universe; however, an EarthGov gunship strikes their space ship, killing Daina and her associates and allowing Isaac to escape.
Stross contacts Isaac, claiming that they can destroy the Marker, telling him its location in the Sprawl's Government Sector; left with no choice, Isaac reluctantly decides to trust Stross. As he makes his way there, Isaac comes across Ellie Langford, a CEC pilot who lost her crew during the outbreak. She eventually joins their mission after coming across Stross, almost killing him but was convinced by Isaac to keep him alive and safe from danger. As they travel through the Sprawl, they encounter several obstacles caused by Tiedemann and the Necromorphs. Tiedemann uses a solar array beam that Isaac activated earlier to turn back on the life support in the station, to cut off the transport tube to the government sector, forcing Isaac to venture back inside the Ishimura, which is docked at the Sprawl for decontamination and repair after the events of the first game. Later on, Stross' dementia worsens, causing him to gouge Ellie's eye out with a screwdriver, repeating "steps" to her; she survives, and Isaac kills him in self-defense. After weathering further verbal assaults from Nicole, Isaac comes to accept the guilt of being unable to prevent her death, causing the visions to become benign.
They later find an enormous mining drill and uses the machine to drill into the Government Sector. Upon reaching the Government Sector, Isaac sends Ellie away (against her will) on a gunship to protect her. Once inside, he releases the Necromorphs onto Tiedemann's forces near the Marker chamber, causing the Government Sector to be overrun quickly. When Isaac reaches the Marker, he finds it surrounded by Necromorphs, which triggers Convergence. With Nicole's guidance, he uses the NoonLight Diagnostic Machine, a device which had been used on both himself and Stross prior to the events of the game, activating the parts of his brain that had been affected by the Marker. He fights his way to the Marker, where he encounters and kills Tiedemann. At this point, the Nicole hallucinations pull Isaac into his own mind, revealing that the only way to make the Marker "whole" is to absorb the body and mind of the one who created it — in this case, Isaac himself. Infuriated and betrayed, Isaac destroys "Nicole" and the Marker codes in his mind in a grueling mental battle.
Waking up, Isaac discovers that the Marker has been rendered nonfunctional, and that the accumulated damage to the Sprawl has resulted in its reactors melting down. Isaac slumps to the ground, ready to accept his fate, to be interrupted by Ellie, who crashes the gunship through the ceiling. The two escape as the Sprawl explodes.
In a post-credits scene, an audio transmission is heard between two people: an unknown man and his ranking superior, known only as "the Overseer". The subordinate relays that Titan Station, which he calls "Marker Site 12," and its Marker have been destroyed. The Overseer replies that the other sites will have to pick up the pieces.
=== Severed ===
Dead Space 2: Severed is set three years after the events of Dead Space: Extraction, and shortly before those of Dead Space 2. Gabe Weller now works for the Sprawl Security, and Lexine is now his wife. Gabe's story runs parallel to Isaac Clarke's experiences in Dead Space 2; this can be seen throughout Severed as Gabe stumbles upon the remains of Isaac's various battles.
During a patrol in the Titan Mines, the Necromorph outbreak is unleashed. After the death of most of his patrol squad, Gabe contacts Lexine to warn her of the outbreak. After his emergency warning is transferred, Gabe makes his way through the mines, passing through many areas that will be visited by Isaac Clarke. During this, he receives a transmission from Director Tiedemann ordering all surviving security teams to scrub the facility and eliminate all key subjects.
Once Gabe finally arrives at the Titan Mines exit, he is fired upon by his superior officer, Victor Bartlett, who is in a gunship. After launching explosive canisters at the gunship, Gabe is able to force Victor to retreat. Gabe then demands an answer for his commander's seemingly random act of violence, leading to the revelation that Gabe's wife Lexine is on the list of key subjects to terminate because of her involvement in the "Oracle program", which has something to do with Lexine's recent pregnancy.
Gabe reaches the hospital in a gunship to try to get to Lexine before his superior officer can reach her. Gabe is finally able to make it through the Hospital to the Psych Ward only to find Victor being disabled by two Unitologists claiming to have orders to capture Lexine for further study.
Gabe chases after the two men to a docked ship, where Lexine escapes into the ship while her two kidnappers are transformed into Necromorphs. Once Gabe dispatches the threats, he and Lexine attempt to make their escape but they find the airlock is locked and only accessible from a hackable console near the ship. As Gabe attempts to hack the airlock, Victor ambushes him with a live grenade. After a struggle, the grenade explodes, killing Victor and leaving Gabe severely injured. During his final moments, he shoots the four airlock fuses, allowing Lexine and their unborn child to escape. Gabe, after saying goodbye, succumbs to his wounds. An epilogue reveals Gabe's body has been taken for study, while Lexine's whereabouts are unknown. | violence, cruelty, murder, sadist | train | wikipedia | null |
tt2269724 | Deadpool | The film is presented in a nonlinear narrative, jumping between the present and past. This is a linear summary of the plot.
Wade Wilson, a former special forces operative working as a criminal enforcer, meets a prostitute named Vanessa at a bar. The two develop a relationship, and a year later Wilson proposes marriage. He is then diagnosed with liver, lung, prostate, and brain cancer. Despite Vanessa's love, Wilson dislikes the thought of her watching him waste away, and he leaves her in the middle of the night.
A recruiter, dubbed "Agent Smith" from a covert organization approaches Wilson and promises him abilities that will cure his cancer. Wilson reluctantly agrees. He is taken to a remote laboratory where he meets Ajax and Angel Dust, and instantly hates them. Ajax injects a mutation-activating serum into Wilson and subjects him to daily torture to activate it but Wilson's body fails to respond. Wilson then finds out Ajax's real name is Francis and mocks him. Annoyed, Ajax asphyxiates him in an oxygen chamber, causing him to develop an accelerated healing factor that cures him but leaves him disfigured with burn like scars over his entire body. Ajax reveals to Wilson that he does not actually intend to make him a superhero, but instead will sell him to someone else as a "super slave". Wilson finds a way to escape his confines and destroy the lab. He fights Ajax, but relents when Ajax says that he can repair his appearance. Ajax then impales him with rebar and leaves him for dead in the burning building.
Wilson survives and attempts to return to Vanessa, but is afraid of her reaction to his disfigurement after people on the streets appear to be scared by his appearance. After consulting his best friend Weasel, Wilson begins the task of tracking down Ajax to get the cure. He becomes a masked vigilante, adopts the alter ego "Deadpool", and resides with an elderly blind woman, Al. Following a string of leads after massacring prominent members of Ajax's empire, including Smith, Deadpool tracks Ajax to a convoy on an expressway. He executes the numerous convoy guards, subdues Ajax, and demands the cure to his disfigurement. He is interrupted by Colossus and Negasonic Teenage Warhead. They try to convince him to join the X-Men, and Ajax escapes. Deadpool incapacitates himself trying to fight Colossus. They capture Deadpool, but he escapes by severing his own hand, which later regenerates.
Ajax and Angel Dust go to Weasel's bar and learn about Vanessa. Weasel warns Wilson that she is in danger, and they go to the club where she works to warn her, but Deadpool hesitates. Ajax and Angel Dust abduct Vanessa and tell Wilson to meet them at a decommissioned helicarrier in a scrapyard. Deadpool persuades Colossus and Negasonic to help him rescue Vanessa. They travel to the scrapyard and battle Ajax, Angel Dust, and their team of mercenaries. As Colossus and Negasonic fight Angel Dust, Deadpool kills most of the mercenaries and engages Ajax in hand-to-hand combat atop the helicarrier. Negasonic accidentally destroys the equipment stabilizing the helicarrier during the fight, tipping it and scattering Ajax and Deadpool. As Colossus carries Negasonic and Angel to safety, Deadpool saves Vanessa and incapacitates Ajax. When Deadpool demands that Ajax "repair" him, Ajax laughs and reveals that there is no cure. Deadpool kills Ajax in response, despite Colossus pleading with him not to. Vanessa is initially furious with Wade for abandoning her, but they reconcile after she learns why he did not return.
In a post-credits scene that spoofs Ferris Bueller's Day Off's post-credits scene, Deadpool tells the audience that the film is over and announces a sequel to his film featuring Cable, breaking the fourth wall. | violence, humor | train | wikipedia | High moon studio wanted to make a deadpool game and they did an awesome job,if you love humor in games then obviously you should play this game, game play: follows your typical beat em up sort of game slice up a bunch of enemies and move on,you upgrade your weapons as you go on.
graphics:cut-seen animations are great, during game play the graphics are on par with other beat em games.
Story, No spoilers but dam is it funny Length: depending on your play style you can expect anywhere between 8-10 hours give or take, Final note: buy this game it does deadpool Justice its a wonderful game it may not win the game of the year award but its funny and fun what more do you want from a game based on a marvel hero.
As most of people who played the game I have to say I loved it, for me was the funniest game in years.
Some reviews says the game didn't brought the satisfaction just 'cause it isn't used Frostbite Engine, doesn't have multi-player, it's too short and what ever.
But I want to say that the game was made to bring fun for the players and it's does this very well, this is a game to remember in the future (2023) how fun was play it like someone does with Diablo II instead of Diablo III which was a big crap in my point of view.
The graphs aren't amazing but it's pretty good, especially our main character.
The script doesn't make much sense but it's mean to be hilarious.I recommend the game..
I don't want to continue the joke because you know the punchline is Deadpool: The Video Game.To elaborate more on the plot in it's real entirety, Deadpool tries to kill Mr Sinister because Deadpool was out to assassinate someone Mr Sinister already killed and thus cancels the Assassination contract and while this is going on you are unintentionally saving the world...
If you enjoy the over-the-top insanity of the character it does work.The Gameplay isn't all that impressive.
The Gameplay can get fun if you're playing one of the really insane parts but the rest does stand up on it's own merits.Now I am going to go into great depth about the insanity of the game.
In this game there is a level where you play a "Spin The Wheel" type game for $1 billion but instead cause a magnetic apocalypse, when you do it again you throw a cow in the mix.
So if you don't like that kind of insanity as well as fourth wall jokes galore (I'm serious, if you are losing a lot of health, Deadpool will insult the player) then this game is not for you.So if you want to play some kind of over-the-top insane video game (but to be honest, would you expect anything else from Deadpool?) then this is certainly worth a look, almost enough to excuse the somewhat repetitive game play..
This is the game that Deadpool fans have been waiting for.
This game delivers exactly what fans want, an action packed thrill ride that's crazier than a sack 'o ferrets!!!!Wade Wilson is not the greatest thing to ever happen to comic books, but when it comes to an insane action story, you can't go wrong.All we need now is for the movie to be made.
but for now we can rely on the ridiculous entertainment offered to us by this game.If you did not like this game, you are either not a Deadpool fan, or your standards for games is way too high..
A game for Deadpool fans and fans of Marvel Comics.
I first heard of Deadpool in "Hulk Vs" back in 2009 this was my first introduction to the Merc with the mouth and I have to say this character really is more than meets the eye not only he is a heck of a fighting he is too funny.Deadpool the video game captures that sense of humor along with staying true to the comic books.
It feels like you step into Deadpool's world as soon as you begin to play the game.The game also features so much originals that you can appreciate who worked on the game from the cast to the designers of the game.
Plus the cast clearly was having a lot of fun with the voice work.Nolan North voices Deadpool and he clearly has a passion for the character because he is the true voice of Deadpool he is clearly having a great time voicing the character and he gives a A plus performance for the game.
Fred Tatasciore voices Cable and does a good job as the character,Steve Blum voices Wolverine and he does a excellent job with his performance, Melissa Disney voices Rogue and Psylocke she does a good job as both characters,Gwendoline Yeo does her part as Domino good.The graphics are pretty good with good character models and the backgrounds feel like Deadpool would be pleased with the work.The Voice acting is clearly one of the best parts of the game for the cast was clearly having fun and the game will make you laugh throughout The controls take time to get use but once you master it you'll be in for a heck of a ride.The Game Play is another huge plus well some of the game play is a challenge where you have to overcome different paths and the combat systems works well but you can find it challenging when face with hard enemies or more enemies so it will keep you on your toes.Overall Deadpool is a fun game just has challenges that will take time to overcome but you will be in for a fun game that was clearly made for fans.I give Deadpool an 8 out of 10.
Deadpool is, by all means, a short burst of mindless fun..
Its quirkiness makes Deadpool a different kind of video game than most hack-and-slash, sadly that doesn't mean it's better.
Made from mediocre gameplay, average visual and clunky camera, not enough witty jokes can cover the repetitive lackluster nature of the game, and there are a lot of witty jokes.
That being said, throughout the short time I spent with Deadpool, he did give me more smiles and chuckles from majority of games out there.The game is silly, and it knows that.
There is no tragic story or gritty struggle for Deadpool's motivation, he just has a bone to pick with some bad dudes and does crazy stuffs along the way.
It is by these madly create scenes, as if the developer just throws a bunch of random inexplicable unexplainable occurrences, that the game actually works in superbly over-the-top effect.
Just have fun, ladies and gents.It has pretty regular graphic, mostly lengthy office corridors, underground sewer or caves and abandoned city.
Any traversable area is marked by the coins, there's no going pass that area even if your hero can teleport.Frankly, the setting, aside from open view city of Genosha, is rather monotonous.
Change in topography isn't as smooth as action title should have, Deadpool often gets stuck into walls or platform a few inches away from his feet.To make matter worse, the camera doesn't pan into correct positions as the combat ensues.
In some cases where Deadpool is intimately chopping enemy who is too close, or when transitioning between chopping and shooting, the camera is rather late to respond, which leaves the focus awkwardly zoomed in to our regenerating complaining hero.
The camera issue repeats itself inconveniently, it may even induce headache if it happens in some platforming section.As Deadpool aptly names his enemies "clones", the entire army he'll be dealing with consist of uniformed baddies, with addition of mutated ones later in the game.
They look very henchman-esque with no distinct traits of their own, even the bloody pulp they turn into when Deadpool smashes them with hammers are still sloppily similar.
Their looks are categorized by their attack pattern; melee, gunner, some magical exploding ones, and bigger fatter ones whose heavy guns can be looted after they die.Our hero himself has got better treatment on design.
Animation of bosses and your fellow heroes are a bit crude, but still serviceable.
Note that these bosses only show up briefly, and in the case of your companions, they barely do anything worth noting to be rendered meticulously, in exception for Cable, who can time travel but still constantly puts up with Deadpool's antics.The game plays like any others that have preceded it, pure generic third person action.
A mix of light and heavy attack, a bit shooter and platforming, that's practically the whole game.
While it opens a bit of freedom, but keep in mind there's only several weapons Deadpool can use, and the command input is about the same.After midway, it'll be mind-numbing how the pattern repeats itself.
Sure, the game tries to involve different tactics to beat enemies, however these goons are just too standard and some of Deadpool's momentum attacks or weapons do tons of damage, resulting in spamming only certain attacks since they obviously work wonder.
The good part is there are many mini-games that break the pace.
These instances are absurdly fun while they last.Gameplay merely utilizes tested formulas, it serves its purpose without trying to reinvent any of the mechanics.As for audio, quite frankly I didn't notice much beside Deadpool's constant banter, I exceptionally like how he praised such great job I did killing enemies, and splatter effects for enemies' deaths.
Nolan North does a fine job of voice acting the titular hero, he presents himself with a pint of madness and giggle.
The ending song is brilliantly composed, orchestrated and sung, it's nothing sort of inspiring.I finished the game in about 8 hours or less, a bit short adventure.
There's a challenge mode which puts Deadpool through waves of enemies in stages players already cleared.
There's not much replayability in the game, and considering the mediocrity of the gameplay and graphic, it may not appeal to everyone.
Deadpool is, by all means, a short burst of mindless fun.Graphic : Setting and character design are bland.
Camera is twitchy and could hamper the gameplay.
6.5/10 Gameplay : Virtually text book third person action.
6/10 Presentation : The best of Deadpool game is the inclusion Deadpool, it creates an excuse to get wild, and while it may not satisfy everyone, it is undeniably a hilarious thrill.
Fun hack n slash game featuring the merc with a mouth.
This game was a fun game featuring the comic character that can match Spider-man quip for quip.
It also features a lot of adult content and is probably one of the last good comic book based games based on a Marvel character.
Too bad Disney acquired the rights to nearly all the Marvel characters as one of the results of this seems to be only seeing our favorite comic book characters in video games only in that god awful money grab known as Disney Infinity.
This one reminds me of another comic game that I was not expecting to be all that great and got at a dirt low price and really enjoyed it, "Punisher".
That one was a bit better than this one even though it did come out on the last generation of consoles.
Though I am not the type of person who orgasms because of graphics, but rather, I enjoy a game because of the game play.
Here it is fun and fast paced and features a lot of humor.
That of course is to be expected as Deadpool is a comic character that likes to run his mouth.
So, while we will probably never get another Ultimate Alliance for Deadpool to roam in (thanks Disney) we at least got this fun game that for a nice change of pace doesn't take a lifetime to play through.The story, well there is one, but it is kind of messed up.
Deadpool is of course aware that he is in a game so he tends to go off script here and there.
Deadpool is hired to take out a guy, but soon finds himself going after Mr. Sinister who has a sinister plan up his sleeve!
Deadpool must face Sinister's group the Marauders while also trying to survive Cable's explanation on what is going on!
The game play is your basic hack n slash type game though there are a few areas where the game becomes a bit different whether because of a budget that is running low or Deadpool's deranged mind.
For the most part the game is not to annoyingly hard thanks to Deadpool's healing factor.
However, while most of the game has its moments, the last level was pure hell!
Still, fun once you kill the three Marauders and face Sinister.So, while this game is not a perfect triumph it is still a very fun game.
The humor had me laughing and it was neat seeing other characters in the X-men's universe coming to the aid of Deadpool.
Granted, only Cable really helps, most of the others do not really have all that much screen time, though there is a humorous section of the game featuring a playable Rogue.
The game was definitely worth the less than 15 dollars I spent on it as this is just one of those games you hold out for as it will go down in price and that is when you snatch it up.
That way there is no risk should it turn out to be bad and it yields high rewards should it turn out to be fun...which this one was..
Deadpool would have been better as a short movie.
The gameplay is one big joke like the rest of the game, except this joke does not deliver...at all.
If you were (for some odd reason) judging Deadpool for just it's gameplay you would automatically associate it with any other generic beat'em up game, the only thing different is that you're Deadpool.
I'm now going to rattle off why the gameplay is just awful: the stealth mechanic in only used as a gimmick, dead A.I immediately disappear, the gun-play is bizarre and frustrating, rarely unique enemies, the boss fights are way to easy by most peoples standards, the mini games are the only fun part of the gameplay that's how you know something went wrong, you'll find your self doing the same combo over and over again.
The real question is are you willing to trudge through horrible gameplay and outdated graphics to witness Deadpools insane hilarity during cutscenes.
I was willing...and trust me you will not be disappointed with them, this is literally the funniest game I've ever played.
Deadpool will undoubtedly surprise you with insane to actually really witty humor and cheesy one-liners.
Nolan North does a terrific job voicing Deadpool and the cutscenes themselves are really well animated and directed, which makes me come to a conclusion that this really should have been adapted to become a animated flick.
this game is freakin awesome and extremely funny lol, it has tons of action, tons of blood and gore, and tons of very big laughs lol, it's a really great action comedy game and deadpool really needs his own movie, it would be really awesome and really hysterical lol, it'd be one of the best marvel movies ever :-), next to the avengers and punisher: war zone that is ;-), so overall, if you love action games, you'll really love this one, if you like marvel, you'll really love this one, and just a P.S. to any gamer girls, there is A LOT of toilet humor in this game, so you have been warned lol, and it's not for the squeamish since there's tons of blood and gore in it.
Deadpool is a rental at best, it could've been so much better.
Honestly the reviewers on here who are saying that Deadpool is a great game and that it "delivers" really must have low standards, either that or they're just making excuses for something they spent $60 on.
Sadly there's a reason this game is getting mediocre to slightly above average reviews across the board.
Deadpool can be entertaining sure, but this is 2013 and the gameplay and graphics are just like stuff we've seen on Xbox 1 or even PS2.
Underdeveloped lock-on system, average at best graphics and character models, basic hack and slash swordplay, mediocre platforming, and generic levels and level design.
High Moon really could've done a lot more with this game and made it one of the best and most unique 3rd person shooters on 360/PS3 but they just threw this together and didn't try to innovate at all.There are definitely a few good sequences and a couple really creative/entertaining ones but the base gameplay leaves a lot to be desired.
Mostly just repetitive shooting and hack and slash against waves and waves of enemies(Who all have the same health bars above their heads).
Some of Deadpool's jokes and movie references are great while others just fall flat/are completely stupid so his character alone isn't enough to redeem the game.
Deadpool is the definition of a solid rental or a budget priced game, (and even then its still nothing amazing) but for $60 its almost a joke.
I've only been playing the game off and on for two days and I'm already on the last level and there's no multiplayer, just a few mediocre challenge maps based on levels from the campaign so there isn't even any real replay value.
Its really a shame, I was looking forward to this game since I've liked High Moon's games in the past; Darkwatch was pretty good and the Bourne Conspiracy game they made had solid shooting and hand to hand mechanics, so I know they're capable of making something better than what we got.
It seems like they just didn't put in the effort this time around. |
tt0061209 | You're a Big Boy Now | Bernard Chanticleer (Peter Kastner), called "Big Boy" by his parents, is 19 but still lives with his overbearing, clinging mother (Geraldine Page) and his commanding, disapproving father (Rip Torn), who is Curator of Incunabula at the New York Public Library. Bernard also works as a low-level assistant at the library, where his father is constantly monitoring and admonishing him. His father decides it's time he grew up and moved out of the family home in Great Neck and into his own Manhattan apartment. His mother is not happy about letting him go, but acquiesces to her husband and arranges for Bernard to live in a rooming house run by nosy, prudish Miss Nora Thing (Julie Harris). Miss Thing inherited the building on the condition that her late brother's aggressive pet rooster be allowed to occupy the fifth floor, which Bernard must pass to get to his room. Miss Thing reassures Bernard's mother that the rooster only attacks girls, especially young pretty girls, to which Bernard's mother responds that her son isn't interested in girls yet, but arranges that Miss Thing will spy on Bernard and report any "female" activity. Bernard's mother also constantly mails locks of her hair to Bernard at his new residence.
Actually, Bernard is very interested in girls, but due to his upbringing he's a naive, immature virgin. He is smitten from afar with the coldly beautiful actress Barbara Darling (Elizabeth Hartman). Meanwhile, Amy Partlett (Karen Black), Bernard's grade school classmate who now works in his father's office, confesses to Bernard that she has a crush on him. Bernard's worldly co-worker Raef Del Grado (Tony Bill) encourages him to date Amy because she's a "sure thing"— a girl that will sleep with him — but discourages him from trying to pursue Barbara. Amy and Bernard go on a date to a discotheque, but when Bernard sees Barbara performing as the featured go-go dancer, he is mesmerized by Barbara and loses all interest in Amy. Amy tries to win him back by kissing him and offering to spend the night with him, which Bernard accepts although he's thinking of Barbara the entire time. When they try to go to Bernard's room, the rooster attacks Amy, causing a commotion in which Miss Thing falls down the stairs and breaks her arm. Bernard's mother blames Amy, calling her a tramp and forbidding Bernard from seeing her again.
Bernard writes Barbara a gushing fan letter, to which she responds inviting him to visit her at the theater where she's appearing in a play. Barbara is a narcissist, who hates men after being sexually assaulted as a young girl by an albino one-legged hypnotherapist. Not knowing all this, Bernard is thrilled to hear from her, rushes to the theater to meet her, and bumbles his way through an evening at her apartment. Barbara, enjoying her control over Bernard's emotions, teases him and later tries to seduce him, but he can't perform and is upset about it though Barbara seems to be understanding and even invites him to move in with her. Meanwhile, Amy has been calling Bernard's rooming house all night looking for him.
Miss Thing goes to the library to tell Bernard's father that Bernard was out all night and a girl called him every 15 minutes. Miss Thing and Bernard's father accidentally get trapped in a timelocked vault full of rare erotica, which horrifies her and causes her to rush out in disarray when the vault opens, giving the impression that Bernard's father made a pass at her. Bernard's father has also made a pass at Amy, who gets upset and tells Bernard. Miss Thing evicts Bernard, so he moves in with Barbara, although he still can't perform with her and she's starting to treat him badly. His parents have wrongly concluded he's spending nights with Amy, but when they discover Amy hasn't seen him, his father sends Raef to find him, leading to Raef and Barbara becoming engaged and Barbara throwing Bernard out of her apartment.
Bernard, followed by Raef and Barbara, returns to the library where his parents and Amy are waiting for him. Miss Thing and her new boyfriend, police officer Francis Graf (Dolph Sweet), who also lives in her boarding house, also arrive to confront Bernard's father about what happened in the vault. Bernard finally rebels against his parents, telling them he's leaving and wants to get away from them, and then grabbing and running away with his father's most prized library item, the Gutenberg Bible. A slapstick chase through a street parade and a department store follows, ending when Barbara knocks Bernard out with a mannequin's leg. Barbara is featured in the newspaper for stopping a rare book thief and saving the Gutenberg Bible for the City of New York. Elated with her newfound fame, Barbara dumps Raef. Bernard is jailed, but Amy bails him out and he realizes she's the girl for him, and they go off happily together. | cult, romantic | train | wikipedia | Coppola had been working for a year with MGM writing scripts for them (he had got this job as a result of winning a nationwide literary competition) and had scripted Is Paris Burning?
He had also written the screenplay of This Property Is Condemned, based on a Tennessee Williams short story, and (apart from the magnificent helicopter shot which starts the film) thought very little of it.For full details of the filming of this first real Coppola movie see my memoirs Dropping Names which is available from my website www.davidbenedictus.com Oh and by the way clips of Dementia 13 which Coppola filmed in a couple of weeks in Ireland (he mentioned to me some nudie films which he may or may not have directed but Dementia 13 is probably his first acknowledged work) are used several times throughout You're A Big Boy Now (I imagine he didn't have to pay copyright on them!) and they look powerful to me.A sad memory is that Elizabeth Hartman who plays the sexy man-hater with great precision and style was to have a serious nervous breakdown after the end of her marriage and threw herself out of a window to her death.
What we have here is an early F.F.C. effort (he also wrote most of the screenplay).You can see the genius that is later to come.Here's a confused, virginal young man, constantly picked on by his over-bearing parents, trying to find his way in the world of New York City.
Speaking of names, the part played by Lisa Hartman is Barbara Darling, a would-be actress who dances in a go-go club at night.Watching Bernard weave his way through conniving co-workers and the strange behavior of Miz Darling, is worth the price of admission.I always wonder who writes these critiques for IMDB, and should I trust them?
You'll find yourself running into similar things that happened to you in your youthful pursuits.You could do a lot worse taking a chance on a movie..
About 15 minutes into this quirky film I was ready to proclaim it a must see and to bill it as the best movie no one has seen or even heard about.
After all it was Coppola's masters thesis for film school.
It has Elizabeth Hartman successfully playing against type as a sexy (somewhat psycho) Greenwich Village ingénue.
It has Peter Kastner, Rip Torn, Geraldine Page and Julie Harris playing characters more bizarre than anything in "Harold and Maude" (it reminds you a lot of that film and may have inspired it).
It even has Coppola cutting in extensive gruesome footage from his first film "Dementia 13".Unfortunately by the halfway point of "You're a Big Boy Now" it totally runs out of steam and you begin to understand that its obscurity is well-deserved.
Coppola's script is the problem because the cast are generally excellent and you can tell they had a lot of fun making the film.
Even minor cast members like Dolph Sweet do a good job and there are great little sequences like Kastner's after dark explorations of the New York City streets.
But unlike "Herald and Maude", Coppola says nothing with this film; consequently it ends up as a classic case of the whole being considerably less than the sum of its parts.I am not in love with Coppola as a director, but even those who are will acknowledge the incredible distance between his good stuff and the vast majority of his films.
This is not his good stuff but is worth checking out if you like Hartman, Harris, and Page..
I saw it back then when I was a preteen and the extremely talented and tragic actress Elizabeth Hartman (who looks totally different, in this, than she did in Patch of Blue) plus the song "Darling Be Home Soon" ( a beautiful, and haunting song) by the Lovin Spoonful made it unforgettable!
I agree with a previous poster that it was great that Elizabeth Hartman was given a chance to play a part other than plain looking women and this was definitely the total opposite of some other roles she had..
Touching, funny, terrific Broadway cast and very well done especially considering the minuscule budget Coppola had to work with.
I can imagine Mayor Lindsay's involvement, allowing Coppola to interrupt the Times Square "crawl" and to shoot in the NYC 42nd St. Library.
He said he wanted to make a movie about the two best things in life; young love and hot pretzels!.
Anybody who loves movies of the 60's, and has missed this, has a monstrous gap in their viewing pleasure.
The cast consists of so many interesting actors/actresses: the tragic Elizabeth Hartman, the well-named Rip Torn, Tony Bill, Karen Black, Julie Harris.
One of the few times when the late Elizabeth Hartman gets to play as somebody other than a frail, mousy girl.
This time, she plays a bitchy, egotistical, man-hating actress/go-go dancer, who wins the heart of a young library clerk, played by Peter Kastner.
The kind of character, who could probably be the inspiration for a riot grrrl band.Besides that, I'm a Native New Yorker, so I've got a natural attraction for movies filmed in New York City, and the rest of the tri-state area.
A coming of age film centering on a young man's longings and fantasies for his dream girl whom he sees in the New York Public Library's main branch.
The lead, Peter Kastner, is forgettable, but his father played by Rip Torn, head of incunabula (see the movie and find out what it is!) at the library, is hilarious; the fight scene with Julie Harris is marvelous.
On the negative side is the lovely Elizabeth Hartman coming off her big success in "A Patch of Blue" with Sidney Poitier.
She is supposed to be the cool and detached object of longing - but is as vapid and empty as any character could be, and in part this has to be the fault of the direction of Coppola.
I watched it later that day and it changed my mood to great, and it became my favorite movie.Some of the sequences and lines and maddeningly dizzy and dizzyingly mad.
I've seen it about 50 times always trying to figure out the theme, and I still haven't come up with one, although, Bernard goes from a milk-spilling virgin to a maturing lad who finally opens his eyes to life and stops spilling milk.That $2 VHS copy is gone.
I wish I could find another copy, or, one on DVD.It's the most dizzy, maddeningly wonderful sexy piece or cinema I've seen, or ever will experience.So is there a way to find love with a woman like Amy Partlett with streaks of Barbara Darling that run through her veins?
As I watched it, I marveled on just how "ahead of its time" it actually was, and how many great films have stolen so many of its artistic riffs, so many of them redolent of the Swinging Sixties and all of the wild, drug-fueled looniness that characterized that brief period of time.
To see the great character actors who have gone on to spectacular careers in the many years since was especially thrilling to see, including Geraldine Page, Rip Torn, Tony Bill, Julie Harris (would there ever have been a "Thing" in The Men in Black without a "Miss Thing," curiously starring a much older Rip Torn?) and the always solid Karen Black in her first screen role.
It's absolutely amazing how many of Coppola's early films have launched such stellar careers.
But perhaps this wonderful film owes so much of its depth to the co-starring role portrayed by the luminous Elizabeth Hartman, who's twisted and soulful performance remains one for the ages.
This movie wonder is a perfectly hilarious, perfecting engaging, perfect little film.
Movies,films,even TV was changing and in some ways we're still trying to figure out what happened.
"Big Boy" was the coming of age movie that never got its due while hundreds of thousands of Babyboomers were indeed coming of age..
It enchanted me so much, I traveled back there every night for the rest of the week, just to see it again and again.Despite being very much a "New York Movie", it's themes are universal and as a young lad of 13, I REALLY identified with the 19-year-old hero (Americans are less mature than we Europeans).At that time, I only knew F.F.C. as the director of "Finian's Rainbow" (a VERY different project) and of course, he had yet to do "American Graffiti" (ANOTHER of my Top Ten).I have this masterpiece on VHS and the soundtrack album (in mono) on vinyl and they STILL stand up today.
I think people who dislike this movie are expecting another broad relationship comedy - but the comedy is very SUBTLE, obviously being lost on those who see it as just another "Young Man's Awakening" movie.But that aside, this is a charming, VERY Sixties look at teen-angst from the viewpoint of a central character who has JUST LEFT the bonds of home (so many feature ones who are still STUCK there).
Early Coppola film.
You probably never heard of this film--there's a good reason why.19 year old Barnard (Peter Kastner) is on his own in NYC and obsessed with girls.
He's extremely attracted by a beautiful, but cruel, actress named Barbara Darling (Elizabeth Hartman) while sweet, nice Amy Bartlett (Karen Black--supposedly her film debut)likes him.
Then there's his domineering parents (Rip Torn, Geraldine Page) and his holier than thou landlady named Miss Thing (Julie Harris!).As you can tell this is not an ordinary coming of age tale.
Great acting by everybody, but this film is very much a product of its time.
Looks nothing like a Coppola film.I didn't really like it.
With the exception of Amy, all the characters were annoying, the comedy was very cruel at times and the flashy camera-work really wore me down.
Peter Kastner passed away at the age of 64, of a heart attack in Toronto, Ontario, where he had been living for a few years with second wife Jenny.
This is pretty much a lousy unfunny movie, but it's got Karen Allen and Rip Torn and Geraldine Page and is directed by Francis Coppola.
However, much of it was filmed outdoors in New York City in 1966, and for those of us who live here, the difference between then and now is stark, and makes the flick worth watching.
The park was on a downward cycle at that time, later to be saved by the Central Park Conservancy.It's wild and raucous and dopey, but it shows a great deal of creativity with settings and a camera that moves with or against the actors.
Despite being directed by Francis Ford Coppola, "You're a Big Boy Now" has pretty much been forgotten in the fifty years that have passed since it first played in theaters.
Also, Coppola directs the movie with great energy throughout, from bizarre camera angles to offbeat performances.But while the movie is directed with gusto, it doesn't manage to mask a big problem with the movie.
Things do start moving after the halfway point or so, but it's kind of hard to get involved with what's happening because none of the characters are really all that sympathetic.
In the end, the movie can only be recommended to people with real special interest in Hollywood filmmaking from this period, and even they might find it tough going at times..
all this time I had never known the origin of those Lovin' Spoonful songs.
The most famous movie to look at the younger generation's disillusionment with the American way of life is "The Graduate", but Francis Ford Coppola's "You're a Big Boy Now" also offers some insight.
But this young man actively seeks out a new life, and he befriends a go-go dancer...but that's not all.A lot of the humor is cutaway humor.
In the end the movie isn't a masterpiece but has some funny stuff.
The Lovin' Spoonful did the music, and it includes some songs - among them "Amy's Theme" - that I had heard but never knew whence they came.I recommend the movie.
These, however, do lend the film a free-spirited sense of freedom that young Bernard (Kastner) is confused by, having been kept on a tight parental leash.
hard to rate: pretty good for a film school thesis?
how about an 11; cinema to study as a precursor to several great films?
maybe a 5 or 6; as a movie, just a movie, maybe 3; two big problems: story is loose, too often sophomoric, too much filler dialog of no help, never defines the main character, sometimes nerd, sometimes rube, adventurous and off to a new life, a wimp who reports to daddy; worse problem, the actor who plays him, kastner: no screen presence, often unpleasant, beady expression in closeups where he's supposed to be interested, thinking; in drawn out tours of Manhattan, watching him watch NYC, no reason to care; when the locations overwhelm the star of the movie you sense more trouble to come; it does; but, amazingly to me, he was nominate for bafta 'Most Promising Newcomer to Leading Film Roles' in '68, then went on to do mainly minor parts in minor TV series; somehow, film student Coppola got appearances from Geraldine Paige and Julie Harris, both at home with the camera, and a john Sebastian soundtrack; newcomer in small role that leaps out is Karen black, a natural; so settle on a 5- for the history of cinema, and glimpses like break to sepia and stills in a flashback become some of the great scenes in godfather 2.
Talented Peter Kastner plays a nebulous young man who's moved away from home and now lives on his own in NYC.
Vivid support is offered by Geraldine Page and Rip Torn are his parents, Julie Harris as his crazy landlady as well as a young Karen Black and Tony Bill.
A scene from Coppola's B/W 1963 film Dementia 13 plays in the background at the multi-media club in the film.
Too undisciplined for it's own good, You're a Big Boy Now is engaging and diverting and provides a look at New York City in the 60s.
This movie was very boring and made really no kind of sense to me at all.
It's about this ugly, gap-toothed, 19 year old guy who doesn't know much about girls and when he moves out on his own, he decides to see what girls are like.
Elizabeth Hartman plays an actress who's also a go-go dancer in whom the ugly guy gets a crush on after watching her dance at a club one day.
Thank God Elizabeth Hartman is my favorite actress.
Otherwise I would've stopped watching this movie about 20 mins after it started.
At its most beneficial now as a fun time watching Francis Ford Coppola be a kid his first time in the sandbox on the ground floor of New Hollywood, this adolescent wet dream---in that it's a great time but not terribly memorable---is a young example of the modern story of a young man's anxious initiation into the big world as well as of the imminent counterculture awareness, not owing to a concentration on drugs or long hair but the insertion of the up-and-coming music, the hottest dance fads, and crisp social attitudes.
But first of all, this light, quirky sophomore directorial effort---following his requisite Roger Corman warm-up debut---was the pioneer of the bunch.In late 1966, Coppola was a wunderkind green out of UCLA, and at the same time his second film is of the most base, commercial genre, it reflects Coppola's more scholarly influences, incorporating self-reflexive formal strategies originally conceived of in the European New Waves, and thus, well received by critics and the public alike.
Their favorite genres were of the raw, gritty grind house era that was to take advantage of the breaking of ground and opening of doors Coppola and his peers were revving up to do when he came onto the scene with You're a Big Boy Now.This and The Graduate, the more mature film that would follow, concern young men and older women.
Coppola, rather, simply enjoys himself as director, and his film is awash with recycled sight gags, lively performances and a spirited soundtrack by the Lovin' Spoonful.
I can't decide whether he's a kid in the sandbox his first time behind the camera or a bull in a china shop, as filmmakers are when they are passionately in love with the films they grew up with, the filmmaking process and film, period.The bungling young man this time is Peter Kastner.
Smokiest Movie of All Time.
I saw it about 15-20 years ago and I really enjoyed it except for one thing, most of the characters smoked.
If a movie like this was made today, it would draw a lot of fire from the American Cancer Society.
Such a great movie.
Francis Ford Coppola's early comedy is nothing like his later, full-bodied epics, but it's certainly very entertaining.
Peter Kastner is a 19-year old, essentially thrown out into the world by his bombastic father Rip Torn...all to the horror of his clinging mother Geraldine Page.
Kastner gets a lot more than he bargained for from wacky landlady Julie Harris (as Miss Thing), extremely misinformed co-worker Tony Bill and insane actress Barbara Darling (an uncharacteristically sexy Elizabeth Hartman).
The movie is hilarious with every single actor totally in tune with Coppola's acerbic take on life circa 1966.
Karen Black plays the only sane character so you know this is a very different movie.
There are great songs from John Sebastian including DARLING BE HOME SOON..
You're A Big Boy Now-Film Needs to Grow Up *1/2.
This is still another coming of age film, but it goes terribly awry.Was this the only film that husband-wife Rip Torn and Geraldine Page ever worked in together?
I think this played real to their own personal lives.What a difference a year makes.
The year before Elizabeth Hartman was up for best actress as the blind girl victimized by her Oscar-winning mother Shelley Winters. |
tt1434447 | Rocket Singh: Salesman of the Year | Harpreet Singh Bedi (Ranbir Kapoor), B Com graduate with approximately 39 percent marks becomes a salesman with a big corporate computer assembly and service company, AYS. Within a few days, a client asks for a kick-back.The top salesmen at AYS acquire large client contracts through bribery. In such corrupt company culture, Harpreet's honesty only brings him a demotion and humiliation. After making concessions to a client for the company, Harpreet realizes that sales success is dependent on the customer; so if the customer is satisfied then bribery will not be necessary to secure these contracts. No one agrees with him but Harpreet remains firm on his belief and forms his own company, Rocket Sales Corporation, from within AYS. Rocket Sales is being managed from the AYS offices where the Rocket partners were still employed. Unlike AYS, Rocket Sales Corporation's overall strategic goal is customer service and customer satisfaction as opposed to just selling the product through bribes and providing zero customer service. Other disgruntled employees of AYS find their way to Rocket Sales – a place where even the guy who serves tea is an equal partner because he brings talent to the table.
The five member company targets previous clients of AYS, who were irritated with AYS's attitude and soon enjoys a strong client reputation. The company soon becomes successful because of its dedication to excellent customer service. Although it does not make much profit. Rocket Sales Corp is able to make a huge difference. AYS's sales start decreasing as many the clients cancel their orders and place orders at Rocket Sales, which offers them better services. Harpreet starts a relationship with Sherena, his first client, whose fashion business had failed.
The MD of AYS, Sunil Puri, becomes angered by the small company's success. Puri moves quickly to attempt to contact the MD of Rocket Sales Corporation and in a phone conversation attempts to entice him to sell Rocket Sales Corporation to AYS (he does not know it is Harpreet). Harpreet not only rejects Puri's offer but says that his company will buy AYS Computers. Afraid of Puri's attempts, Harpreet's partners have a discussion and move their headquarters to Sherena's house, making her a partner in the process. After multiple failed attempts in locating the Rocket Sales Corporation office, Puri decides to call the number on Rocket Sales Corporation's brochures and the phone at the AYS reception desk begins to ring. After thoroughly insulting him and firing both him and his partners, the MD has Harpreet sign a contract handing over Rocket Sales to him for a final compensation of Re.1 . However, AYS is unable to maintain Rocket Sales' commitment to customer satisfaction because of its cold and greedy personnel. The MD, realizing his downfall in purchasing Rocket Sales, visits Harpreet at his new job at Croma, an electronics store, and returns the contract to Harpreet in return for Re.1 . He also tells him never to become a businessman again, because he will fail again. However, this is not intended as an insult, but rather as a compliment; he implies that what made Harpreet so successful was his eschewing of 'normal' business practices such as kick-backs, false advertisement, and low wages.
The ending scene is the new Rocket Sales office building where a prospective worker is going in for an interview. The firm is implied to be very successful. It shows the former employees, all partners of the business, and finally closes with Harpreet smiling genially at a desk, showing that eventually honesty and hard work is a sound business decision. | revenge, satire | train | wikipedia | Frankly speaking, "Rocket Singh" is not the usual bollywood kind of movie with the same ages old ingredients of action, love & comedy.
In other words it's a great piece of art made by a thinking team strictly on the lines of innovative Hollywood projects which are based on variety of subjects written around our daily routine life.The story talks about a fresh and honest graduate who is looking for a descent job to make his future career.
In fact most of the viewers will find it very easy to relate with various characters in the script portrayed just like the real life people we meet every day.After his masterpiece "Chakk De India", Shimit returns with another brilliant work which again has a huge contribution coming from his writer Jaideep Sahni.
Actually the whole setup of a computer company and its premises in "Rocket Singh" is more relevant to New Delhi's computer hub, Nehru Place (which Jaideep must have seen) and everyone who has visited the premises would readily agree to that.
Taking into account all their works together in the past, the writer-director duo is a great team in formation and you can easily expect many more brilliant projects coming from them in the near future.In the performance arena there are good things to write about almost everyone in the cast.
Everyone else in the team lead by Rocket Singh is perfectly chosen and they skillfully act as true to life realistic characters, especially the computer engineer and his sexy desktops glowing in the night.
Cinematography is nothing exceptional and Salim-Sulaiman music is just above average with all the songs used shortly along with the background score.However, the only probable mistake, the marketing team of "Rocket Singh" has made is that they wrongly promoted the film as a comedy.
The promos with Ranbir dancing to the tune of "Pocket Mein Rocket Hai" clearly give you an idea of the movie being a funny take on office politics and life of an salesman.
So, once again it's an example of wrong promotion tried by the makers to bring in some more crowds in the opening weekend.But if you ask me then just don't take it as a comedy and go for it if you really want to see a fresh, cool and uplifting movie completely different from what we have been seeing in all this year.
In short, "Rocket Singh" is one of those few rare movies which are made without thinking of any favorable box office results.
Rocket Singh looks you in the eye with an innocent yet promising look - as if it were saying, "I'm sweet, amn't I?" And you have no choice but to agree.It's full of everything - subtle, clean, sensible, humane, but, above all, GENUINE humour; witty dialogues that make you smile; a good flow; touching moments; moments that make you smile...
We have people rushing to see an SRK or an Aamir Khan production, but why are the seats empty in better movies like Paa, Kaminey, and now Rocket Singh?
I went to watch Rocket Singh with the expectation to see a good movie knowing that the same creative team (Shimit Amin and Jaideep) had put together a good movie previously with Chak De India.
By the time "Rocket Singh" was over I sat in my seat spell bound and amazed by some excellent story telling by the same creative team.
What works for Rocket Singh is an absolutely crisp script, screen play, dialogues (some of which are very witty), sharp direction and awesome performance by an amazingly talented cast.
The climax is very interesting; the conversation between "Rocket Singh" and Mr. Puri (his ex-employer) is one of the highlights of the movie.In summary Indian cinema needs more of these movies - engaging stories of "real" people made with utmost attention paid to the story itself.
Indian cinema can do with out "Love stories that have blood on them".--S Rao. Rocket Singh: Salesman of the Year is a film with all heart..
Rocket Singh: Salesman of the Year is a film about the importance of basic goodness.
But don't be fooled by its appearance; Rocket Singh: Salesman of the Year is a film with all heart.
Ranbir Kapoor plays Harpreet Singh Bedi, an idealistic young graduate who lands a sales job in a computer firm run by a boss who sets unrealistic targets for his team.
Meticulously written by Jaideep Sahni, the genius behind such gems as Khosla Ka Ghosla and Chak De India, the script of Rocket Singh is its real star.
Seeking inspiration in real life and real people, the film avoids stereotypes and goes for characters and situations that are refreshingly familiar – the team-leader who fudges conveyance vouchers, the cut-throat competitive co-workers, the porn-surfing maintenance guy, even the promotion-seeking receptionist.
Taking the cue from Sahni's script, director Shimit Amin bravely resists any temptation to glamorise the world they've set the film in, by rooting the drama in a space that is basic and without frills.
Overly long, especially in its first half, Rocket Singh suffers on account of sluggish pacing, and occasional indulgences like that unduly stretched-out confession monologue by Harpreet's boss in the film's climax.
In the end, Rocket Singh is a clean, honest film with noble intentions.
I am giving a thumbs up for director Shimit Amin's Rocket Singh: Salesman of the Year; whatever else you do , don't miss this film..
With a funny sounding name and Ranbir Kapoor as a lead character, I assumed that this might be one of the popcorn movies that target the college going demographics, who want a "time pass" movie.
Rocket Singh:Salesman of the year 8/10One of the best movies of this year.Well, watched it last night but couldn't get a chance to write about it.
I made a it in my mind it being a must watch and yesterday I got a chance to watch it.Its about a new guy in salesman-world, how he handles all those un-realistic goals set by his boss, clients and tackles his ideologies.Now the movie has very dynamic characters with most witty and cut-throat dialogs ever seen or heard.Don't go to watch this movie thinking of watching Ranabir giving a very powerful performance.
Not a single character is out-of-place.If I analyze the movie:- Acting: Brilliant Screenplay: Asset of the movie Directing: Brilliant Cinematography: Very good, just watch out for the initial scenes when the title rolls and the background chosen for it.
The protagonist of the movie is 'Rocket Singh' which does not exist in person, but as an idea.
But in the end, Rocket Singh remains an honest and gutsy 'salesman' that did many things right, but failed while trying to sell itself.
Everything looks and feels like it does in real life, with people drinking from plastic cups in office parties, to no one wearing designer clothes, and Ranbir's mentor telling him methods to keep the shirt clean.
The movie revolves around a Sikh graduate(portrayed authentically by Ranbir Kapoor) who aspires to be salesman.
Shimit Amin's 'Rocket Singh: Salesman of the Year' is an underrated Gem from 2009!
'Rocket Singh: Salesman of the Year' Synopsis: Harpreet Singh Bedi (Ranbir Kapoor), a Sikh B Com graduate, joins a sales company to push his career, only to later realize that's working under corrupts.
Shazahn Padamsee, in her debut role, is barely passable.On the whole, 'Rocket Singh: Salesman of the Year' is a winner.
Just like Shimmit Amin's past 2 ventures, Rocket Singh starts as a colorless, bland film.
Writing is top notch and Jaideep Sahni's dialogues are intelligent and brilliant.Shimit Amin's direction is excellent of course.Ranbir Kapoor is brilliant as the naive Harpreet Bedi.
"Rocket Singh: Salesman of the Year" is a very enjoyable film--and one that has some great lessons for the business world...if they cared to learn them.
The film begins with Harpreet Singh Bedi (Ranbir Kapoor) graduating from college and realizing that with poor grades, he isn't qualified for being an executive.
However, here's the kicker--now Singh has several employees--most of which STILL work for the old company and work for Rocket Sales on the side.There's much more to the film than this, but what I liked was the film's heart and the many lessons it COULD use to their own betterment.
But there should also be films with an international appeal, so that people who have weird thoughts about Indian cinema can come to know that we DO make sensible films too!Rocket Singh is definitely the best attempt of 2009!
I wish they did, because this movie sure has the qualities of being a hit.Rocket Singh is Shimit Amins 2nd movie after Chak De India, which was critically acclaimed and which I personally liked very much.
Shimit Amin did an outstanding job with Rocket Singh - Salesman of the year.
Movies Like Rocket Singh are a rarity these days.
Rocket Singh is one of those rare movies which are honest and has its heart in its right place.
In fact some movies are made with such good intention that it is almost difficult and inhuman to find flaws with it.Rocket Singh is more of a mirror to our technocratic society where the only morals are bribery and corruption.At the end one can feel that the movie emerges as a paragon for hope to all those who still feel that debauchery in our society can be eliminated.The verisimilitude of the characters and the events give a rich and genuine feel to the movie watchers.These characters are made of flesh and blood and can be found in any Indian Office.The sympathy for Rankbir Kapoor's character is palpable.The story is basically about the struggle of an academically challenged college graduate in today's corporate world.He is too naive to understand the idiosyncrasies of any corporate company.How he manages to efface out the problems impinging his conscience and finds a solution is the main storyline.I recommend this movie to all people of our business society so that they can really realize that there is no harm done in doing business in an honest way.The puissance of the movie lies in the script that has been very well written by Jaideep Sahni.He has really craved himself a niche in writing.The same can be said about Shimit Amin.There are a few minor flaws in the movie which are worth quibbling.but i won't venture in that territory.But overall its a must watch also for all especially those who want to become entrepreneurs .8\10.
Rocket Singh comes with significant expectations, being directed by Shimit Amin (Chak De India and Ab Tak Chappan) and proves to be an entertaining movie with good substance.The film is about newly-graduated Harpreet Singh Bedi who manages to get a job as a salesman.
The screenplay also runs very smoothly but I have the feeling that one would expect more from a story written by Jaideep Sahni, especially after excellent to very competent writing in Chak De India, Company and Khosla Ka Ghosla.
Having the actors dance to the average music by Salim Suleiman would not have added anything to the plot and would have halted the excellent narrative.I think Ranbir Kapoor has done a good job in this film as he steps into the shoes of Rocket Singh very well.
However, one could argue that depicting a salesman is far from challenging.All in all, Rocket Singh is a fun watch and will leave you with a smile and has some of the 'feel good' factor that Chak De India had..
So, after quite a while i went to see a Hindi cinema in Theater(as compared to the frequency of me going to see movies of Hollywood) and I must say it was a nice Decision taken.For me, going for cinema means entertaining myself and at the same time the film should be able to make me reflect on its central issue.Rocket Sing succeeds here, Rocket Sing aka Harpreet Singh Bedi is so fresh out of current lot of Bollywood characters of those cheesy movies.The movie scores so much on its original theme, which is totally missing from Bollywood these days and on top of that Acting Skills which are displayed by its all the actors specially Ranbir Kapoor and Gauhar Khan is really commendable.The screenplay is really good.The setup and situation described of offices are so realistic.This movie can be given the award for the best attempt to break away from the usual boring Love-Song-Dance sequence of Bollywood movies.Go for It!!!.
Rocket Singh is easily one of the best movies of 2009.
Because Rocket Singh the movie does nothing by the numbers.
Because Rocket Singh is a fantastic film that is focused on its characters and on staying true to who they are.
Ranbir Kapoor has definitely done a great job in playing the title role, but he is also supported by an excellent ensemble - Mukesh Bhatt, Naveen Kaushik, Shazahn Padamsee, Prem Chopra, D Santosh, Gauhar Khan and Manish Choudhary.Over the past few years, I have been occasionally critical of Yashraj's films, but I must really give Aditya Chopra credit for green lighting this project and allowing it to exist in its entirety, untarnished.To really sum it up, Rocket Singh is so unspectacularly spectacular that for me, along with Kaminey (haven't seen Hirani's 3 Idiots yet) it is the best film of the year.
Rocket Singh-"movie" of the year.
Jaideep Sahani's script is fresh,very different, crisp and very engaging.its a very matured movie.It is mainly targeted at educated and working part of Indian society.it is not like other yash raj movies.so if u are a hard core yash raj fan, then this flick is not for u.This movie does not have any song and dance sequences, no unnecessary melodramatic scenes, no love story(Rocket singh does have a girl friend,but as such there is no romantic scenes).So if u r a real good movie lover then go for it.Its a must watch.
The other characters like Gauhar Khan was fairly good, the only person giving some authenticity to punjabi culture, with his voice, dialogues, love and affection.I was looking forward to Pocket mein rocket song, but then all the songs were quiet well woven into the movie, and there was no dream sequence where the character break into a song.
Rocket Singh is one of those clean, well-intentioned, honest films that end up getting appreciated by a select group of people.
When I started to look at Bollyfood films more seriously, it was at the time when Saarwariya was released, starring the rookie Ranbir Kapoor in the lead role as a man pining, and scheming to get the girl of his dreams.
The first half of the film, with Harpreet Singh joining the firm "At Your Service", a computer assembly company, sees a myriad of caricatures in a typical office environment which piles on the laughter.
You know two wrongs don't make one right, and each slip up they make comes with it the threat of being found out, especially when business for RSC starts to boom.Rocket Singh also departs from the usual Bollywood masala formula, and there's no musical song-and-dance interludes to detract you from its very pacey narrative that makes this quite the definitive film for those in the sales line.
Coming from the writer of movies like ‘Khosla ka Ghosla’ it was expected that Rocket Singh would have in core, a simplistic protagonist driven by values put in an unforgiving world leading him to come up with intelligent solutions driven by honesty albeit with a twist.
Directed by Shmit Amin of ‘Chak De’ fame, the movie lives up to its expectations, especially those hinged around Ranbir, script writer Jaideep Sahani and its Director!
An insult by Puri, leads him to expand his own ‘Rocket Sales’ business based on values, secretly within AYS.Going the Khosla ka Ghosla way and living on the essence of goodness and heart that movies like the Munnabhai or its likes thrived on, Rocket Singh sells his way by being a decent entertainer with realistic characters.
Yashraj is a banner who normally does mainstream entertainers with huge cast and big locales.etc but this time there made an offbeat film ROCKET SINGH.
But the film is completely different.It shows life in a corporate world, the snake and ladder games played by the corporate bosses.etc The characters aren't sugarcoated but seem straight to life though the resolution may seem a bit hard to digest but in the end the film manages to make a large impression.Direction by Shimit Amin(Ab Tak 56 and CDI) is superb Music by Salim Sulaiman is used as background, Pocket mein rocket is missingDialogues are superbAmongst actors Ranbhir Kapoor plays a normal character and that works, he isn't larger then life like APKGK.
A brilliant film in all aspects, the film had all genres put together very well, SHIMIT AMIN is a chef that serves a brilliant mixed dish very beautifully, The movie tells the story of a young graduate Harpreet Singh, who looks for a job in sales, but when he starts his job, he faces a lot of problems because of his innocence and kindness.
RATING RANBIR 10/10 SHIMIT'S DIRECTION 9/10 JAIDEEP'S DIALOGUES, STORY, SCREENPLAY, LYRICS 20/10 SALIM SULAIMAN'S MUSIC 8/10 CINEMATOGRAPHY 8/10 On the whole, the movie is a must see for every common man and will certainly be a good one on the box office, Ranbir is the next superstar of bollywood, and there are absolutely no questions about it!!!!
Rocket Singh is an absolutely beautiful film that illustrates the power of start-up companies and strong business ethics.
Rocket Singh is a truly inspirational movie that gives courage to today's frustrated workers to be entrepreneurs.
What does it take to sell a product?...well if u ask a sales guy he speak loads of stuff,,,some one liners...a fake smile...but will forgets to mention the most important aspects of the Selling...i.e Honesty,commitment and After Sales Service.Rocket Singh Sales Man of the year--The Film. |
tt0050923 | Saddle the Wind | Retired gunslinger and former Confederate soldier Steve Sinclair (Robert Taylor) is living as a rancher in a small western community. He collaborates with the main landowner Dennis Deneen (Donald Crisp), from whom he rents the ranch, to preserve communal stability. His quiet life is disrupted by the appearance of his emotionally unstable younger brother Tony (John Cassavetes) and Tony's beautiful girlfriend Joan (Julie London). An old rival of Steve's, gunman Larry Venables (Charles McGraw), also arrives on the scene looking for Steve. Tony confronts Venables and kills him in a shootout. His success goes to his head and he gets drunk, ignoring Joan.
A new problem arises with the arrival of Clay Ellison (Royal Dano), a farmer who plans to fence off a strip of land currently grazed by cattle. Tony attempts to drive off Ellison, but Steve intervenes. Ellison appeals to Deneen, who agrees to defend Ellison's legal rights to the land. However Tony murders Ellison when he attempts to buy provisions in town. Deneen breaks his ties with the Sinclairs. Steve intends to leave the ranch, but Tony tries to take over. Steve drives him off, but Tony confronts Deneen and attempts to kill him. Both are wounded in the gunfight. Deneen's men recruit Steve to find Tony, who has fled into the hills. When Steve finds him, Tony shoots himself. Steve tells the wounded Deneen, who persuades him to stay on at the ranch with Joan. | murder | train | wikipedia | Tony has a thirst for gun play, and when he guns down a fellow gunman in the bar, things start to rapidly spiral out of control for the Sinclair family.Saddle The Wind has some top credentials coming with it.
Written by one Rod Serling, and starring Robert Taylor and John Cassavetes as the Sinclair brothers, it's a film not short on quality.
Well the story is an over familiar one, gunfighter trying to leave his bad past behind, loose cannon youngster out to make a name for himself, and yes we get a female love interest causing conflict and confusion (Julie London in a stock and undemanding role).
Yet familiarity definitely does not breed contempt in this instance.If new comers to this film are aware of John Cassavetes and his style of acting, then, in spite of the oddity of seeing him in Western surroundings, one can reasonably know what to expect.
Cassavetes brings the method to young Tony Sinclair, instilling intensity, even borderline mania in the upstart hot shot, so much so that Robert Taylor's fine world weary turn as Steve gets lost until the finale.
He lived on a ranch in his later years with his second wife Ursula Thiess and their kids and he definitely looked home on the range.He plays an older and wiser gunfighter like Gregory Peck's character of the film of the same name who would like to settle down and with the help of Donald Crisp, the big cattle ranch owner in the valley where Taylor owns his spread, he's trying to make an honest living.The problem is that Taylor has a younger brother, a wild kid played by John Cassavetes, who wants to emulate his brother or at least the older version of his brother.
I think that this was probably Dano's best screen performance.Taylor and Cassavetes offer an interesting contrast between a studio personality who learned to become a good actor and a New York based method actor.
"Saddle the Wind" is the first of two 1958 Westerns in which Taylor plays a reformed outlaw...
The sexy and flamboyant Julie London provides the love interest but her role is poorly defined and almost working from outside the plot...Robert Taylor is a personality on screen rather than an actor...
This battle has much more cinematic electricity than the final confrontation between the two brothers...Strong landowner (Donald Crisp) imposes himself at this point, and asks the two brothers, now troublemakers, to leave the country...Shortly after that time, Cassavetes gets into a wild and confused struggle with Crisp's men and is wounded, but manages to escape...
Taylor goes out to get him...With some magnificent Colorado Rockies scenery caught effectively by George Folsey's CinemaScope and Technicolor photography, "Saddle the Wind" is modestly effective, humorless Western drama....
The Sinclairs and the Deneens are two ranching families who share the open range in their remote western valley.
Robert Taylor plays Steve with manly, tight-lipped stoicism, contrasting markedly with John Cassavetes' Tony, a jumpy dynamo of attention-seeking energy.
This thoughtful MGM western sets up a whole web of conflicts and tensions: there is the inevitable clash between the two brothers, the uneasy modus vivendi with Old Man Deneen, friction between ranchers and homesteaders, as the latter try to settle on the free range.
When Tony returns from a trip to the city bringing with him the beautiful Joan (Julie London) as his bride-to-be, yet another source of conflict arises.
The psychology of this tentative relationship is sensitively portrayed, for instance in the scene where Joan remarks, "I've seen reformed gunmen before." Steve reacts with a mixture of shame and hurt which tells us that he desires her good opinion.
Adler's worth his weight in silver-- Rosita was a silver-mining settlement-- and he's in the first scene so catch that at least.The reason that mother lode of character actors matters is because-- along with always-fine Donald Crisp and better-with-age Robert Taylor-- they carry this movie.
Dramatic and enjoyable Western with very good main and secondary cast , being well shot by Robert Parrish.
This interesting movie is set in post-Civil War ; it features Steve Sinclair (Robert Taylor) , a world a world-weary , prior gunfighter , now living as a peaceful farmer , his wild younger brother Tony (John Cassavetes) , and a previous dance hall girl , Joan Blake , (Julie London) , masquerading as a lady .
Good performances from Robert Taylor as obstinate ex-gunslinger , this is the best movie of Taylor's later work ; John Cassavetes as reckless as well as nutty young brother who gives a mannered but intelligent acting and Julie London as his bride who bears a dark past .
Taylor prided himself on not "mugging" and here his reserved style worked well as Cassavetes' older brother, a retired gunman.
The pain of a man watching someone he brought up as son, not a younger brother, turn into an unstable, erratic killer is evident on Taylor's craggy face.
The younger brother is in constant motion--he seems to mistake activity for accomplishment.Through a number of plot twists including disputed land ownership, romance (with Julie London) and brother-to-brother conflict, the film moves quickly and stylishly towards its inevitable end.
Julie London is underused but does what she can.In the end, New York and Hollywood work well together to make a highly watchable film.
Sirk did it with the woman's picture, Minnelli with the musical, Hitchcock with the thriller; Robert Parrish does it here with the Western, with a vision of Eisenhower family-values capitalist America as a medieval feudality, where everyone must pay obeisance to a landowner, where the stable family unit consists of a killer and a wild sexual neurotic, and where capitalism is actually destructive to the family and continuity, a sterile thing.Whether John Cassavetes is an embodiment of the Western hero gone wrong, the pressure of capitalism turned in on itself, or a rebel without a cause, the film is full of powerful incident - Cassavetes' first insane shooting spree, which he ends by shooting his own puddled reflection; the drunken attack by Cassavetes and friend on a family of homesteaders, uncomfortably reversing the old attacking-Indians routine; the Leonesque showdown between Cassavetes and Ellison backed by his own brother.
His acting style is so different from that of his co-star Robert Taylor that the film barely holds together.To his credit, Cassavetes shoots for veracity, for a naturalism that brings humanity to a character that could've easily become a cardboard cutout of a psycho.
Their aesthetics are just too different.In the plus column, supporting character actor Royal Dano is amazing in this movie, utterly convincing as a squatter with lingering Civil War resentments and a legal claim on a piece of land that puts him in direct conflict with the area ranchers.
These are really subversive in a way, as Cassavetes' character takes on a role usually reserved for Indians, nameless "Others" who are utterly inhuman and dispensable.I was also pleasantly surprised at Julie London's performance.
The only western written by Rod Serling and has a cast that includes Robert Taylor, John Cassavetes and Donald Crisp.
Taylor and Cassavetes are brothers who live on Crisp's land and Cassavetes brings home a wife, played by Julie London, and everyone is surprised Cassavetes wants to get married.
Taylor is a former gunfighter and when Cassavetes get a gun for the first time he winds up killing a man who was looking to kill Taylor.
It's a pretty good western that was written by Rod Serling..
Considering this, it is great to see an actor like John Cassavetes giving such a "method" performance and coming out so well, Tony Sinclair seems like a very true character.
Robert Taylor was a familiar face in westerns, but as he got older, he became more physically suited for the role.
Julie London was more of a singer than an actress, but she is great as Joan, the woman who hangs on to a crazy Tony in a desperate attempt to change her life.
Although modest in length and budget and lacking big-star actors, it presents a dramatic and realistic picture of family relationships (between two brothers) in an authentic western setting.
The filmed in Colorado backdrop is very pretty and easy on the eye, the acting (particularly by John Cassavetes) is professional and convincing, and while there isn't a terrible amount of action, the movie remains all the way through fairly compelling and not boring.
Along with likes of Boetticher and Mann, this one belongs.If you need Name Dropping, aside from Serling, there is the fine, sometimes Cynical Director Robert Parrish, Pretty Songbird Julie London, Streetwise smoothie John Cassavetes as an Angst driven Hot-Head, Robert Taylor (never better), reliable Staff such as Donald Crisp, and Charles Mcgraw (with a great show starter Scene), and Roy Dano in a touching, heart wrenching significant Role.
Saddle the Wind tells the story of Tony Sinclair (John Cassavetes), the troubled younger brother of Steve Sinclair (Robert Taylor) who both share ownership of a cattle ranch.
What's more interesting, but isn't really developed very well, is the emerging situation between Taylor and Julie London, who plays Cassavetes somewhat reluctant fiancée that he brings home after a night of carousing.
Charles McGraw has an interesting if abbreviated role as the well known gunfighter Larry Venables, who comes into town hunting for Steve (Taylor) but has to deal with Tony (Cassavetes).
Method western with great performances by Robert Taylor and John Cassavetes!.
Robert Taylor turns in a understated performance as Steve Sinclair, a reformed gunfighter who only wants to build a ranch and be peaceful.
John Cassavetes as Tony Sinclair, the younger brother is excellent as the confused, trigger happy malcontent.
When Tony brings Julie London back to the ranch, and annonces that they are to be married, Steve finds it necessary to warn her that "this boy has problems".
When Mr. Deneen, the man who runs the valley finds that Tony has killed a famous gunslinger, Charles McGraw, to save Steve from the confrontation, he warns Steve that if it happens one more time, they have to leave the valley.
In the end Steve must confront Tony after he shoots Deneen in an argument over open range.
Robert Taylor as the older brother is thoughtful, and conflicted about the fate of this young man, who it is clear to see, he loves.
He gets a wonderful performance from Taylor, and a young Cassavetes.
Great western, with the quintessential cowboy, Robert Taylor..
Robert Taylor as Steve Sinclair gets top billing in this film and John Cassavetes(Tony Sinclair) steals the picture from Robert Taylor, but the real star of the film is its chief writer, Rod Serling.
Though we don't know it at the time, Tony Sinclair killed Venables' brother.
The dialog in this opening scene is bright and snappy, not a word out of place.Things really start to speed up when the younger Sinclair comes into the movie with Joan Blake(Julie London)in tow.
It's too bad, really because the young Sinclair has enough young man's angst/sexual energy to burn, as he spends his first moments with his girl at the new homestead actually away from his girl, shooting his gun at objects around the ranch trying to impress his older brother.
At one defining moment of self loathing in the movie, the young Sinclair duels with his own reflection in a puddle.Another intriguing character is that of Dennis Deneen(Donald Crisp).
The song that Julie London sings is very good.Cassavetes, Crisp, London and Taylor give solid performances.
SADDLE THE WIND - 1958I finally got around to this 1958 western headlined by Robert Taylor, John Cassavetes and Julie London.
The film is sort of a psychological Western written by the great Rod Serling.
Robert Taylor is an ex gunfighter who owns a ranch in a high mountain valley.
And that is Taylor's younger brother, John Cassavetes.
Cassavetes, just back from a supply buying run to the big city, arrives back at the ranch with his pretty bride to be, Julie London.
Taylor shot his brother in a gunfight some years before and McGraw has finally tracked him to the valley.Cassavetes calls McGraw out not knowing just how good McGraw is.
What makes this western "special," is that it appears to follow the traditional lines of the genre: reformed gunfighter tries to deter his wild, younger brother from following in his path.
I am of the belief that "Saddle The Wind" (1958)can be pretty much summed up when Robert Taylor (Steve Sinclair) takes a gun away from his brother John Cassavates (Tony Sinclair)after he kills a man and says, "The use of it ...
but where did you get the love it?" How many times have we seen the older reformed gunfighter take away a gun from his gun crazy kid brother who just happens to be full of hubris?
Robert Taylor and John Cassavetes cast as brothers?!.
The idea of John Cassavetes and Robert Taylor playing brothers just didn't seem right.
Part of this was their styles of acting, part of it was because they looked nothing like each other and was they the difference in their ages was 18 years--old enough that perhaps Cassavetes would have been better cast as Taylor's son!
But, as Taylor was a big-name actor, there was no way that MGM would cast the younger actor as his son.The film begins with the younger brother (Cassavetes) coming home with a woman (Julie London).
However, when Cassavetes and his no-good friend later come upon these same folks, because they were now drunk on alcohol and power, they bully these people and might have killed them had it not been for Taylor's return.
The pip-squeak little brother was not about to just accept this and the viewer KNOWS that a much more deadly showdown is brewing.While many elements of the film are quite familiar (and reminiscent of such films as "Night Passage") and the casting was very strange, this was still a good and successful western.
A violent western which,in spite of a happy end -a bit artificial-, leaves a bitter taste in the mouth.John Cassavetes 's presence is strange and his playing is more modern than the rest of the cast;it is not easy to believe he is Robert Taylor's brother,but why not?
Tony comes from a family that has a history of mental sickness:didn't he see his brother kill several men when he was at such an early age?As soon as Tony appears on the screen ,we know his fate is sealed ;the scene where he shoots at his reflection in the water is prophetic.If you pay some attention,you'll notice that Tony and his brother Steve are almost wearing the same clothes (see the scene with the Yankees and the final scenes where Robert Parrish substitutes close -up shots for his panoramic ones) Joan (Julie London who sings the eponymous lovely title track ) could be his salvation ,but this girl has always a racy past (not THAT girl!
says Steve).She would like to pick up the pieces ,to start a brand new life in the country (in the westerns ,the town often means evil),but the first intimate scene between her and Tony proves it wrong: she says she loves his smile and she begins to sing his song ;but what follows is almost a rape attempt .Tony is a violent rebel without a cause:as he was always refused love and compassion -and his scene with Joan proves he is incapable of giving tenderness and affection,the only way he knows to be a man is the gun.No matter if he shoots his brother's enemy or the intruders in the valley.Tony has never grown up:his last words are touching.NB: Julie London starred in another Parish movie "the wonderful country" ..
"Twilight Zone" writer Rod Serling tried his hand at writing a western with director Robert Parrish's "Saddle the Wind," an average but unexceptional oater with Robert Taylor, John Cassavetes, and Julie London.
Steve Sinclair (Robert Taylor of "The Law and Jake Wade") had to raise his younger, impulsive brother Tony (John Cassavetes) because they had no parents.
Basically, this is a juvenile delinquent on a range scenario with little to recommend it beyond Cassavetes' spirited performance.The action opens when Tony comes back to their spread, the Double S Ranch, after selling their herd at market.
The surprise is that he has with him his fiancée, Joan Blake (Julie London of "Man of the West"), in a brand new buckboard.
Steve informs Joan that he has been Tony's father and mother since his kid brother was four.
The ranch hand delivers the best line in his response to Steve: "Looking after your brother is like poking hot butter in a wildcat's ear."Meanwhile, a tough hand with a six-gun, Larry Venables (Charles McGraw of "The Narrow Margin"), wanders into the valley looking to kill Steve.
Deneen is upset because he hates violence and wants Steve to run Tony out of the valley.
Steve and Tony pull their six-guns on each other in the high country.The end to "Saddle the Wind" is pretty depressing and there is nothing in Tony's character to explain his mysterious decision.
Three years after James Dean gave us the quintessentially tortured young man in "East of Eden', John Cassavetes brought youthful angst to the western in this very fine but perhaps too hardworking film from Robert Parrish and an uncredited John Sturges.
Yes, Robert Taylor is in it, and Julie London is there, too, as she will also be for Parrish's next western, "The Wonderful Country", but the film belongs to Cassavetes.Cassavetes plays the ever-striving younger brother of a reformed gunfighter, now a rancher, performed with competence by Taylor.
Along with a splendid role for Royal Dano, one of the outstanding character actors of his time, and the smart muddying of ethical clarity that is a hallmark of scriptwriter Rod Sterling, it's the very good work of Cassavetes that makes this really worth watching. |
tt0214341 | Dragon Ball Z | Dragon Ball Z picks up five years after the end of the Dragon Ball anime, with Son Goku as a young adult and father to his son Gohan. A humanoid alien named Raditz arrives on Earth in a spacecraft and tracks down Goku, revealing to him that he is his long-lost big brother and that they are members of a nearly extinct extraterrestrial race called the Saiyans (サイヤ人, Saiya-jin). The Saiyans had sent Goku (originally named "Kakarrot") to Earth as an infant to conquer the planet for them, but he suffered a severe head injury soon after his arrival and lost all memory of his mission, as well as his blood-thirsty Saiyan nature. Goku refuses to help Raditz continue the mission, which results in Raditz kidnapping Gohan. Goku decides to team up with his former enemy Piccolo in order to defeat Raditz and save his son, while sacrificing his own life in the process. In the afterlife, Goku trains under Kaiō-sama until he is revived by the Dragon Balls a year later in order to save the Earth from Raditz' comrades; Nappa and the Saiyan prince Vegeta. During the battle Piccolo is killed, along with Goku's allies Yamcha, Tenshinhan and Chaozu, and the Dragon Balls cease to exist because of Piccolo's death. Goku arrives at the battlefield late, but avenges his fallen friends by defeating Nappa with his new level of power. Vegeta himself enters into the battle with Goku and after numerous clashes Goku manages to defeat him as well, with the help of Gohan and his best friend Kuririn. At Goku's request, they spare Vegeta's life and allow him to escape Earth. During the battle, Kuririn overhears Vegeta mentioning the original set of Dragon Balls from Piccolo's home planet Namek (ナメック星, Namekku-sei). While Goku recovers from his injuries at the hospital, Gohan, Kuririn and Goku's oldest friend Bulma depart for Namek in order to use these Dragon Balls to revive their dead friends. However, they discover that Vegeta's superior, the galactic tyrant Lord Freeza, is already there, seeking the Dragon Balls to be granted eternal life. A fully healed Vegeta arrives on Namek as well, seeking the Dragon Balls for himself, which leads to several battles between him and Freeza's henchmen. Realizing he is overpowered, Vegeta teams up with Gohan and Kuririn to fight the Ginyu Force, a team of mercenaries summoned by Freeza. After Goku finally arrives on Namek, the epic battle with Freeza himself comes to a close when Goku transforms into a fabled Super Saiyan (超サイヤ人, Sūpā Saiya-jin) and defeats him.
Upon his return to Earth a year later, Goku encounters a time traveler named Trunks, the future son of Bulma and Vegeta, who warns Goku that two Artificial Humans (人造人間, Jinzōningen, lit. "Artificial Humans") will appear three years later, seeking revenge against Goku for destroying the Red Ribbon Army when he was a child. During this time, an evil life form called Cell emerges and after absorbing two of the Artificial Humans to achieve his "perfect form," holds his own fighting tournament to decide the fate of the Earth, called the "Cell Games". After Goku sacrifices his own life a second time, to no avail, Gohan avenges his father by defeating Cell after ascending to the second level of Super Saiyan. Seven years later Goku, who has been briefly revived for one day and meets his youngest son Goten, and his allies are drawn into a fight by the Kaioshin against a magical being named Majin Buu. After numerous battles resulting in the destruction and recreation of the Earth, Goku (whose life is permanently restored by the Elder Kaioshin) destroys Majin Buu with a Genki Dama attack containing the energy of everyone on Earth. Goku makes a wish for Buu to be reincarnated as a good person and ten years later, at another martial arts tournament, Goku meets Buu's human reincarnation, Uub. Leaving the match between them unfinished, Goku departs with Uub to train him to become Earth's new defender. | good versus evil, violence | train | wikipedia | It's character development and the plots of the whole DBZ story is superb, the animation is full of action, and every ending of an episode leaves you wondering what may happen next.
In 5th grade, my friends were Role Playing Dragon Ball Z during recess (it had just started to air around that time.) Of course, I wanted to role play with them, but didn't know-or remember- any female characters.
And it may take a while to understand the principles of DBZ if you start watching in the middle of a saga, but keep watching- it may take time (like me.) Akira Toriyama has definitely created a classic..
It covers over 500 episodes in it's entire run over three different animated series.I began watching with the Android/Cell sagas.
Characters have time to develop into interesting relationships among them, making moments where someone dies or is hurt even more emotional.It tells the story of Goku (son Goku in Japan) who is an incredible man born with an amazing fighting talent.
They are born with a natural instinct to fight, and conquer entire planets to sale to the highest bidder.That is only the beginning of DBZ, there are 200 episodes or so of a previous series called Dragonball that explain Goku's childhood-into-adult hood.
The show takes time to understand and become interested in, but once your there, you'll be hooked.There are over 290 episodes of DBZ, and the animation gets much better, as does the storyline.
If there's one word I can say to describe this series it would have to be "Success" because that's all it's ever been known for, from its very origin Dragon ball z has been helping establish not only itself but the brands that it's been associated with from the now very popular "SHONEN JUMP" which DBZ help cement as being the leader of an era which was known as the golden era of Manga 16 million circulation Dbz was the main push behind all of that it also helped other big titles come to fruition such as One piece and Naruto and many others.
The Dragon Ball Z series contain some of the most charismatic characters, great fighting sequences, and strong plots that covered thousands of years.
This is my favourite manga cartoon ever.The storyline,plot and fighting scenes are just excellent both me and my friends Robert Hannon,Luke Mutagh,Tyler Harris,Gregory Davidson,Patrick Osewa,Abdul Anwar absolutely love it My favourite character has to be gohan on the games playing as him i've never been defeated.I personally think that dragonball started off a little slow due to the fact that Akira Toriyama meant for it to be a comedy about a sayain boy arriving on a strange new planet(Earth)but as the first tournament started it slowly changed into the most memorable mangas ever.Many people think that the beginning of dragonball gt started off slow when they toured the universe i agree but when the bebi saga gets around thats when i think it gets good The games are also excellent getting better with every sequel.A few people I know think Naruto is better than DBZ.
The plot, the characters, the fight scenes, and the overall feel of the entire series makes a fan out of any child, and even many adults.I remember at one point I read somewhere that DBZ has around 67 million fans worldwide.
While DBZ originally had the characters acting mature, even in the face of the end of the world, FUNimation decided to take something great, and turn it into a show aimed for two year olds!
In my mind dragonball z has to be one of the greatest crossovers of comic to cartoon, for this simple reason its not real and its a break from reality and thus it had no boundaries in what it could do with its characters.I admit that the basic story was already there but what Funimation did was to make the dialog less wooden although due to limitations with strength of vocabulary and the inability to use words of a stronger nature that would have given the characters more of an edge, but the key thing in my mind is the music which in the original series from Japan was basic and frankly old fashioned so with the music created by Bruce faulconer the series went from being good to brilliant and thus gave it the ability to appeal to people today, but due to it being taken off air people don't have the chance now to enjoy it as much as I did when I was younger..
Most of that editing, which I didn't like (Not that I'm interested in seeing blood, or a persons rear end, I just don't think that children should be censored so much, and should instead see consequences to real actions.) stays in the third season, and the following seasons.For those of you that dismiss Dragon Ball Z as just another simple cartoon, I'll tell you to just give it a try.
but when you get to know it:IT ROCKS!!!I simply LOVE the plot (thanks to Akira Toriyama the writer of dragon ball Z) it always adds a new twist!How ever it isn't flawless...
Then when it started airing on Cartoon Network, I didn't like it (again because I didn't know what it was about.) But I got hooked on it quickly, thanks to my little brother.It was not until I found a certain website, which shall remain nameless, that I found out what I was watching was a severely hacked-up version of its former self.
The characters Dragon Ball fans know and love (notably Son Gokou) now sound more like stupid WCW wrestlers.
I grew up watching characters like son Goku, Vegeta, Piccolo , Frieza, Son gohan and many more
Watch The Sub. I love Dragon Ball and DBZ too but what i come to review here is the Funimation English release which is just a very mutilated mediocre and violated version of a Great series.
It goes from lame and cheesy American dub acting to bland American action movie performance, each time they talk is cringe-worthy, say what you want about Goku's original Japanese voice sounding as a woman at least the acting is good and the voice is actually memorable and endearing.
Now about the translation, this is the aspect that earned the "Mutilated" adjective i gave to this release, maybe the censorship is not as awful as in other Anime shows in the past, but it's not exempt of Americanisms, starting by trying to make Goku sound like Superman, Cheesing up the dialogue (Hope of the Universe my d@ck)and changing the motivation for some of the characters actions (Goku sparing Vegeta), not to forget the unnecessary monologues during the Cell arc, like the first aspect, it is lame.
The last aspect is the music change, taking out the Original Shunsuke Kikuchi's instrumental score and changing it to Faulconer Productions' synthesized score, which represents an obscene exaggeration of the common perception that Dragon Ball is just about muscled super powered guys fighting in a testosterone filled bullshit situation, it's just generic and tasteless, usually the music aspect is just a tertiary aspect, but here turns this series in an amalgam of all the worst aspects of DBZ (y'know the all just strong guys in endlessly dragging battles with no logic or substance and a lot of exaggerated power levels)creating one of the worst reputations this show ever had,so i may be going too far but i'll say this...
Also i not used to disrespect other people's preferences but here is where i loose it and refuse to believe an intelligent person actually thinks this violation is good or better tan the original.If you wanna see the real Dragon Ball Z anime, watch the sub and avoid this mess..
It's not a perfect show, but a good portion of the episodes on this set do hold up quite well, and there's a reason we'll still be watching "Dragon Ball Z" several years from now.
Sure, it was a very influential anime and I have to admit that the show had a great start, but I think that every real anime-fan like me knows that there is better stuff out there then DragonBall Z.
In DragonBall Z however, the attacks all look like random color energy-beams or balls and even though there are different names to them there is no real distinction which was kinda boring to me.If you are new to anime, then you could give this a try though.
I usually hear a lot of words in the dubbed versions that most kids wouldn't understand (e.c.: incompetent, dismay, pry, kamikaze, debacle, Oh yeah, ascend, etc.) Besides, I own a Kid Buu DVD with the dubbed & undubbed versions & I must have heard/read Goku say "ain't" at least a dozen times, once I switched it to Japanese!"The dubbed voices suck": Um, I don't know about you guys, but, I'd rather Goku sound like a (ahem) stressed out wrestler than a 50-year-old women who screams like a banshee every five minutes!"It has the lamest villains": What the crap!!!
Goku is my favourite of the lot, and no one comes close to him, but the great thing about this animated series is that the fans have their own set of likes and dislikes regarding the characters.
Others prefer Vegeta, Piccolo or Frieza, but personally, I, just like the majority prefer Goku who was the central character within this animated series for the most part.
In fact, in my opinion, the villains in this anime are so unique and well-executed that they were as critical and important to the popularity of the show as the heroes were.Prior to watching Dragon Ball Z, I didn't know anime was capable of delivering such outstanding levels of on-screen combat, and in my opinion, the fights are the show's strongest point: masterful, painful and, sometimes, even horrifying.It's like the best anime I've ever watched..
Based on the adventures of Goku and his friends,Dragon Ball Z is one hell of a ride from start to finish..It's got great characters,awesome villains,Ballistic fights that still are the pinnacle of anime..Even to this day,DBZ is famous what with it's sequel and games still going great guns(Dragon Ball Super,Not DB GT,that one was mediocre).Long story short,just watch DBZ..It's worth it!!.
Funny thing, out of the entire 222 episodes that Funimation dubbed of this show with that music, the fans that like it can only find less than 10 moments where it was actually good.
How can stupid morons compare a cool show like this,to American made garbage like Courage The Cowardly Dog;and especially Ed Edd and Eddy?No one should EVER,compare rotten,maggot filled garbage like Ed,Edd and Eddy; to any kind of anime!Thats like comparing catapillars to maggots!Heres the problem with it.Ed,Edd and Eddy is just like all the washed up,unoriginal,gross out shows that came out in the 90's.Because alot of those creators were too lazy to come up with something intellegent,and worth watching.Courage is okay to an extent,but its not based on something new.Been there,seen that!And as for Butt Ugly Martians,don't even get me started!I loved DBZ the first time I saw it in 1998.But I do admit that the American version has a lot of problems.It is almost pretty badly flawed.Most of voice actors did a horrible job.They've made many of the characters sound like blubbering idiots.Or they said stuff at times that didn't make sense,or was down right stupid.Some examples of this is when Krillen called Frieza Frosty,or said Frieza was going to go the way of dinosaurs.There are lots of dinosaurs in DBZ,ALIVE!Hows he supposed to go the same way?Or when Jeuice,(is that the right spelling),said to Racoom:"Hurry it up or you won't see TV for a month!"He then replies:"Okay,I like soap operas!"Then a lot of the censorship,(unnecessary that is),that left a lot to be desire.Like, when they drew an ugly towel over Goku's butt in one scene.They used exaggerated breathing to make the deceased Nammeks seem like they were just stunned.They even painted over scenes to conceal the dead bodies.In fact thats what they mostly did in the first series.Scenes,were chopped out,or episodes were missing;leaving important information a mystery.Or it left plot holes, causing some of the show to be confusing.Funny lines were added,when the scene was supposed to be serious.They made Frieza,sound like a girl,when he sounds alot more terrorifying in the original Japanese version.And that poor excuse for music,ARRGGHH!Who came up with that garbage?Kraftwerk?I've heard better from a baby's toy!It sounds silly and idiotic.He**,it doesn't fit the emotion of the scene.It don't make you feel anything.Except annoyed.Despite these problems,(Made In America),it doesn't take away too much from the show.But it should've been on Adult Swim instead.I have come to fall in love with many of the characters like Bulma,Goku,Gohan,Vegeta,Chi Chi,Krillen,Goten,Trunks,the android twins,Cell,Frieza and many more.To me,in my opinion,the show is much more then just punch,kick,punch,or sending out balls of light.To me its about life and death,friendships,fighting for everyones life,putting your life on the line to save millions of others;and sometimes putting your life on the line to save your own.And to keep hope alive,no matter how bad it gets,or when all seems lost.That theres always a flicker of light,even in the darkest of times.If you fight for the good of others,you'll come out a winner.If you fight with hatred and vengance in your heart,you'll come out a loser.Yes, theres a lot to be learned from this show.At least they didn't take that away.There were some good voice actors too,like Vegeta,Android 17 and 18,Goten and Trunks,and Gotenks,Piccalo.You can't ever say that about Ed and Eddy,or Butt Ugly Martians.If they died,it be only to produce a laugh.And no one would miss them.The show has finally come to its conclusion,and I will miss it a lot.Thank you Cartoon Network,For giving us the best anime show around.It opened the way for many other anime shows like YuYu Hakasho.As for the bad hair,its not bad.Its based on the styles of the 1980's.Its pretty cool,and it did start in the 80's.Your hair probably looks like a poodles.This show has a lot of fantasy stuff in it as well.This show is best veiwed in orignal Japanese format,or at least the dubbed.You want to be able to drink up the scenery,and every little thing in the show,including the music.People like the super, stupid ghetto dorks,and the doofuses can go back to watching grossout dreck like,Cartoon Sushi,Beetlejuice,Phantom Investigators,Ripping Friends,Sam and Max,Brothers'Grunt,Space Goofs and the 90's version of Casper.Remember,the hack job done to Sailor Moon is much,much worse.:D.
I love to watch Dragon Ball Z I have been a fan a long time.
Action packed and epic as crap, this show put an icon on the Japanese animation industry.The story follows a grown up Goku, (main character of Dragon Ball where he was a kid, for those not familiar) as he and his friends battle an onslaught of enemies all around the universe looking to take over the world.
Because, by that time, you will know the main characters and their histories which are Goku, Bulma etc.And if you start to find dragon ball a bit boring then start DBZ from ep 1 and prepare to have your mind blown away.There is a lot of high octane fighting, action sequences so awesomely animated that your eyes will be blown.
i would like to see more if its next part ever made.i have also seen gt.but if any other series ever made i am sure i will never ever miss it and also i seen all movies of dragon ball z.so friend if ever next part is made plz tell me my ID is [email protected] bye byei also wann say that in every time every body gain next level i think humans must be get next level alsoso that when they fight with great power i must admit there power..
It's like the Battleship of animes: Boring and retarded story, uninteresting characters, linear as hell and huge explosions that keep you entertained for the moment.Now, I'm sure every single Dragon Ball Z fan out there (and there are many) are gonna get so mad for this, but this is the truth.
Well this is the truth of why they don't do this, when they spend so much time fighting one guy sometimes gets annoying you can't wait till they just end it and continue with the plot.-Bad translation, I hear in the original Japanese the series has better music and better voices.
the characters are terrible save vegeta, and as preachy as they come, gotta love goku's attitude towards fighting SUMMERISE BUU SAGA "hey vegeta now your as strong as me lets fight cuz i know its what you want, sure it will release buu, sure it will get the entire damn planet blown up but hey its FIGHTING!" don't watch this if you are older than 13, please =( you will sit and watch the epps and think "my life is ending one episode at a time"on the plus side the acting is pretty good and the saiyan (first) saga was good but thats about it.
I actually don't watch that show at all, but something in my mind told me to give it a chance to really see if Dragon Ball Z is a good Anime or not.
Though I do admit I love watching Goku kick some evil butt, I miss the humor and story lines of its predecessor Dragon Ball.I give DBZ 7 1/2 stars.
It of course did take me to watch a few episodes to get really into the plot and so on but by the time I'd seen several or more episodes of this amazing action show at the most, well that was it I was truly hooked and from that very moment I was a true Dragon Ball Z fan and I only wished that I had listened to my friends advise write from the start. |
tt0099409 | Desperate Hours | In Utah, Nancy Breyers (Kelly Lynch) is a defense lawyer who is inexplicably in love with client Michael Bosworth (Mickey Rourke), a sociopathic convict. During a break from a courtroom hearing, Nancy sneaks a gun to Bosworth. After Bosworth snaps a guard's neck, Bosworth and Nancy slip away.
Bosworth tears at Nancy's clothing and leaves her behind, where she will tell authorities Bosworth held her at gunpoint during his escape. He speeds off in a car with his brother Wally (Elias Koteas), and their partner, the hulking, half-witted Albert (David Morse), then changes cars with one Nancy has left for him in a remote location.
In the meantime, decorated Vietnam veteran Tim Cornell (Anthony Hopkins) arrives at his former home with his ex-wife Nora (Mimi Rogers), who have two kids—15-year-old May (Shawnee Smith) and her 8-year-old brother Zack (Danny Gerard). Tim and Nora separated due to his infidelity with a younger woman, and Tim shows up trying to reconcile with Nora, with whom he is still in love.
Needing a hideout until Nancy can catch up with them, the Bosworth brothers and Albert settle on the Cornells' home with a "For Sale" sign which is seemingly picked by Bosworth at random. Somehow, Bosworth picks up intimate details of the Cornells, and one by one all of them find themselves the prisoners of the Bosworth brothers and Albert.
Nancy's innocent act does not fool FBI agent Brenda Chandler (Lindsay Crouse), who puts surveillance on her every move. Nancy eventually cuts a deal with Chandler to have charges against her reduced by betraying Bosworth.
As young Zack tries to escape through a window, a friend of the Cornells who visits the house by chance meets him. Bosworth makes the family friend enter inside by force, and as they discuss, Bosworth shoots him, then makes Albert dispose of the body as Albert gets anxiety-ridden and decides to go off on his own. As Albert leaves while covered in blood, he intercepts two beautiful college girls, who then denounce him with a small gas station owner. The owner calls the authorities who chase after Albert. Albert ignores their order to surrender and is killed by police agents on a river bank.
Nancy begs Agent Chandler to give her a gun, but unbeknownst to Nancy, Chandler removes the bullets. As she goes to the Cornells' house, the house gets surrounded, and as a shootout starts by Bosworth, Wally is fatally wounded in a barrage of FBI bullets and falls on top of a shocked Nancy. Wally's gun is taken away by Tim. Bosworth holds a gun on Nora and is prepared to use it if Tim interferes. He is unaware that Tim has removed the bullets. Tim then drags the criminal outside, where Bosworth ignores the FBI's order to surrender, and is fatally shot. | violence, neo noir, murder | train | wikipedia | This is one of those movies that is very difficult to give a star rating because its high entertainment value is due to the fact that it's almost completely terrible.A remake of the 1955 Humphry Bogart-Fredric March potboiler, DESPERATE HOURS is an unrelentingly bizarre piece of exploitation trash.
Director Michael Cimino and producer Dino De Laurentiis once again prove that they are more capable than anyone else in the film industry of taking a potentially good idea and drowning it in excessiveness.Mickey Rourke and Anthony Hopkins are both excellent actors.
Mimi Rodgers is wooden even during emotionally intense scenes, Shawnee Smith is distraught before the home invaders show up and Lindsay Crouse is both wooden and over-the-top at the same time.Kelly Lynch is the only actor who turns in even an appropriate performance, evoking a sense of hopelessness and panic from the start that makes you feel for her character, even if she has dug her own grave.
Maybe with time, viewers will begin to see the tight, complex thriller struggling to break through the mess that is DESPERATE HOURS.But all this analysis begs the question, would the movie have been more entertaining had it been put together more coherently?
Kelly Lynch's acting directions must have been "look snappy, especially topless, act like you just ingested a gram of cocaine, and all will go well." One of these first years Cimino will put together all the pieces and come up with a really good, coherent film.
A peculiar piece of entertainment, Michael Cimino's Desperate Hours feels rather odd for a number of reasons.
When he goes to another room to talk with his beautiful lawyer Nancy, he steals a gun she has hidden under her skirt (how anything can be hidden under THAT skirt is a mystery) and escapes, joining his brother and another man.Meanwhile, Tim Cornell, a lawyer whose family lives in a nice house, is trying to make peace with his wife Nora after an affair, but she is convinced the marriage is over and she is in the process of selling the house, as the sign out front makes clear.
And the process of finding out what happened to Bosworth is fasscinating.Mickey Rourke does a good job, thoroughly evil in court but calm and almost kind with the family most of the time.
Mickey Rourke plays a criminal who escapes from jail with help from his lawyer (Kelly Lynch).
He decides to hide out in the house of a heavily dysfunctional family (played by Mimi Rogers, Anthony Hopkins and Shawnee Smith).
You have talented actors like Lynch, Rogers and especially Hopkins giving their all time worst performances.
Like the director, the film wants to be taken seriously and yet it's woefully misguided with overwrought acting, leaden direction that rarely makes any sense and a script that's totally outdated and is divorced from logic.
For instance, when David Morse is alone in the wilderness and he's running away from the police, the whole moment is (oddly) directed with reverence but then, as Morse is heading towards a gas station, he meets two buxom bimbos who are dressed in such ridiculous clothes (they look like they just stepped out of a Playboy spread) that the director's attempt at reverence is destroyed by the unexpected sight of those two women who just didn't belong in the movie.
But topping everything, even the dreadful music or scenery chewing from Mickey Rourke or Anthony Hopkins, is Lindsay Crouse's performance, which can only be described as being out of this world.
Personally speaking, Lindsay Crouse's acting in DH ranks up there as one of the weirdest performances ever put on screen.I haven't seen the original version of DESPERATE HOURS but I can't imagine it's remotely close to being as dreadful as Michael Cimino's version..
Why?Here's a good example."Desperate Hours" is a remake of a similar movie which starred Humphrey Bogart.
Wish I could say the same about the remake.Rourke plays the mad dog killer this time out, who is on the lam with his attorney (Lynch, who should probably sue Cimino for defamation of character) and holes up with his cronies in the house of a distant man (Hopkins) and his equally distant family.
Seeing 'Sin City' brought me back (great role, great acting, great film!), so I picked up 'Desperate Hours' and watched it last night.
While the supporting characters could have been better written (Kelly Lynch & Mimi Rogers' characters fell flat), the scenes between Rourke & Anthony Hopkins were wonderful!
Like another reviewer I was reminded of Humphrey Bogart's 'Duke Mantee' in the 1936 film 'Petrified Forest', but Rourke's 'Michael Bosworth' was a little more homicidal and more of a loose cannon.
If you like Rourke & Hopkins, you will enjoy watching 'Desperate Hours.'.
Mickey Rourke avoids going to trial and holds Anthony Hopkins, Mimi Rogers and their family hostage in this amazingly dull motion picture.
But Desperate Hours is like a High School film project - only worse.It is terribly put together with jump cuts, poor camera angles and perspective, terrible continuity, poor story, time-frame mismanagement, unbelievable plot holes and poor characters.The action sequences are a joke too.
Like count the number of piles in my living room carpet.Bottom line: Desperate Hours is one of those movies that's so bad it becomes an unintentional comedy..
Michael Cimino directed this story of a blood-thirsty gang raiding an upper class suburb house on their run from the police after a series of ambitious big projects like "Heaven's Gate", "Year of the Dragon" and "The Sicilian" in the eighties.In this remake, it is Mickey Rourke's turn to play Bogart's leading role, and he turned Bogart's coolness into a portrait of a psychopathic gentleman gangster whose violent dominance is about to erupt like a volcano every second.
Both men are fighting against each other in every possible way, starting with psycho duels and witty conversations to hard fights and pure wars of nerves.Most of the plot takes place in Hopkins' house, and as soon as the story is settled out of this apparent suburb paradise hell breaks out, starting from Rourke's violent escape from a courthouse prison in the beginning of the film to the final showdown when the police arrives.Cimino's direction works well with his whole ensemble often placed in the living room like actors on a static theater stage, and the camera views the psychological warfare often from a very distant ankle like in a documentary.
The great cast of all actors featuring Mimi Rodgers, Kelly Lynch, Elias Koteas and David Morse and the minimal and seducing sound track score by David Mansfield add much tension to this well-dome remake of a great fifties crime drama..
This mediocre movie is a 100-minute snorefest about a bad dude (played by Mickey Rourke, who contributes nothing to the role), who kidnaps a upper-middle-class family.
Most of the other actors do good to very good jobs, notably Michael Morse who plays one of Rourke's cronies, and Anthony Hopkins in a role which is far beneath him.
Since we already know that the script can be done well, there is no one to blame here except Michael Cimino for the non-direction this movie took.
For example the playing of the Red River valley and so sort of ploy to make the audience feel sorry for the creep the the cops shot in the river.By the way, the best cinema was not the movie, rather the Nature scenes with the wild horses.Everything about this sad flick tells me its director and the actors have finished their careers.Just terrible, so if you want awful, get this as a 2.00 DVD and laugh at it, that's all its good for..
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All CostsThis film was kind of dogged from the beginning in my opinion,as I was subconsciously aware that it was a remake of what could very well be a much superior film,albeit one that was well before my time (then again,so was Citizen Kane.)Well,having watched it,all I can hope is that it wasn't an imitation of what a poor film it already was.Mickey Rourke can play the smooth,menacing villain role practically in his sleep and Anthony Hopkins is always a reliable,if rather overly smug,leading man and both actors are given surprising sparkle and snazzy lines by the script.Sadly,none of this can make the film any less of an uninvolving,uncredible and deadly dull affair than it already is despite this couple of virtues.Michael Cimino directed the lengthy but thoroughly absorbing The Deer Hunter,a drama which sure had more thrills than this 'thriller' has.*.
Actor/actress are bads, image is bad, music is bad and more the story is idiot.This movie show that even if they are potentially good actor they can act bad when they are not directed correctly.
Sadly, we are yet again left trapped between a conscientious artist trying to feed us caviar while the studio chew up some cardboard and spit it out:'According to some official sources, Michael Cimino's original cut of Desperate Hours was mutilated by the film's producers, resulting in a very badly edited film filled with plot holes.
The only known proof of any deleted scenes are some stills which seemingly show a few of them.'It's sad to think Cimino didn't have the chance to re-cut this film like with Heaven's Gate.
We'll tell the press!'For years I had avoided watching Desperate Hours based on the reviews; but if you are a fan of Cimino, it is easy to see past the choppy edits and plot holes.
Lawyer Nancy Breyers (Kelly Lynch) is defending robber and murderer Michael Bosworth (Mickey Rourke) for killing a guard in prison.
He makes contact with Nancy as he waits for her to join them.Director Michael Cimino remakes the 1955 film.
This is the first Mickey Rourke movie I've seen, and he makes an effective criminal.
Rourke overacts his way through the role originated by Bogie in this standard thriller with no real punch or exciting moment.
Michael Cimino's Desperate Hours, despite only really being a serviceable home invasion/hostage thriller, still has a lot of fun with it's two leads, brash sociopath Mickey Rourke and even brasher estranged family man Anthony Hopkins.
Based on a creaky old Humphrey Bogart film, Cimino obviously vamps up the violence and eroticism that simmers beneath it quite a bit, and when you have Rourke as your antagonist you know it's not going to be anywhere near a relaxed affair.
Following a court trial, convicted killer Michael Bosworth (Rourke, very good) absconds with two accomplices, one his ex con brother, Elias Koteas who doesn't have much to do in the film, and his childhood friend, ex con Albert, David Morse as we've never seen him before, a slow, fiesty, idiot of low intellect.
But we have another smart cookie, Crouse, the best performance in the film, as the defiant and bulldogged female FBI agent, heading her team of cops, sharpshooters, baiting Rourke by using his defence attorney/girlfriend, (Lynch, never looking hotter).
The film relies on the interaction of characters, and I must say, I found this best, in the small exchange of hateful dialogue, between daughter (Smith) and Rourke.
Cimino is good director, and I don't think that he made a bad movie.
He was mostly not allowed to present his movies, as he wanted them to be, and the flickers of his talent just sparkle through the studio assembled films he made, visible to those who look for them, understanding visual poetry preserved in exterior scenery, his director's trademark.I haven't seen the original, but "Desperate Hours" of 1990 is no worse than any far better rated crime or thriller movies that were hailed as a "box office hit".
It is hard to understand today, that Mickey Rourke was a unique kind of character actor back in the 80's, but we have filmed proof, one of which is Cimino's very own "Year of the dragon".This is a good solid film that didn't age at all, but preserved it's qualities, beautiful cinematography, fierce acting performances, intensity and atmosphere, 26 years on, looking and feeling as good today, as when I first saw it.
Hopkins, Morse, Koteas, Rogers all provide EXCELLENT support, but this is a Rourke show and Cimino's cinematography never fails to let us know it.
Michael Cimino sunk a studio with his turkey "Heaven's Gate", but he is still a masterful director of action movies when he's in top form (witness Deerhunter, Year of The Dragon and now, Desperate Hours).
Cimino adds all the right touches in his update to the 50's original: Lynch's ice-queen trial lawyer, Hopkins-Rogers' marriage on the rocks, Smith's rebellious teen, Koteas' emotionally stunted younger brother.
The point that really drove it home for me was the bravado "a false showing of bravery" at the end of this flick on the face of both Anthony Hopkins and that detective lady this movie has left a ill feeling in me that will no doubt last for day's to come.
This movie asks the question: Can a film be good and bad at the same time?Take the acting for example.
Hopkins and Rourke are both good, capable actors but here it's like they're fighting it out for title of Cinema's Biggest Ham. What's really weird is that they alternate between good acting and bad several times during the film, even during the same scene.
I'm still not sure.But to answer the question " Can a film be good and bad at the same time?" According to this movie-Yes.
Film-maker Michael Cimino would team up with Mickey Rourke again, after the crime epic "Year of the Dragon" five years earlier.
Here's a glum siege movie (although its more like tedious house-sitting) that never feels all that threatening despite the best efforts by a smooth talking psycho Mickey Rourke and an neurotically edgy David Morse as some criminals that take a family hostage in their home.
They could have remade this movie by digging up Bogart's and March's bones and propping them up and they would have done a better acting job that Rourke/Hopkins.
It's an entertaining thriller,with good performances (except an overacted Rourke),and nice music by David Mansfield.But there is no doubt that Cimino have better films than this,like "Year of the dragon" or "The deer hunter"..
Anthony Hopkins is pretty good as the husband desperate to save his family, but he's not at his best.
An exciting psychotic film directed by Michael Cimino, with great suspenseful acting by Michael Rourke, Anthony Hopkins, Mimi Rogers and Linda Crouse.
As a die hard Anthony Hopkins fan I decided to buy this and add it to my collection of his movies - unfortunatly the only thing good about this film was Anthony.
In fact, it wasn't fair to cast such a brilliant actor as Sir Hopkins in this sort of movie, as you don't see just how good he actually is - watch Silence of the lambs instead.
This is an electrifying remake that proves Cimino could still direct action films like no other.
The famous synergy between the director and Mickey Rourke is in full supply, while Hopkins and Rogers sympathetically act out a disintegrating marriage amidst the terror of being taken hostage with their 2 kids.
Worst of all the ending was so bad, it seemed like the films writer had a good idea up to that point, and then he just decided to kill off the bad guy, so that the audience would cheer for the police, who probably had a fun time pumping him full of hot lead as he knelt down, unarmed, ready to be arrested.
The action starts off impressively and its lively pace is maintained throughout the entire film.Michael Bosworth (Mickey Rourke) is a convict who escapes from a courthouse with the help of his defence lawyer and lover, Nancy Breyers (Kelly Lynch) who'd smuggled a gun into the building for him.
Bosworth's character is also a problem because, as a man with an exceptionally high I.Q., he never does or says anything that's even remotely intelligent let alone brilliant.Mickey Rourke provides the movie's best performance as he conveys his character's unusual combination of charm and volatility so well and although it is generally entertaining, "Desperate Hours" never achieves the intensity or impact of the 1955 original..
The cast seems solid, we have Anthony Hopkins, Mickey Rourke,and Kelly Lynch.
In reality, DESPERATE HOURS (1990), a remake of the classic Humphrey Bogart-Fredric March film of the 50s, is a BAD movie, but still watchable due to it's badness!
It boasts a talented cast of actors (Anthony Hopkins, Mickey Rourke, Lindsay Crouse, Mimi Rogers, David Morse, Kelly Lynch, Elias Koteas), all of whom had either had been in,or were about to be in, acclaimed works.It came out a year before Hopkins would do "Silence of the Lambs (1991)", for which he would take home the Best Actor Oscar, and go on to do several more acclaimed films in the 90s, receiving Oscar noms for most of them.
And to top it all off, "Desperate Hours" was directed by an Oscar-winning director, Michael Cimino (of "The Deer Hunter" fame).
By having it's own unique style and not conforming to either decade, it actually makes the movie look kind of fresh when one watches it over 20 years later, as the focus is more on the beautiful scenery and setting, especially that huge mansion, than anything else.I know that a kidnapping-hostage situation SHOULD BE intense, but the actors' performances seem more like histrionics and hyperventilating acting than natural reactions to events.
I know it's wrong to laugh in a movie like this, but it's hard to avoid when the dialog and characters are so odd and weird.
And it's really all of this bad acting that makes the movie work.
Anyway, in the end the only thing audiences will get out of the movie is some explanation as to why Michael Cimino's career never really recovered after "Heaven's Gate". |
tt0346631 | Blood and Bone | Fresh out of prison, Isaiah Bone moves to Los Angeles, where underground fights are being held. One night, after watching a match involving local champion Hammerman, Bone makes a deal with promoter Pinball to get him into the fight scene for 20% of his earnings; 40% if Pinball puts his own money on the line. On that same night, Bone encounters mob boss James and his girlfriend Angela Soto. Bone enters his first underground fight and quickly defeats his opponent with only two kicks. Pinball explains to Bone that Angela was previously married, but James set up her husband Danny on a triple-homicide, sending him to jail. When James learned that she was pregnant, he had her undergo an abortion. Since then, Angela has fallen into drug addiction.
Over the next few nights, Bone makes a name for himself in the underground fighting scene, defeating every fighter in his path and earning himself and Pinball thousands in cash. At the same time, he bonds with the people who live at his apartment building: Tamara - the landlady who manages his apartment, Roberto - an elderly Latin-American man whom he plays chess with, and Jared - a young boy Tamara adopted after his father was sent to prison. Then, after making the once-undefeated Hammerman fall to the ground, Bone is offered a deal by James. The international underground fighting scene is run by a league of rich, powerful men known as the "Consortium", but mainly by a black market arms dealer named Franklin McVeigh, and James wants Bone to square off against Pretty Boy Price, the reigning champion. After telling James he will consider the offer, Bone reveals to Angela that he was cell mates and close friends with Danny. Then one day, Danny was murdered by an inmate named JC. Angela reveals that shortly after Danny went to prison, she gave birth to a son, but lost custody of him and does not know if he is still alive. Bone promises to bring her to her son, but sends her to a drug rehab clinic until she is ready.
The next morning, James offers McVeigh US$5 million to have him get the Consortium approve and schedule a fight between Bone and Price. That night, Bone discovers that Roberto has been murdered in front of the apartment, mauled to death by James' dogs because he witnessed one of James' street killings. Bone declines the offer to fight for James mainly because he never agreed to it; as a result, James orders his thugs to hunt down Bone and Pinball. James' bodyguard Teddy D and his thugs head to the rehab clinic to pick up Angela, only to have Bone and Pinball dispatch them. Transmitting his location through Teddy D's GPS phone, James has the duo follow him to McVeigh's mansion. There, Bone is ordered by James to fight Price and win back his money, or else he will have Angela, Tamara, Jared and Pinball killed. During the conversation, Bone secretly records James' revelation that he had Danny set up and murdered through the GPS phone, which he transmits to Pinball's cell phone; Pinball then sends the video to the police. Bone faces Price, but at the point where he is close to defeating him, he taps the ground and forfeits the fight. An infuriated James grabs his katana and attacks Bone, but Bone is thrown a jian by McVeigh's bodyguard to even the odds. Bone drops the sword and uses the sheath instead, beating James with it. In the middle of the melee, Bone blocks a sword slash, causing James to cut off his own hand. He runs off before the police arrive at the mansion to arrest James.
The next day, Angela is reunited with Jared. Tamara, who had threatened to kick Bone out due to his association with James, offers him to stay; he declines, saying he will only cause further trouble. Before exiting the apartment, he leaves her an envelope full of cash and asks her to take Angela in once she is rehabilitated. He also parts ways with Pinball, saying he has business to take care of.
During the end credits, James is attacked and sodomized in prison by JC and his gang. | revenge, violence | train | wikipedia | 'Blood and Bone' is a pleasant martial arts/drama surprise that handles us a pretty enjoyable ride during it's 90 minutes and a Michael Jai White in top form.Directed by the one who wrote the infamous failure that was 'Dragon Ball Evolution', Ben Ramsey, the movie tells us the story of Isaiah Bone, an ex-con that takes the world of underground fighting by storm, in order to keep a promise to his late friend in prison.With an interesting plot that explores the martial arts world combined with the underground fighting game and a 'surprise effect' sustained until the last twenty minutes of the film, Ramsey achieves to maintain the spectator on his chair until the end of the movie, mixing action and drama.The fighting scenes are awesome, and not only Michael Jai White knows how to act, knows how to fight: he kicks ass (and also Van Damme's and Segal's ass too).This is one of the best low budget action movies you can possibly watch in your life and if you're a martial arts fan then this will serve you well.
Isaiah Bone (Michael Jai White) is released from prison and immediately enters the world of underground fighting.
"Blood and Bone" is one of the best low budget martial arts films I have ever seen.
If you are a fan of martial arts films and like fight scenes where you can see all the moves, check this one out..
I thought Dante Basco (Pinball) over acted quite a bit, and i don't think he was the best actor for the role.Other than that the movie was terrific, and i would recommend it to any martial arts fan..
Now, if you are still with me, you probably suspect that BLOOD AND BONE has one of the best fight structures in film, therefore putting it as a contender for greatness.
Not that I haven't seen better acting performances and scripts before but this movie is just the ideal of BRILLIANT Sunday-movie-entertainment.I think we've all been waiting for a replacement for the old kick-ass- actors like jean-claude van damme and jet li.
We have it now, his name is Michael Jai White and in this movie he is a mean mother-F, an ex-con with a big heart and an attitude.This movie is NOT bad acting like many fighting movies and the script is simple but its working.I HARDLY RECOMMEND this movie because of it's high rate of entertainment.
In Los Angeles , in a world where street gangs collide with the law , an ex-con named Isahia Bone (Michael Jai White of Spawn and Universal soldier 2) takes the underground fighting world by storm in his quest to fulfill a promise to a dead convict .
When a movie like "Blood and Bones" comes along, I am able to watch and hopefully enjoy it for what it is."Bone and Blood" stars Michael Jai White.
Otherwise Bone is a bit of a mystery in that his crime, his time, and his history is left completely unexplained for the duration of the film.Once Pinball realizes Bone's talent, he quickly concocts a scheme that will get Bone a shot at the local street fighting champ Hammerman (played with corny endearment by former MMA champ Bob Sapp) arranged through Hammerman's bigger-time promoter James (Eammon Walker – "Oz" jailhouse Muslim leader Kareem Said).This comes at around the halfway point where the film shifts gears from a tournament style martial arts flick to more of a revenge flick.
Storyline is good considering it's a fighting movie and Eamon Walker (Oz) comes out in the film which is cool because I never see him in anything the only other movie I've ever seen him in was Shopping with Jude Law on IFC.
All in all a very good action film, Michael is a bad ass in the movie.
The reason for me acquiring this movie was because of Julian Sands, but it turned out that he was not in the movie all that much, much to my disappointment."Blood and Bone" is about Isaiah Bone (played by Michael Jai White) who comes out of prison with a promise to fulfill to his friend from inside the jail.
But still, it works out well enough, because the storyline (however generic it might be) is spiced up with some really nice fighting scenes.I must admit that I was thoroughly impressed with the fighting skills of Michael Jai White, I never knew he was this good.
Dante Basco (playing Pinball) was a bit out of his element here in this movie, but it was fun to see him in a role such as this one."Blood and Bone" is a great action movie, and well worth watching if you enjoy a good fight or two..
They could have devoted more time to the relationship between Danny and Bone, but they didn't and the reasoning doesn't seem personal.Michael Jai must be cast in some big budget action movie...
Blood and Bone stands out from other STV martial arts/fighting films because it has some nice plot twists and well choreographed fight scenes.
"Well this is it, now we have come to the limit of what is possible" Tony Jaa served us with every fighting style out there in perfection.Now Michael Jai White has broken the limit and stands alone as THE most perfected martial artist i have ever seen.
The fight scenes are superb, they're what makes this movie the great gem of a martial arts movie it is.
Michael Jai White stars as Bone, a fighter just out of prison to compete in street fighting circuits and get revenge on the man who killed his cell-mate and who's girlfriend is now with the mobster (Eamonn Walker) who is responsible for that man's death, many great fight sequences follow in the wake of this brisk blaxploitation/kung fu action gem.
Overall though, martial arts movies are about the fight sequences and whether it has just enough character development to get us involved into the fight, Blood and Bone works in the same vein as Bloodsport and Kickboxer.
10 Year Old Movie - Still "GREAT" - Michael Jai White - Exceptional/Excellent Martial Artist/Actor.
Michael Jai White, who is trained in 7 different styles of martial arts is at his best.
Blood and Bone has a very mediocre plot, the fighting scenes are quite good and the acting is nothing to criticize.
This film is all about showcasing Micheal Jai Whites brutal, high flying martial art skills and excellent stunt work.
For the most part I loved this movie and I recommend it to anyone who likes fighting movies with good action scenes.
"Totally awesome martial arts flick!!!"...I seriously thought that I would hate this movie...I was caught off guard how entertaining it turned out...From start to finish,I was waiting for a letdown,and it never came..Instead,each fight scene got better.Michael Jai White demonstrates such skill at hand to "man" contact that you are easily reminded of how Bruce Lee's best fight scenes made,and still make you feel.The part played by his annoying manager/sidekick "Pinball"had me wishing for Shia LaBeouf in that role instead of Dante Basco, although he did pretty well..Nona Gaye,(Marvin's daughter)did an excellent turn as "Bone's potential love interest..I watched this movie at 2:20am because I thought it would put me to sleep.3hrs later I finally went to sleep...Oh,not because the movie is that long but, because of me rewinding just about every fight scene 2 or 3 times!"This movie is only 93min, and they go by as fast as Bone's hands,and especially his feet, reach a thugs face!!!"If you are a fan of martial arts movies that are well choreographed,with a decent,although not original storyline,and for the most part good acting,then you will totally enjoy this movie...Hollywood should take notice,and give Michael Jai White a couple of big budget action movies to work with Now!!!".
Blood and Bone" is a story an ex-con, Bone, who leaves prison and enters the world of illegal street fighting.If there is any doubt about Michael Jai White being a full-on action star, this seems to be a movie that should shuffle his resume to the top of the action pile.
Watch it for Michael Jai White being cool and a more than adequate fighting action fix..
I was at my friends house and he dug this film out, he had not seen it, we was both blown away..Great martial arts, great acting, great characters..Just plain great..The story is simular to Lionheart (Awol in UK where I live) and Hard times with Charles Bronson from the early 70's..But it does not try to re-invent the wheel with the plot, instead aims to raise the bar with the fight scenes, a martial art film made for martial art fans...
Michael Jai White is excellent and I will be hunting down his other films..One criticism..A film as good as this with an interesting lead character should be a franchise, a man called Bone would be an interesting idea for a set of sequels...Lost classic, I am telling everyone I know about this films, in my top 10 of all time...
And, this movie is a winner, thanks to Jai White's action, decent story and top-class fight choreography.
On the whole Blood and Bone was enjoyable if taken for what it is, a mindless action movie.C. Michael Jai White makes steven seagal look amateur.
and that was it i never took my eyes off it,i'm a fan of Jean-Claude Van Damme and his fighting is insane and until now i ain't seen anyone that even comes close to him,now michael j white is Definitely just as good on screen not only an amazing fighter but a good actor,some may argue seagal is good aswel but personally i don't rate him at all and avoid any movie he's in.this movie is full of fighting and comes away from the norm story of good guy beats bad guys until he gets to the main bad guy nearly gets beat and comes back to win!
The main reason I wanted to check this movie out was to see Michael Jai White kicking ass.
A martial artist of supreme skill and deadly grace, White brings not only his imposing physique and skills to the film, but also a moody poise to the role of Isaiah Bone, an ex-convict who infiltrates an underground fight circuit to avenge the murder of a friend.There is absolutely no surprises in store here, narratively speaking, but the action, the choreography and the editing are high grade stuff.
I thought I was going to love this movie, but it wasn't what I expected, besides Jai White charisma and screen presence and some good fight scenes there is nothing really memorable in this movie, still a decent fight movie but nothing to remember...Is obvious that is a low budget film but it was shot in a very amateurish way and some scenes were made with very annoying shaking camera movements, luckily the fight scenes are not shot like that and you can see the action entirely, but the film it looks more like a hip hop videoclip than a martial arts movie...There are appearances of MMA fighters as Kimbo Slice, Gina Carano and Bob Sapp , also the Kickboxer Maurice Smith appears and martial arts legends Bob Wall and Fumio Demura have a very brief appearance that you can miss if you blink.
The "drama" in between the fighting is alright, it doesn't drag you in quite as much as it should, but not bad.Put Jai White in a bigger budget movie with a really good fight choreographer, and we'll have ourselves a classic!.
Michael Jai White doesn't stretch his acting ability here, but his fighting skills are fantastic, it really is totally believable watching him take down the biggest guys you could ever imagine.
I enjoyed the movie, but wished that either the plot, character development, or acting could have matched the execution of the fight scenes.
This movie is what I expected it to be, a not so deep martial arts film where an inmate gets out of prison and starts fighting in the streets but for a deep cause.
The fighting scenes( the most important part of the film) where good but could be a little more interesting and last longer, the acting was mediocre and Michael stand out from the others.
A ex-convict going under the name of Bone (Michael Jai White) enters an underground fighting ring with the help of event organiser Pinball (Dante Basco).
You may not expect or even want such a movie to deceive as to the outcome of fights, but nonetheless if all fights lack a decent threat level they tend to drag down your overall enjoyment.A good outing nonetheless for Michael Jai White, a competent actor with real action star potential (Arnold Schwarznegger and Jean Claude Damme level status)..
This'll probably be the 5th fight movie I've seen with Micheal Jai WHITE in it.
we've seen it all before over and over, but rarely have i enjoyed a straightforward martial arts film so much as i did when i watched 'Blood and Bone'......Michael Jai White is an amazing martial artist and a very decent actor, up there with such natural talent as that of recent stars like Tony Jaa and the more veteran Donnie Yen - all, still, yet to become big Hollywood stars sadly....
nobody will rent or buy this movie expecting anything more than a run of the mill low budget actioner and if i were to rent it again not knowing, i'd hopefully think the same - only then will you genuinely be surprised at just how good a fight film this is - all the acting is pretty damn good for a film in this genre and the supporting fighters do a great job of keeping the action ticking over nicely throughout.i agree with an earlier comment, its definitely a re-hash of well trodden territory first covered (to my knowledge) in van dammes lionheart/A.W.O.L around twenty years ago...
Michael Jai White hadn't been seen in a lot of martial arts movies after Undisputed II, but when I saw this in the New Release section with his face on it, I jumped at the chance to check this bad boy out.
Man, I was so amazed at the story, the characters, the Eastern philosophy and the fight scenes that had been put together...this film was a work of art and a stroke of genius.The story starts off with Jai White's character Bone, who in the opening credits, shows a bunch of thugs in prison who want to shank him for not being there 'you know what', why he shouldn't be messed with and he gets his point across pretty damn well.
If you like Michael Jai White – watch this, he gets to fight, to act and looks very cool.
So there you go...as a movie overall is pretty bad, but if you like a brainless flick that offer nothing but just good action scenes then watch this movie.
The opening scenes in the prison alone were enough to grab my attention of the under-rated Michael Jai White.His acting was believable and decent performance.Loved the inclusion of Kimbo Slice in the beginning fight.Although i rank him as just being a street fighter and not a U.F.C fighter.His acting was average.Michael's was excellent.He has come along way since Universal Soldier:The Return.Michelle Belegrin and Gina Carano were beautiful and easy on the eye along with the Asian woman at the table.There was also a big black dude who could move fast and his muscular size captured my viewing imagination.I also enjoyed seeing the women fighting instead of just the men.Michael is bad-ass in this movie.There was broken bones to prove it.This is a movie i would never tire of watching again and again.The storyline was simple and realistic.Michael is absolutely BAD TO THE BONE..
Jai-White may be a hulking presence, but his skills are almost balletic, and if he continues to make films like this, and Black Dynamite, he, along with Scott Adkins could be the future of Direct to DVD action movies.The film harks back to the eighties, and is very reminiscent of the Van Danme movie A.W.O.L (or Lionhearted if your outside the UK), and with each opponent, it becomes more and more difficult, until Bones finally reaches the end of game boss.So for action fans, its a step up from martial arts films of recent memory, for the casual film watcher, it won't be anything special for you.And for people who grew up in the eighties, and loved films with the words American, Kickboxer, Eagle, China, and Ninja in their titles, this is a wonderful hybrid of Bloodsport, AWOL, Game of Death, with a hint of Fast and Furious thrown in for good measure.And it has the best reference to Enter The Dragon ever featured in a movie..
So I see an advert for a Michael Jai White movie and I see that the cast is a who's who of the martial arts world.
I gave it an 8 because I love good old martial art fight movies, and this is that.
"good." And the acting - I don't know, I don't really want to say too much about the other things because it will never be the reason why you watch a movie like this.***SPOILERS*** It did have an original spin on all the clichés, though.
But the local top fighting promoter offers Bone a chance of a life time.The greatest assets of this film is the man they call 'Michael Jai White' who is a real martial artist, and a fine one at that.
Whoever the fight choreographer was deserves big points for showcasing Michael Jai White's truly impressive martial arts training and athleticism.
Pro + high production quality + Michael Jai White does know his fighting + Eamonn Walker looks good in a suitCon Where to start? |
tt0319736 | The Legend of Bhagat Singh | Bhagat Singh was born in British India in 1907. As a child he witnessed numerous atrocities committed on fellow Indians by their British rulers, who came to trade under the guise of the East India Company, but ended up controlling most of the nation, and permitting tyrants such as General Reginald Dyer to massacre thousands of innocent men, women and children in Jallianwala Bagh. As a child he was impressed by Mahatma Gandhi, especially his call to launch the non-cooperation movement, which led to thousands of people burning British-made clothing, giving up school, college studies, and government jobs — only to be let down by Gandhi when he called off the movement. Undaunted, Bhagat Singh (Ajay Devgan) decided to be a revolutionary, starting with getting into petty fights, then as a grown-up joining the Hindustan Republic Association. His father, Kishan, paid Rs.60,000/- and bailed him out, so that he could get him to run a dairy-farm and get married to a girl named Mannavali (Amrita Rao) .
When Lala Lajpat Rai was beaten to death by the police, Bhagat, with Shivaram Rajguru, Sukhdev, and Chandra Shekhar Azad (Akhilendra Mishra) daringly carried out the assassination of a police officer named Saunders, which eventually led to Bhagat's arrest. He was lodged in a cell, tortured and beaten mercilessly. But being a revolutionary was in Bhagat's blood: When the British proposed the Trade Disputes and Public Safety Bills, he initiated the bombing in the Indian Parliament Building, with Batukeshwar Dutt, He took utmost care of the safety of people in parliament by throwing bombs at empty benches .He was arrested, and tried in an open court. This is where Bhagat launched his much-publicized revolution, and became popular with the masses, especially the younger generation, laborers, and farmers, so much so that his popularity rivaled that of Gandhi himself.
Even in Lahore prison, Bhagat made headline news when he and other prisoners undertook a 63-day fast unto death to improve the conditions of Indian freedom-fighter prisoners. On the other hand, Azad, whom the British had repeatedly failed to capture, was attacked in Alfred Park of Allahabad on 27 February 1931. With the police surrounding the entire park, a shootout followed; refusing to be captured by the British, Azad committed suicide with the last remaining bullet in his revolver.
The British re-opened the Saunders' murder case, which led to death sentences being imposed on Bhagat, Shivram, and Sukhdev. The entire nation rose up in protest, including the Congress party — with the ball in Gandhi's court — for he was due to sign the Irwin Pact, and Indians hoped that he would use this as a bargaining chip to save the lives of the heroic trio. But as Gandhi agreed with the clause of "Release of political prisoners except for the ones involved in violence", the hopes of the nation dashed to the ground. Bhagat, Sukhdev and Rajguru were hanged in utmost secrecy, during the early hours of 23 March 1931. | avant garde | train | wikipedia | The Legend of Bhagat Singh is a wonderful representation of India, in the middle of its struggle to throw the British out.
In fact, the director, Santoshi shows in details how Bhagat came to develop his views of the British with very little outside distraction.Ajay Devgan is excellent as a the title character, bringing the necessary passion that only he can provide with his steel-y stare.
Westerners can see the parallel between Gandhi's nonviolent methods and the more revolutionary Bhagat Singh with Martin Luther King's methods vs Malcolm X "by any means necessary" credo.As the last reviewer mentioned, it's a great reference for those interested in India's independence struggle and it truly reinvigorated my interest in Indian history.See this movie if you enjoy eastern history, but won't go for the traditional Bollywood flick..
The Legend of Bhagat Singh is one of Indian cinema's most ambitious projects to date.
After three years of painstaking research and set construction, veteran film maker Raj Kumar Santoshi and actor Ajay Devgan shot the film in a short stretch of six months.
Overall it's a pretty solid film but one can't help shake the feeling that it could have been a far superior product if it had been worked on for a short while longer.The film tells the entire life story of Indian freedom fighter and martyr Bhagat Singh who, in a nut shell, grew disillusioned with Gandhi's passive movement and lead an independent violent struggle against the British.Colonial India is recreated magnificently in the film and the British atrocities committed are portrayed with aplomb by the director.
Some of the film's strengths are its hard hitting portrayal of British atrocities, its court scenes and its action scenes.The film's biggest highlight is its lead performer, Indian actor Ajay Devgan.
His work here is par excellence and can easily rival any work done by any grade-A actors the world over.The supporting cast is good as well, with fellow revolutionary Sukhdev (Indian stage actor Sushant Singh) Bhagat Singh's mother (Indian diva Farida Jalal) leaving lasting impressions as well.The last excellent thing about the movie is the music by renowned composer A.R. Rahman.
The music is not as festive as Bollywood movies usually boast, but that's to be expected considering the subject of the film.
This angle of the film stuck out like a sore thumb to say the least.For all its faults however, Legend of Bhagat Singh has plenty of strengths to make it a superb film.
The legend of Bhagat Singh is one of the finest movies of Indian film history.The film shows the lifetime of great freedom fighter Bhagat Singh.The film depicts his life,his struggle and his determination brillantly..The film not only shows the freedom fighter's struggle,but also his ideologies and his idea of a progressive nation and how he moved the entire nation.
The photography,the script,the dialogues(power packed and very thought-provoking)everything about this movie is splendid.A lot of research has gone into making this film.Brilliant performance by Ajay Devagan as Bhagat singh,Sushant singh as Sukhdev.Ajay literally lived the freedom fighter's life.The music adds to the film's beauty.
The conflict between Gandhi's non-violence and Bhagat Singh's Tit for Tat philosophy is one of the most touching points of the movie.
Director did good home work and hence a movie that we should be proud of is out there on someone who is perhaps not internationally as famous as Gandhi but for sure was a great freedom fighter, real patriot and a great son of Mother India..
Director Rajkumar Santoshi has as usual proved himself as one of the few excellent directors bollywood has.He has done a great task of research before making this film.Each and every department of this movie is just marvelous.Every incident is shown with 100% touch of reality.Everything ,right from sets to dialogues creates the real time of that period.As far as acting is concerned, i think this is the most powerful performance from Ajay Devgan.No surprise he got national award for this film.Other actors in film too deserve 100% appreciation.Sushant Singh has been wonderful, so was Raj Babbar.I wonder why this film was not a blockbuster at box office.Well......we all know why....?it wasn't a rubbish stuffs from badjatya,johar or chopras.Well full marks and thanks to Rajkumar Santoshi for this movie.Must see this film..
There is a lot the young Indians should learn from this movie which in turn would make Bhagat's sacrifices worthwhile.
Reavan recommends The Legend Of Bhagat Singh Product Rating : Plot revealed in review : Somewhat revealed`The Legend of Bhagat Singh' is an excellent example for flawless filming of the life of a magnificent martyr.
Ajay Devgan as Bhagat Singh, Susan Singh as Sukhdev, Santhosh as Rajguru, Akilendra Mishra as Chandrasekar Azad, Raj Babbar and Farida Jalal as Bhagat's parents all of them made a mind-blowing mark for themselves in this miraculous movie and in the history of Bollywood.
A particular mention to be made of the jailor, and the actors who played the roles of Emerson and Gandhiji .The soundest strength of the film was the amazing ability of Rajkumar Santhoshi to impeccably interweave sentiments and dramatic scenes amidst the course of the film , jubilantly justifying history all the way.
It is slowly and steadily creating a sound stardom for Bhagat Singh amongst the youth of the country, which was the cause of the film..
I think a great movie on the history with great acting, direction, music, Photography, effects, sets, clothes and over all the story.
A must watch movie for any patriotic person.Watch it for Ajay Devgan at his best.Sushant is impressive as Sukhdev.the screenplay is tight and the movie outplays it's counterparts like 23 March 1931 :Shaheed.I liked the casting and the costumes.Rehman's music is excellent esp.
Santoshi's 'The Legend of Bhagat Singh' tells a detailed biography of the martyred hero.
He has tried to stay historically accurate and even though it was released during the same time as Guddu Dhanoa's snoozefest '1930 Shaheed', 'The Legend of Bhagat Singh' triumphs above that and is a masterpiece in comparison.Ajay Devgan, though intense roles are his strength, may seem like an odd choice to play the title role, especially because there is no physical resemblance and he is too old for the part.
The background score, though beautiful, is intrusive at times and kind of adds a melodramatic feel (when that isn't necessary).'The Legend of Bhagat Singh' is one of the fewer biopics in Indian cinema that tells a good story while attempting to stay true to the facts.
Students can use this movie as a reference for study on Martyr Bhagat Singh..
After watching this movie one can say that the director has done a lot of research on the life of the legend because each scene and every aspect of the film reveal the hard work of the director and his research team (writer Anjum Rajabali) who has done a great job.
RajKumar Santoshi has given his 100 percent in making this Masterpiece and will be remembered till the Indian Film Industry exists.
Right from his first movie (Phool aur Kaante) he has proved that he is a good actor and brilliant performer but Indian audiences, critics and directors came to know after so many years.
and right from the first minute you are glued to the screen i wouldn't spoil it any further..Because of the time of it's release i don't think a lot of audience was able to see such an important film especially for us Indians.
The film starts as a jumbled collage of rapidly moving pictures, shows a very young Bhagat Singh who is witnessing the Jallianwalla Bagh massacre in a "surreal" way, then moves to his getting thoroughly disillusioned by the backtracking done by the Mahatma, and picks up steam as the young college student Bhagat turns into a firebrand.
These faults in the scripting made the film seem like a hurried effort.The acting ranged from very good to OK.
Sushant Singh did a very commendable job as Sukhdev, as did Santosh as Rajguru, Ajay started out shaky but settled into the role quite well by the end of the film.
Well if you're Indian and you don't know the story of Bhagat Singh - then you're probably not worth telling it to.
Santoshi has packed a lot into the picture but he forgot to insert a few things that I felt were important since you're making a film on his life.
I would like to point out another thing here – the background score is just out of this world.Santoshi always extracts the best performances from his actors and this film is no exception.
Before watching this, I did not really see Ajay as a Bhagat Singh because despite him being a Sikh, it did not suit him – but boy was I surprised.
Ultimately, the film motivates you to also tell the story of a legend named Bhagat Singh.
Whenever one witnesses a film like 'Legend of Bhagat Singh', one can only just stare and mentally get back to the earlier days.
An excellent performance from almost the whole cast and above all Sushant Singh who gives his very best as 'Sukhdev'.
Top notch performances along with a beautiful score is not all you will get, there is much more here that makes the film much more than just a biographical epic.In the list of top Biography epics like 'Joan of Arc - The Messenger', 'Queen Margot' and many more, 'The Legend of Bhagat Singh' definitely hits the list as well.
Bhagat Singh was an extraordinarily brave man who is portrayed very well by his actor in this movie.
It is one of the best patriotic movies made on Indian independence.
I will recommend everyone, who is interested in Indian history and Independence should watch this movie.
Men come & Men go but some people do really make an impact & Bhagat Singh is one of them.Rajkumar Santoshi has really portrayed this character to the BEST.The likes of this movie can only be compared to "Brave Heart".
That's why we've got to know the greatness of Bhagat Singh so late.A Must watch for of all those who love their motherland on how our Heroes have laid down their lives for our freedom.
Rahman's background score & music ROCKS.It will really put you down to tears by the end of the Movie.Thanks to Raj Kumar Santoshi for such an excellent master piece portrayal of Bhagat Singh..
It seems like the title of Rang De Basanti came from the song that Singh, Sukhdev, and Rajguru are marching to the gallows.
Now that's truly a performance worthy a national award and from direction till the screenplay, every department is ruled by the respective persons involved...Ajay till Sushant every actor lived the role as if they themselves were the real life characters...Direction by Rajkumar Santoshi is exemplary and his piece of work is evident in his past films alongside makes him the perfect master to make the film...One of the best Bhagat Singh Biopic ever made in Bollywood and it's at par with Manoj Kumar's Shaheed...A diamond classic!!.
The film "The Legend of Bhagat Singh" does a great job in showing the massacres, the torture of prisoners and the coercion of confessions through beatings...and this is something folks outside of India must know about and accept that it happened.
Ajay Devgn was great in the lead and the likeness to Singh was definitely present.
Best movie I have seen till date , great tribute to Bhagat Singh ,Ajay Devgan lived the role of Bhagat Singh.
Bhagat Singh , name sounds interesting since my childhood because he sacrificed his life for the nation just @ the age of 23 years .
Hence I always have urge to know about him .At last I got chance to know about Bhagat Singh because of this movie .
After I saw this movie felt very much proud of Bhagat singh , man who always fight for India till death by sacrificing his personal life too .
Bhagat singh sacrificed his life because he felt responsibility towards the nation .Then I realised that every person should feel responsibility towards nation.
My life changed its path after i have seen The Legend of Bhagat Singh movie , You are in my heart forever .
Be it the use of sepia tint to create that Pre-Independence feeling or the marvelous performance given by the cast incl Ajay Devgn who did complete justice to the role, Sushant Singh for Sukhdev and D Santosh for Rajguru and we cannot ignore the role of Chandrashekhar Azad did by Akhilendra Mishra and Raj Babbar as Bhagat Singh father.
For people who don't know about 'Shaheed' Bhagat Singh, this movie incites a great curiosity.
it is just a fact based legendary movie on an Indian legend..
A nation awakened.These dead bodies were of three great Indian martyrs - Shivraam Rajguru, Sukhdev Thaapar and Sardaar Bhagat Singh.
In such a great family, this great son of India was born with abundant love for his nation in his genes.A number of movies have been made in Bollywood on the life of this great thinker cum martyr.
I consider Shaheed (1965) as the best movie made on the life of this legend.
Rajkumar Santoshi has directed this movie after a lot of research work.
At the time of the Chauri Chaura incident (1922) in which a mob had burnt a police station killing many policemen, Bhagat Singh was 14-15 years old but in the movie, Santoshi has committed the blunder of showing him as 10 years old.
Besides, the movie portrays Mahatma Gandhi in badlight (he appears to be a supporter of the British) which could have been avoided through careful drafting of the script.If we ignore these deficiencies, The Legend of Bhagat Singh is a highly authentic and sensitive movie which portrays the life and conveys the message of the great visionary with a high intensity of passion.
The movie unlike the other Bhagat Singh based movies, gives proper footage and importance to his fellow martyrs - Sukhdev and Rajguru.
Sameer has written good lyrics for the songs.Ajay Devgan quite deservingly won the national award for the best actor for this movie.
Ditto for Sushant Singh as Sukhdev who got perhaps the meatiest role of his acting career and shined like anything.
The Legend of Bhagat SinghA story that will bring fume to your hate on British Empire, Fame to your patriotism, and Tears from an Indian's heart.A classsic from Raj Kumar Santoshi A best composition of music from A R Rehman A best every story performance from Ranjit Kapoor Once in a lifetime performance from Ajay Devgan Amazing Dialogues Great Drama...If you haven't watched it yet, go for a DVD of the same..
It is the story about Bhagat Singh, who considers the freedom and pride of the country more important than anything else in his life.
The movie portrays the fight of Bhagat Singh and his friends and the determination they showed; how selfless they were.Very nice acting from every character throughout the movie.
Ajay Devgan as the main protagonist gives the performance of his career which wins him a national award.This is one of my favourite movies it will stay forever.
This is the story of the legendary Bhagat Singh and his friends, a group of young boys who idolized Ghandhi as children but became disillusioned as they grew into teenagers and witnessed that none of Gandhi's peaceful tactics seemed to have worked on getting the British colonialists out of India nor stop the oppression.
You've heard the stories, now see it for yourself in The Legend of Bhagat Singh..
The legacy of Bhagat Singh told in a fine way, the movie is a benchmark, its very very different from the normal stereotype movies, which goes ga ga on Ghandhi and depicts That the Freedom struggle and the independence movement has everything to do with Gandhi alone.
The movie shows the love for the country by this youth, who quits Education, family, relationships, marriage, money, fame & kisses death @ the age of 23 & shows Ghandhi in true colors, a well established leader who has great powers & influence, but who fails to save the 3 youths Bagat, Rajguru and Sukhdev for his political gains and ideologies The movie starts with child Bhagat, who witnesses the autocrats of Britishers..
He becomes a threat to the British Govt He and his friends are executed on March 23, 1931, Bhagat Singh(23) Shivaram Rajguru(22), Sukhdev(23)These freedom fighters were forgotten by the main stream politicians(Ghandhi-Nehru)It is pity on our government who has tried to hide the reality from the generations after Independence.
Tone, Script & Story: The movie moves around, the story of revolutionaries of British ruled India.
Some of the major revolutionaries which are portrayed are Bhagat Singh, RajGuru, SukhDev and ChandraShekar Azad.
The incidences that are filmed include jallianwala bagh massacre, Kakori train robbery, establishing HRA (further modified as HSRA), Simon Go Back protest, killing of John Saunders, Assembly Bombing, Fasting in prison for equal rights (and achieving success), finally being hanged till death (Bhagat Singh, RajGuru, SukhDev) or suicide (ChandraShekar Azad).The movie is very patriotic.
The movie shows Bhagat's take to revolutionize people of India through think tank of young blood.
Ajay Devgn is almost an incarnation of the Legend of Bhagat Singh, and has arguably given his best performance.
If this was not history, it would be tough to believe that Bhagat Singh achieved so much in so little time and young age.
Men like Bhagat Singh come once in a millennium.The movie shows Bhagat Singh as a young child who witnesses atrocities and starts questing every aspect and practice in Indian society.
Bhagat Singh grew up in a time when men truly had character - the type of character that builds nations from ground up.
One cannot help but ponder how Indian society would have turned up if Bhagat Singh had lived longer.SPOILER: In the end, the movie leaves the audience with a rhetoric "Bhagat Singh, Sukhdev and Rajguru were only 23 when they were hanged. |
tt0301777 | Robot Stories | The film is divided up to four short stories:
=== My Robot Baby ===
A young Marcia hides in the closet from her parents' fighting due to a mistake she has made. Marcia apologizes when her mother finds her in the closet; her mother tells Marcia to never fall in love, get married, and have children. Twenty-five years later, Marcia is married to Ray and they are looking towards adopting a child. After going to an adoption clinic, they apply for an adoption trial where they take care of a robotic baby before they can adopt a human child. Marcia begins to struggle when she is alone to take care of the robot baby, as she becomes flustered with what to do when the baby cries. Marcia brings the robot baby to her father, a handyman, and sees if he can tamper with the electronics of the robot. However, Marcia’s father worries that the doctors of the adoption clinic will detect the alteration of the robot. Nonetheless, Marcia persists on getting the baby reprogrammed and leaves the baby to her father while Marcia goes to work. As Marcia comes home to the robot baby now automated, she attempts to talk to the baby. However, the robot baby goes berserk and attacks Marcia. Marcia finds the robot baby in the closet, then remembers her young self hiding in the closet as her own mother was angry. Marcia then cries and is able to hug her robot baby, finding closure to her past.
=== The Robot Fixer ===
Bernice witnesses her son, Wilson, in a severe accident that left him in a coma. Upset, she heads to Wilson's apartment and cleans up the place with her daughter, Grace. Bernice finds Wilson's old toy robot collection and attempts to find the missing parts through yard sales and hobby shops. Throughout the search, Bernice remembers flashbacks of how little she really knows of Wilson, as the young Wilson would play with his robot toys and not hear Bernice's callings. As Bernice learns that Wilson will inevitably die, Bernice scrambles to find the last, missing piece of the robot collection, only to find it at a hobby shop, not for sale. She steals it and runs away, only to find out that she lost the piece as she was escaping. However, Grace meets up with her and comforts Bernice that Bernice finally found the closure she needed between Bernice and her son.
=== Machine Love ===
An office worker android, Archie, arrives at a workplace to do computer work. As he attempts to make acquaintance with people in the office workplace, he is rejected and shunned because he is a robot. Bob, the technician in charge of Archie, forgets to turn off Archie one night, letting him wander about the empty office complex after he finishes his work. He spots another office worker android across the street and stares at her all night. This becomes a reoccurring event for Archie, as Bob keeps forgetting to turn off Archie. As morning arrives, the workers are angry that Archie is not doing his work as he is low on power. Bob is then forced to turn Archie off, but Archie signals to Bob that he wants to meet the other office worker android across the street. As the two robots meet, they talk to each other and interact in a sexual manner.
=== Clay ===
John, an old sculptor, is told that he has only one year left to live. The doctors have recommended him to merge his consciousness into the digital world so he can live forever. He goes home and talks about his life expectancy to his wife (who has died in the past and is now a virtual hologram). The following day, John's son asks him to merge his consciousness in order for John to assist him, but John refuses as he wants to keep using his physical senses to make sculptures. John visits his wife in virtual space to ask her where she is, to which she responds multiple locations. John, unable to accept life after death through virtual reality, dies. | satire, flashback | train | wikipedia | In the four-part anthology film "Robot Stories," writer/director Greg Pak examines the role that technology plays in modern life, pondering the age old quandaries of what is real and what is synthetic and whether or not technology can truly enhance our lives.
Knowing a good thing when he sees it, Pak has chosen to utilize many of the same cast members - largely Asian - for each of the unrelated episodes.The first story, entitled "My Robot Baby," takes place in the not too distant future when couples who are looking to adopt a child are first sent home with a fully computerized and monitored, "simulated" baby that they have to take care of for a brief period of time (this is a more elaborate version of what many high school Health teachers do with their students to convince them of just how much work caring for a newborn can be).
In the well acted and touching second episode, "The Robot Fixer," a young man lies brain dead in a hospital after he is run over by a car.
His mother and sister, who have long been estranged from the man, spend their time reconstructing his collection of beloved toy robots as a way of coming to terms with who he really is.
"Clay," the fourth and most thoughtful segment, takes us to a future world in which people, rather than dying, become somehow absorbed into a giant "system" that allows them to live on in holographic form.
A dying sculptor is forced to choose between this kind of virtual "eternal life" devoid of tactile sensation, or taking his chances with a more natural albeit uncertain existence in the great beyond.As with many anthology films, "Robot Stories" turns out to be better in parts than it is as a whole, with certain episodes inevitably proving to be more imaginative and more captivating than others.
This film then, for the most part works, and if you think it over afterwards it works even better.You gotta admire the vision and care that went into each of the 4 stories that each touch on a different side of the same subject: how humans relate to machines and then relate back to real life.
This leaves the actors plenty of room to present their characters in subtle ways and not having to carry the weight of the story by overacting.The acting from the predominantly Asian cast is very good, and it's nice to see asians in a non-stereotypical role in American film.
The two initial stories, the first about a couple that have to adopt a furby-like machine to prove that they are able to adopt a real baby, the second about a mother who starts completing his comatose son's toy robot collection, are the weakest.
The two final stories (one about an android who develops human feelings and the other about a man dying in a world where you no longer die, but instead you're uploaded), are the strongest, even if at a minimal level.
Using Robots, the movie shows us the basic need for love and surprising, prescient takes on our humanity.
A feeling of hope underneath the pensive melancholy of the film, its abrupt end leaves us with a question and desire to change our own futures, to guard our sense of humanity, and to find love in our all-too-brief lives..
The late Isaac Asimov was president of The Humanist Society, succeeded by Kurt Vonnegut Jr. As a scientist and a humanist, Asimov used the frame of the robot story to illuminate human nature.Greg Pak goes a long way towards filling the Olympian shoes left by Asimov.
In a very gentle, but textured, way, he uses "far-fetched" premises to examine subtle emotional events that are so close to us that they normally escape our notice.For a young film-maker, Pak has a firm grasp of sketching the subtlety of human feelings with an economy of style and an ability to direct actors to express them.
The actors also give fine performances, particularly the tremendously talented Wai Ching Ho and Sab Shimono.The first of the shorts, "My Robot Baby," sets the thoughtful and quirky tone for the rest of the film.
I saw this movie recently at an independent theater nearby, and after the film director and star Greg Pak was there to answer questions and answers.
"Robot Stories" is a collection of four thematically related short films, written, produced, directed and, in at least one, acted by Gregory Pak.
Like a Real Life `The Sims' game, this film offers a scenario in which a couple receives a robot child as test to see if they can care for a real baby.Of the four, this one is perhaps the most naturally acted and directed.
The robot child starts to act more and more berserk, and the film starts to veer off in a direction like it will become a horror movie.While the film sometimes seemed like it would go in an obvious direction, let it be said that Pak never takes the easy way out and has a way of controlling just what expectations are made for the viewer.
This Story deserves ***/****."The Robot Fixer"Easily the most moving, timeless tale of the four, this story gives the film an early peak.
It becomes evident how meaningful Bernice's struggle to mend her child with the toy pieces is, and we start to see there is a bigger meaning here than simply Bernice trying to mend her estranged relationship with her son."The Robot Fixer" is a timeless tale that moved me to tears.
The whole story seems like it was written by someone with lesser talents and a lot lower filmmaking vision than the previous two films, even if it is admittedly very well acted and directed.
If you take the aspect of substituting love for humans with love for a robot from "My Robot Baby", combine with it the futuristic innovations of "Machine Love", and the aspect of coping with death through machines with "The Robot Fixer", you could possibly come up with the film "Clay" as an ending point.
It gets **Overall, the film gets **1/2, but "The Robot Fixer" deserves to be seen by anyone interested in independent cinema..
Science Fiction is a great device for writing about social politics, and these four short films do this well in some way or another.The first story is the sharpest, and questions how we value motherhood against normal human values.
The serious point, that babies are truly alien to your life, is well made.The second film slighly connects love of science fiction with withdrawl from real life.
This sometimes cute, sometimes somber movie using robot-themed short stories addresses important matters of motherhood, love, and death.
The third story provides an indirect humorous parody of love among robots and the anthropomorphic possibilities of mechanical electronics and our human awareness of such alternative experiences.
It seems that Robot Stories is unfortunately another product of a $60,000.00 a year film school education.
This one is the hardest to comment on, because it's a collection of short stories that differ somewhat in quality; but on the whole, ROBOT STORIES deserves its place with the other two as part of a real renaissance in American independent "science fiction" film-making.I put science fiction in quotes, because these films are more more about the human soul and if there can even be such a thing in this brave new world we live in, than they are about the actual new forms technology might take, though PRIMER is probably the best on little science details, if you like that.To anyone reading this comment, I'd suggest you try to see all three.
I LOVE THIS FILM!What a good idea to have four short stories made into a feature film by connecting them with various themes: love, loss, and how human beings interact with robots/technology.
I am generally not a sci-fi fan but I really enjoyed this film because the stories are touching, funny, well-written, and thought-provoking.
The only other film that it somewhat reminded me of was Happy Accidents since both of the films are touching, intelligent, sci-fi comedies (although not all of the stories in Robot Stories are funny) yet the two movies really aren't comparable beyond that.
Some of the questions the film left me with were: how do we adapt to all the technological changes that will be happening in the very near future, how will I mentally deal with the loss of my loved ones as I grow older, how do parents still love their children when the children don't appreciate them, and what would it be like to be an alienated robot with feelings.I think this film would appeal to most people but maybe for different reasons.
Particularly liked Tamlyn Tomita in "My Robot Baby" and the amazing actress who played the grieving mother in "The Robot Fixer." It's incidentally the best looking tape-to-film transfer I've ever seen..
Robot Stories is an anthology of 4 distinct segments which premiered in the Singapore Fantastic Film Festival this evening, with a common theme of advanced technology or robots taking centerstage.My Robot Baby In the future where career minded couples have no time to conceive and turn to adoption, they will have to go through a "baby trial" period, whereby they will be tasked to take care of a baby-like Tamaguchi robot, which looks similar and beeps just like Star Wars' Artoo-Deetoo, sans legs.The robot records how it is treated by the couple, and without proper care, feeding and cleaning, once the evaluation period is up, the couple will be deemed unsuitable to adopt a human child.So when career gets in the way of childcare, desperate times calls for desperate measures.
It makes you think if what had been done to outsmart the system is ethical, and reflect upon a statement made by one of the characters early in the film on "never fall in love, never get married, and never have kids" if these sacrifices cannot be made.The Robot Fixer A man is lying comatose on a hospital bed, while a mother clings onto childhood memories of her time with her kid.
While waiting for her child to wake up from his coma, she inevitably goes through his stuff, with most of her memories being linked with his robotic toys.While she scours all around town to re-assemble the broken and lost pieces (in the hope that it will jog his brain waves when she speaks and presents them to him), it parallels her determination and never-say-die spirit that her son will one day be able to be with her again.My guess is any son or mother in the audience, will be able to identify with the characters.
A mother's love is always strong.Machine Love Director Greg Pak stars as the protagonist in this segment, a (probably subtle approval to Apple) model G9 iPerson, who's able to self-deliver himself to the company he is bought for.This segment perhaps dreams of what the future may hold for Artificial Intelligence - that of never-tiring workers who can work at their desks all day without the need for breaks, always responding eagerly to "you got work" calls and striving to accomplish all assigned tasks in the fastest possible speed.And with AI, this segment inevitably explores the "what ifs" that these lifeforms could have or developed in terms of emotions, and love, as they learn through interactions with humans.Being the perfect worker, it also brings forth fear into humans on things that we don't understand, and the usual name calling / chiding happens.
Abuse also follows with female versions of the iPerson, with lecherous males openly fondling and commenting on why the racks ain't being bigger.I shan't finish this segment for you, except to comment that these robots sure know the right buttons to push!Clay This is, in my opinion, the weakest of the four stories, but the one which has the most potential, and features the most human of emotions, that of love, longing and the anticipation of death.It is an era where the human brain can be mapped onto a computer, so that man can finally beat death, and while the physical person wastes away, the consciousness will forever be alive in an electronic form.
I am sure that artsy people who do not follow scientific and technological developments much and who are not really into sci-fi, may be pleasantly surprised and challenged by the ideas in these 4 stories, but for anyone, who have thought about these issues 10 years ago and have since moved on, these stories do not offer anything other than cheesy effects and lame acting.The first story has an interesting premise - a couple has to adopt a baby robot for a month as a test for their ability to adopt a human baby, but it really doesn't add anything to what was already covered in depth in Spielberg's A.I. and it also looks sh1t compared to an A-movie sci-fi such as A.I.The second story isn't really a science fiction film at all and is virtually content-free.
It has some semi-interesting ideas about the future, but the overall message is pathetic - robots need some love too.
Live-action robot stories (even shorts) on a tight budget are a bad idea.
Despite the cheesy props the story does contain some interesting ideas, like when the robot's "mother" reprograms the bot so that it automatically takes care of itself.
Unfortunately the concept was better explored and in much greater detail in Steven Spielberg's A.I., and it quickly dissolves into a silly suspense film when the baby robot runs amok late at night.The second story, The Robot Fixer, isn't really about robots at all.
Her reaction at the end is the key to the entire film.The second story, "The Robot Fixer," is really great.
Excellent performances, particularly by Wai Ching Ho as the desperate mother.The final two films, "Robot Love" and "Clay," don't quite have the power of the first two.
Let's empty our cup for this movie, and express from the heart for a moment, because that's what Robot Stories is all about.The movie starts with a tiny segment which runs during the opening credits, a cartoon short about little robots with red faces spitting out binary numbers, ones and zeroes float up the screen, at different pace...
We watch the story develop as mom seeks to fix his toys and come closer to understanding him, she takes responsibility for the part she played in the distance that set them apart, it's a very beautiful story."There's a change that even with regret cannot be undone." -Division Bell Pink Floyd.Story 3:Machine Love takes place some time in the near future with the Gi9 Person.
The Second Vignette Is a Little Gem. Robot Stories, created in 2003 by Greg Pak is his first (and so far his only) feature film.
I think it should be considered also within the context of Greg Pak's creation, all his comics and very short movies (videos of less than 10 minutes, even less than 2 minutes): it is about the interactions between our universe and the universe of his comics.Robots were created with the aim to help us: in our work, or in our moments of fatigue, when we need some kind of intelligent toys to play with.
On the other hand, in most cases the universe of robots offers a window for us, to look into it: what happens there, in their world, is the objective image of what we are.If we consider now the four vignettes of the movie, we could say that the vision of Greg Pak about the matter is rather pessimistic.
"The Robot Fixer" deals with an emotionally-distant mother whose son lies brain-dead in a coma.
The final tale, "Clay," tells the story of a dying sculptor given to the opportunity to have his mind scanned so that his consciousness can survive after his death in huge database.I wasn't sure what to expect when I saw this film.
From the trailer, I expected a somewhat whimsical piece about love and robots, and the third tale with its G9 iPerson is certainly whimsical enough, but I found the overall film much more emotionally challenging and moving than I anticipated.
The second and fourth stories were the best.SPOILERS...."The Robot Fixer" is hardly science fiction at all.
The film starts with a mother, wonderfully played by Wai Ching Ho, arriving to find her son lying in a coma.
He'd rather take his chances on a natural death than survive in a reality he finds false and artificial."Robot Stories" is an excellent first feature by writer/director Greg Pak. I look forward to seeing another one..
This is a film that examines the premise of robotics in four separate stories and the end result is both a hit and miss with some of the episodes better than others.
The second story is about Bernice (Wai Ching Ho) who along with her daughter Grace (Cindy Cheung) visit her comatose son Wilson and they must decide whether to pull the plug on him since he is brain dead.
The fourth story is about John (Sab Shimono) who is a dying clay sculptor who doesn't want his consciousness to live on when a digital replica of his brain is made and he frequently talks to his dead wife Helen (Eisa Davis) who appears in holographic form.*****SPOILER ALERT*****This film is written and directed by Greg Pak (Who appears in the film) and he makes his feature film debut here with mixed results but his stories do have a way of making you think even if they leave you with no conclusion.
The fourth is the best and Shimono gives a splendid performance and if the other stories were this good than more people would be talking about this film.
Director Pak in interviews has said that he made this because he always thought robots were "cool" and this does have an air of uniqueness that science fiction lovers will definitely want to check out. |
tt0028010 | My Man Godfrey | During the Great Depression, Godfrey "Smith" Parke (William Powell) is living alongside other men down on their luck at a New York City dump on the East River near the 59th Street Bridge. One night, spoiled socialite Cornelia Bullock (Gail Patrick) offers him five dollars to be her "forgotten man" for a scavenger hunt. Annoyed, he advances on her, causing her to retreat and fall on a pile of ashes. She leaves in a fury, much to the glee of her younger sister, Irene (Carole Lombard). After talking with her, Godfrey finds her to be kind, if a bit scatter-brained. He offers to go with Irene to help her beat Cornelia.
In the ballroom of the Waldorf-Ritz Hotel, Irene's long-suffering businessman father, Alexander Bullock (Eugene Pallette), waits resignedly as his ditsy wife, Angelica (Alice Brady), and her mooching "protégé" Carlo (Mischa Auer) play the game. Godfrey arrives and is authenticated as a "forgotten man". He then addresses the crowd, expressing his contempt for their antics. Irene is apologetic and offers him a job as the family butler, which he gratefully accepts.
The next morning, Godfrey is shown what to do by the Bullocks' sardonic, wise-cracking maid, Molly (Jean Dixon), the only servant who has been able to put up with the antics of the family. She warns him that he is merely the latest in a long line of butlers. Only slightly daunted, he proves to be surprisingly competent, although Cornelia holds a grudge against him. On the other hand, Irene considers Godfrey to be her protégé.
A complication arises when Tommy Gray (Alan Mowbray), a lifelong friend of Godfrey's, recognizes him at a tea party thrown by Irene. Godfrey quickly ad-libs that he was Tommy's valet at Harvard. Tommy plays along, embellishing Godfrey's story with a nonexistent wife and five children. Dismayed, Irene impulsively announces her engagement to the surprised Charlie Van Rumple (Grady Sutton), but she soon breaks down in tears and flees after being congratulated by Godfrey.
Over lunch the next day, Tommy is curious to know what one of the elite "Parkes of Boston" is doing as a servant. Godfrey explains that a broken love affair had left him considering suicide, but the undaunted attitude of the men living at the dump rekindled his spirits. During lunch, Cornelia has her longstanding boyfriend "Faithful George" (Robert Light) call Tommy away to the telephone. She takes a seat at Godfrey's table and attempts to negotiate a peace with him — but only on her terms. Godfrey declines and Cornelia leaves in a huff.
When everything she does to make Godfrey's life miserable fails, Cornelia plants her pearl necklace under his mattress. She then calls the police to report her missing jewelry. To Cornelia's surprise, the pearls do not turn up when Godfrey's suite is searched. Mr. Bullock realizes his daughter has orchestrated the whole thing and sees the policemen out. After they have gone, he informs Cornelia she had better find her pearls herself, as they are not insured.
The Bullocks then send their daughters off to Europe to get Irene away from her now-broken engagement. When they return, Cornelia implies that she intends to seduce Godfrey. Worried, Irene stages a fainting spell and falls into Godfrey's arms. He carries her to her bed, but while searching for smelling salts, he realizes she is faking when he sees her (in a mirror) sit up briefly. In revenge, he puts her in the shower and turns on the cold water full blast. Far from quenching her attraction, this merely confirms her hopes: "Oh Godfrey, now I know you love me ... You do or you wouldn't have lost your temper." Godfrey resigns as the Bullocks' butler.
However, Mr. Bullock has more pressing concerns. He first throws Carlo out, then announces to his family and Godfrey that his business is in dire straits and that he might even face criminal charges. Godfrey interrupts with good news: he had sold short, using money raised by pawning Cornelia's necklace, and bought the stock that Bullock had sold. He gives the endorsed stock certificates to the stunned Mr. Bullock, saving the family. He also returns the necklace to a humbled Cornelia, who apologizes. Godfrey then leaves.
With his stock profits and reluctant business partner Tommy Gray's backing, Godfrey has built a fashionable nightclub at the now-closed East River dump called "The Dump", "...giving food and shelter to fifty people in the winter, and giving them employment in the summer." Godfrey tells Tommy he quit the Bullocks because "he felt that foolish feeling coming along again." However, a determined Irene tracks him down in his manager's apartment at The Dump and bulldozes him into marriage, saying, "Stand still, Godfrey, it'll all be over in a minute." | romantic, comedy, satire, depressing | train | wikipedia | null |
tt0064110 | The Bridge at Remagen | The film opens with the U.S. Army failing to capture the still-intact Oberkassel railway bridge. Lieutenant Hartman (George Segal) is an experienced combat team leader who is becoming weary of the war in Europe. After he is promoted to company commander following the reckless death of the previous officer, he is given orders to advance to the Rhine River at Remagen where he is promised a rest for his men. At the same time, Major Paul Kreuger (Robert Vaughn), an honorable Wehrmacht officer, is given the job of destroying the bridge there by his friend and superior, Colonel General von Brock (Peter van Eyck), who has been given a written order to do it immediately. But the staff officer appeals to Kreuger's sense of honour, giving him a verbal command to defend the bridge for as long as possible to allow the 15th Army trapped on the west bank of the river to escape.
After capturing the undefended town of Meckenheim, four miles from Remagen, Hartman is ordered by his battalion commander, Major Barnes (Bradford Dillman), to continue the advance until encountering resistance. Hartman is disgusted because Barnes is using the men's lives to further his own military career. Krüger, meanwhile, has been touring the defences above the town of Remagen. He assures the handful of troops, which are just old veterans and boys, that he has a personal guarantee from the general that tank reserves are on the way. But when Hartman's troops attack the town, Krüger is shown the reality when he calls for the promised tanks and is told they have been sent "elsewhere".
On finding the bridge intact, General Shinner (E. G. Marshall) orders Major Barnes to secure its capture, saying: "It's a crap shoot, Major. We're risking one hundred men, but you may save ten thousand". With only momentary hesitation, Barnes agrees to send in Hartman's company, and orders the troops to gain a foothold across the Rhine River, thus avoiding a costly assault-crossing elsewhere. Sergeant Angelo (Ben Gazzara), one of Hartman's squad leaders and friends, highlights the mood of the war-weary men by striking Barnes after being ordered onto the bridge.
On the other side, as the American soldiers rush the bridge, Kreuger, along with explosives engineer Captain Baumann (Joachim Hansen) and Captain Schmidt (Hans Christian Blech) from Remagen Bridge Security Command, tries to blow up the bridge, but the explosives they use prove to be not the high-yield military grade charges needed for the job, but weaker industrial explosives, which fail to destroy the superstructure. Hartman's troops dig in to consolidate their hold on the intact bridge.
Krüger, who still believes in victory, shoots two soldiers as they try to desert. He then realises that the futility of the situation has turned him on his own troops and the defensive position has becomes untenable. In desperation, Kreuger returns to HQ to make a personal appeal to the general for more reinforcements, but on arrival he finds that the building has been taken over by the SS and Von Brock has been arrested for being "defeatist". Kreuger is then questioned about the delay before blowing up the bridge. Unable to present a written order, he is not able to justify his actions and is arrested.
Back at Remagen, Hartman leads a raid against a machine gun nest installed by Kreuger on board a barge moored to the bridge, but while taking its crew out, Angelo is hit and falls into the river. Despondent, Hartman marches on foot towards the bridge defenders' post at the same time as a squad of M24 Chaffee light tanks cross the bridge. The remaining German soldiers surrender to the Americans, and in the aftermath Hartman discovers that Angelo has survived after all. The next day, Kreuger is led out for execution by SS firing squad. With the sounds of many planes overhead, Kreuger asks: "Ours or theirs?". The SS officer attending him replies, "Enemy planes, sir!". "But who is the enemy?" muses Krüger before he is shot. (In reality, Hitler ordered five men responsible for the failed defense shot: one was convicted in absentia, four others killed).
The film concludes with scenes on the bridge, and a screen crawl informing the viewer that the actual structure collapsed into the Rhine 10 days after its capture. | murder | train | wikipedia | null |
tt0053085 | The Mummy | In 1921, an archaeological expedition led by Sir Joseph Whemple (Arthur Byron) finds the mummy of ancient Egyptian priest called Imhotep (Boris Karloff). When an inspection of the mummy by Whemple's friend Dr. Muller (Edward Van Sloan) reveals that the viscera were not removed, Muller deduces that Imhotep was buried alive for sacrilege. Imhotep had been mummified alive for attempting to resurrect his forbidden lover, the princess Ankh-es-en-amon. Despite Muller's warning, Sir Joseph's assistant Ralph Norton (Bramwell Fletcher) reads aloud an ancient life-giving scroll – the Scroll of Thoth. Imhotep escapes from the archaeologists, taking the Scroll of Thoth, and prowls Cairo seeking the modern reincarnation of Ankh-es-en-amon.
10 years later, Imhotep is masquerading as a modern Egyptian named Ardath Bey. He calls upon Sir Joseph's son, Frank (David Manners) and Prof. Pearson (Leonard Mudie). He shows them where to dig to find Ankh-es-en-amon's tomb. The archaeologists find the tomb, give the mummy and the treasures to the Cairo Museum, and thank Ardath Bey for the information.
Imhotep encounters Helen Grosvenor (Zita Johann), a woman bearing a striking resemblance to the Princess. Believing her to be Ankh-es-en-amon's reincarnation, he attempts to kill her, with the intention of mummifying her, resurrecting her, and making her his bride. She is saved when she remembers her past life and prays to the goddess Isis to save her. The statue of Isis raises its arm and emits a beam of light that sets the Scroll of Thoth on fire. This breaks the spell that had given Imhotep his immortality, causing him to age rapidly and then crumble to dust. At the urging of Dr. Muller, Frank calls Helen back to the world of the living while the Scroll of Thoth continues to burn. | revenge | train | wikipedia | Starring Peter Cushing (John Banning), Christopher Lee (Kharis/The Mummy), Raymond Huntley (Joseph Whemple) and Yvonne Furneaux (Isobel Banning/Princess Ananka), the film is written by Jimmy Sangster and was filmed at Bray & Shepperton Studios in England.
I mention the latter because Eastman Color has a different hue to it, something that makes this movie all the more affecting as a horror piece.The plot sees three archaeologists (Stephen & John Banning & Joseph Whemple) desecrate the tomb of Egyptian Princess Ananka.
After the success of "The Curse Of Frankenstein" (1957) and "Horror Of Dracula" (1958), two true Classics which revolutionized British Horror cinema, Hammer's dream-team, Horror-icons Peter Cushing and Christopher Lee, screenwriter Jimmy Sangster and director Terence Fisher reunited for "The Mummy" (aka.
And while this is not quite as brilliant as the two aforementioned films, in my opinion, "The Mummy" is definitely a great and wonderfully picturesque Horror film that can easily be considered a Hammer Classic.When British archaeologists, one of them John Banning (Peter Cushing) discover an ancient Egyptian tomb, they open the grave of a priestess who died 4000 years earlier.
And what could be more entertaining for a lover of Gothic greatness than seeing a vengeful Egyptian Mummy haunt a Hammer-style Victorian England, even more so if this vengeful Mummy is played by none other than the all-mighty Christopher Lee?
All things considered out of Hammer's three original re-tellings of stories that had already been told in Universal Pictures in the 30s, "The Mummy" is not quite as essential as "Curse Of Frankenstein" and "Horror Of Dracula".
Peter Cushing is superb as always (and was it a deliberate decision to make his character's lameness a wry twist on the fact that Kharis the mummy was always lame in the old Universal movies?), as is Hammer semi-regular George Pastell in the stereotypical mummy-controller-in-the-fez part.
It is a curse that follows the men back to England, where they are stalked to their deaths one by one.Director Terence Fisher and cinematographer Jack Asher worked a number of Hammer films, including the earlier HORROR OF Dracula and REVENGE OF FRANKENSTEIN.
The cast plays it out extremely well, with the lovely Yvonne Furneaux a classic Hammer beauty, Peter Cushing as her archaeologist husband, and (yes, the posture and bearing really is unmistakable) Christopher Lee under wraps for the title role.The DVD contains no extras beyond the original trailer, and although the transfer is not pristine it is nonetheless very good indeed.
In1895, in Egypt, the British archaeologists John Banning (Peter Cushing), his father Stephen Banning (Felix Aylmer) and his uncle Joseph Whemple (Raymond Huntley) discover the tomb of Princess Ananka (Yvonne Furneaux).
Lee's Mummy is spectacular; he's goddamn huge, and it's very impressive to watch him crashing through doors and French windows, absorbing shotgun blasts as if they were pinpricks (I hear Lee actually got injured several times making this movie; I can't say I'm surprised!)My favorite scene is the ideological debate between the Egyptian badguy (a very cool performance by George Pastell) and Peter Cushing's snooty archaeologist character.
Ignoring warnings, a team of British archaeologists open the tomb of Egyptian Princess Ananka and set loose the mummy Kharis (Christopher Lee).
And there's excellent support from character players like Michael Ripper and Raymond Huntley.THE MUMMY, along with (HORROR OF) Dracula and CURSE OF FRANKENSTEIN (and to a lesser extent CURSE OF THE WEREWOLF), is one of the key movies of the Hammer canon.
His performance in this film isn't his finest ever (or even his finest under Terence Fisher), but it's more than solid and, to be honest, Peter Cushing is one of the few actors that could just spend the running time doing nothing and still have this horror fan riveted, such is the power of his screen presence.
By the time they made 'The Mummy' two years later some kind of understanding had been entered into and this movie, though it isn't credited as such, and the characters names have been changed, is pretty much a remake of the 1932 Universal classic which starred Boris Karloff.
The very deadly mummy (Christopher Lee) takes avenge on some archaeologist (Felix Aylmer and his son played by Peter Cushing) who desecrated the tomb of his beloved princess (Ivonne Furneaux in double role ) .
However , the mummy attacks and suddenly stops when believes Furneaux is reincarnation of ancient sweet heart .Horror Hammer classic with effective atmosphere , sense of awe and wonder along with fine performances .
It's followed by ¨Mummy's shroud¨(1967) also produced by Hammer Films, directed by John Gilling with Andre Morell and Elizabeth Sellars.Other pictures about Mummy character are the following : the Universal classic (1933)¨The mummy¨ by Karl Freund with Boris Karloff and David Manners , that ahead many follow-ups as sequels as ¨¨Mummy's hand (1940) with Dick Foran and Cecil Kallaway .
This remake of the remake is a Hammer Horror affair and the beginning of their own "The Mummy" franchise.Starring horror legends Peter Cushing and Christopher Lee it brings The Mummy tale into bold colour and it does the story many favours.Essentially it tells exactly the same story as the 1932 original but blends several moments from the 1940 and beyond remake franchise including a tweek on the part three very dark finale.With strong performances, a highly improved mummy and the usual Hammer Horror charm this is the best "The Mummy" film since the 1932 original.This has now wet my appetite for the other 3 movies.The Good:Couple of well made scenesThe mummy looks greatThe Bad:Very sudden endingA few of the negative Hammer Horror tropesThings I Learnt From This Movie:Mans best friend is a horseDrink driving wasn't a thing when it came to horse and cartsFez's are still a sign of evil.
And one more thing: I never knew that Christopher Lee was a horror film actor back then.The film is about a man name Stephen Banning, who with his father and uncle were on archaeological expedition, and had excavated the lost tomb of the long-dead, Egyptian princess Anaka.
Hammer Films continued its streak of monster movies with "The Mummy", featuring Christopher Lee as an ancient Egyptian priest who comes back to life after his tomb gets disturbed.
Sure enough, there's a woman (Yvonne Furneaux) in Victorian England who looks exactly like an Egyptian princess from 3,000 years ago.The Hammer movies were some of the most fun from this era.
This version of "The Mummy" was made back then and, in my opinion, is the best version of the revengeful reborn Egyptian high priest story ever made and a very good horror sample too.Terence Fisher, and experienced and talented director of the genre, brings a very simple and at the same time entertaining and enjoyable movie.
As far as the old Universal cycle goes, I assume most horror fans agree that the "Karloff" version is the superior one, but the films with Kharis--mostly the ones with Lon Chaney Jr., are a lot of fun as well.
Hammer remakes Universals' "Kharis" series of 1940s mummy movies, with engaging results, in standard tale of "profaners of the tomb" and the consequences that they must face.
In the late 19th century, elderly Stephen Banning (Felix Aylmer), his brother Joseph Whemple (Raymond Huntley), and Stephens' son John (Peter Cushing) lead an expedition that discovers the Egyptian tomb of the Princess Ananka.
The mummy watching over things is Kharis (Sir Christopher Lee), who is brought back to England three years later to dispatch Joseph and the Bannings."The Mummy" is not as thickly atmospheric as the best Hammer films, and those Egyptian scenes do look pretty artificial, but it still delivers quite a bit of fun.
The very gorgeous Yvonne Furneaux doesn't show up until around the one hour mark, but as the wife of Cushings' character, she does play a rather important role, since Mrs. Banning coincidentally bears a resemblance to the Princess.Aylmer and Huntley are joined by other top British character players like Eddie Byrne (as the police inspector), George Pastell (a Hammer repertory player who often specialized in ethnic roles), the ubiquitous Michael Ripper (in a funny comedy relief role as a drunken, frequently frightened poacher), George Woodbridge (as a police constable), and Willoughby Gray (as Dr. Reilly).
Even better is the atmosphere created, the film is beautifully moody, but the scares that any scene with the Mummy creates makes one's hairs stand up on the back of their necks even from a young adult perspective.Peter Cushing plays his mild-mannered role with marvellous crispness, Yvonne Furneaux is beauty personified and George Pastell is a cool "villain" without falling into cartoon territory(for a character that was in danger of doing so).
But Christopher Lee walks away with the film, he oozes with imposing authority as the high priest and is just terrifying as the Mummy, even the look of him freaks you out, a brilliant performance that ranks among his best in a Hammer horror.
Along with uncle Raymond Huntley, Felix Aylmer and Peter Cushing play the rather demonstrative father and son scientists responsible for the desecration of the tomb all of whom the rather energetic mummy Christopher Lee is programmed to kill.
There's nice economy scale production values with an atmospheric use of colour and brooding ancient Egyptian music to go with the mainly convincing serious acting and dialogue; and no cgi cartoonery taking it all over.It's an excellent and engrossing fantasy for all kinds of reasons and I thoroughly enjoyed it yet again (maybe the tenth time now) and recommend it - although for perspective I better own up and state here I preferred the Karloff original and thought the four sequels to it pretty good too while Fraser's sterile updatings were all watchable but far too mechanical..
Here, an archaeological team led by Stephen Banning(played by Felix Aylmer) discover the tomb of Princess Ananka, but also accidentally revive the mummy of Kharis(played by Christopher Lee) driving Stephen into a catatonic state.
Three years later, an Egyptian high priest(played by George Pastel) brings Kharis to England to avenge the tomb desecration, first by killing Stephen, then by going after his son John(played by Peter Cushing) who was also present at the dig.
With the likes of Peter Cushing and Christopher Lee, who was rather relentless and grand in appearance as the Mummy/Kharis, they make a film like this watchable, but also add a touch of professionalism.
The script was quite close to the original and starred what was rapidly becoming the greatest team of horror actors Peter Cushing and Christopher Lee. They had already been together in Dracula and Frankenstein movies as well as a remake of Conan Doyles "Hound of the Baskervilles" This is a stylish telling of the mummy story, with outstanding performances by the entire cast but especially Lee as Kharis.
Who can ever forget when the mummy does appear, his ripping off of the bars and protective screening and breaking through the window to attack his helpless victim.A classic horror film from the folks at Hammer.If you liked this and the 1932 original, avoid the 1999 remake..
Lee, too, is thoughtful in what is a character with no spoken lines (if Lee does speak, I don't remember it, and I just watched the film), and he is remarkable perhaps due to limitations with his costume or injuries on set or what have you, and he makes him as memorable as the Karloff Mummy; you feel his presence in a room and his eyes do a lot of good work as well.There is a point midway through the film when Cushing reads from the history of this Karras character from thousands of years prior in Egypt when everything went down, and this is the one part of the movie that dragged for me.
I'm a huge fan of Hammer horror, but the mummy has long been my least favourite 'classic' monster and this Technicolor revamp of the Universal series does little to change that fact.The story is run-of-the-mill mummy guff: Mehemet Bey (George Pastell), a devotee of Egyptian god Karnak, revives mummy Kharis (Christopher Lee) to exact revenge upon the archaeologists who desecrated the tomb of high priestess Ananka.
John Banning (Peter Cushing) attempts to defeat the crumbling creature, which has designs on his wife Isobel (Yvonne Furneaux), who, for some unexplained reason, bears an uncanny resemblance to Ananka.With such a creaky script (from the usually reliable Jimmy Sangster), there is precious little director Terence Fisher can do to bring the story to life, and the film offers very few thrills, with only the attack on John Banning's father (Felix Aylmer) in a locked padded cell generating any excitement.
A pretty good mummy movie about John Banning (Peter Cushing) and Kharis (Christopher Lee) - fun to watch.This is NOT a remake of Universal's The Mummy 1932 with Boris Karloff.
There is also the issue of mimicking: Lee has a largely silent role as the Egyptian mummy, save for a flashback scene set in the past where his enduring love for Princess Ananka (Yvonne Furneaux) is revealed.Shot in lurid color, this version of THE MUMMY emphasizes the story's Gothic elements.
I'm going against the majority of views expressed here and not raving about this movie although its certainly better than the 1999 remake.Not one of Hammers best despite good performances by Peter Cushing and Christopher Lee - it never really develops any tension until late on.
The Hammer horror films of the '50's - '70's hold a special place in the hearts of those who love the classic genre, but the reality is that they truly are outdone by the original Universal Pictures predecessors in every way.With this version of The Mummy (1959) we are treated to a "re-imagining" of the story of the eerie, and macabre love story of an ancient Egyptian priest who will sacrifice everything for the forbidden woman of his desires, ultimately becoming the undead creature that is the (movie) Mummy.
He did not have in mind Christopher's Lee lithe athletic performance as the Mummy a world away from Boris Karloff's lumbering monster.Hammer's remake of the Mummy might be low budget which you can tell from the studio bound shots supposedly set in Egypt but comes across more of a mystery adventure film than horror.
Hammer Films' "The Mummy" was released in 1959 and stars Christopher Lee in the eponymous role stalking an archaeologist, played by Peter Cushing, because he was part of the party that desecrated the Egyptian tomb of his beloved, Ananka.If you're a fan of Hammer's horror line, like I am, you'll naturally want to see (or own) this one, but it's definitely one of their lesser films.
For me it is almost sacrilege that British Hammer would attempt to remake the film with Peter Cushing and Christopher Lee. Even these two talented gentlemen don't come close to what Karloff and the rest of the cast did not only creating a horror film, but a film of almost unyielding sadness.Some aspects of the Karloff classic are retained, but Hammer also used material from the later Mummy films that Universal did.
Peter Cushing gives a wonderful performance here and his character is very well written and he is also really likable and plays a good hero Christopher Lee is AMAZING as the Kharis the Mummy his walk is quite creepy and he is very convincing he is just astonishing here Yvonne Furneaux is okay here as Banning's wife she is very pretty and gets the job done George Pastell is great here he creep me out several times Eddie Byrne is great as the inspector and i found him likable there SPOILERS!!!!!
Hammer's behind the scenes crew were truly amazing, making relatively low budget films look like top-whack A pictures for many years.It's Christopher Lee this time who walks away with the acting honours in the title role.
Three years later an Egyptian transports the mummy to England to seek revenge against those who desecrated the Princess' tomb.Another camp Hammer movie, and although it has many flaws, its very scary in parts, and tramples all over Stephen Sommers effects mess.Cushing and Lee prove they are a force to be reckoned with when it comes to tally ho British horror, and though Lee looks like a New Romantic in hi human form, it's his titular character that really shocks on screen.It's probably the best incarnation of the Mummy legend, more exciting than the 1999 version, and just the right side of camp to better the Karloff version..
"Curse of Frankenstein" director Terence Fisher teamed up again with Peter Cushing and Christopher Lee in the Hammer Films' remake of the Boris Karloff classic "The Mummy" (1932) that surpasses it in terms of sheer terror.
Nevertheless, Bey refuses to let the crime of their tomb robbing to go unpunished, and he brings the mummy, Kharis (Christopher Lee of "Curse of Frankenstein"), to England with him to exact revenge not only on Stephen and John Banning, but also on Joseph Whemple.
A Combination of Several Films Rolled Into One. This movie begins with an archaeological expedition headed by a man named "Stephen Banning" (Felix Aylmer) who is looking for the tomb of an ancient Egyptian princess by the name of "Ananka" (played by Yvonne Furneaux).
For me, the best of Hammer's Mummy cycle is the first - The Mummy from 1959, directed by the ever-reliable Terence Fisher, featuring yet another collaboration of the studio's favoured star duo Peter Cushing and Christopher Lee.Egyptologists Stephen Banning (Felix Aylmer), Joseph Whemple (Raymond Huntley) and John Banning (Peter Cushing) discover the long-lost tomb of of the ancient Queen Ananka.
Cushing is crisp and charming as the archaeologist who goes against the threat from Ancient Egypt, and Lee is creepy both in the flashback pharaoh look and bandaged up and limping around, it is a simple enough story, you can tell the 1999 remake borrowed elements of the same storyline, there are only mildly bloody moments and the good old fashioned talkative scenes, it may not be as great as the other Hammer films, but it is a worthwhile classic horror. |
tt0049434 | The Last Wagon | Sheriff Bull Harper (George Mathews) is taking "Comanche" Todd (Richard Widmark), a white man who has lived most of his life among the Indians, to be tried for the murder of Harper's three brothers. The pair join a wagon train led by Colonel Normand (Douglas Kennedy). Harper's brutal treatment of Todd causes friction with some members of the wagon train. When the sheriff beats a lad for giving Todd a pipe to smoke, Todd takes advantage of the distraction to kill his tormentor with a dropped axe.
Then, while some of the young people sneak away for a late night swim, the Apaches kill everyone else. Todd miraculously survives a fall when the wagon to which he is tied is thrown off a cliff. The Apaches are gathering to avenge the massacre of their own women and children by the whites. It is up to Todd to lead the six other survivors to safety, despite the distrust of some of them. Along the way, he and Jenny (Felicia Farr) fall in love.
Despite saving a small U.S. cavalry detachment from an ambush, Todd is recognized and brought to trial. He reveals that all four Harpers raped and murdered his Comanche wife and killed his two young boys. General Howard takes pity5 on him and places him in the permanent "custody" of Jenny. | revenge, murder | train | wikipedia | This story chronicles the trials of a fugitive half-breed and the survivors of an Indian attack on a wagon train.
The plot is basically one of survival and redemption and the picture fleshes out Widmark's character in dramatic fashion, first as an abused prisoner, then as a trail savvy outsider who must bring to safety folks who dislike him because of his reputation.
The film has fine action scenes but tends to dwell on the attitudes of the young whites who resent being dependent on Widmark, yet realize they need him to pull them out of harm's way.
Felicia Farr is good as the woman who falls for Widmark in spite of his troubled past, as are Susan Kohner and Stephanie Griffin, the latter as a high-strung lass with a quick temper.
From the moment Richard Widmark shot the first bad guy even before the opening credits and the enveloping overture, I was hooked on him, the western scenery, the action, the anthropological dramatization of Comanche vs.
Richard Widmark plays Commanche Todd perfectly, displaying ruthlessness, kindness, charm and craggy reliability, in equal measure.The Widmark easy grin trademark is evident, which only he can switch on, lending light relief to a grim story.But for me the film is notable for a love scene that compares easily with that of the famous train meeting between Cary Grant and Eve Marie Saint in North by Northwest.
The sheriff (along with Widmark) soon meets up with a wagon train and tags along with them until he can get his prisoner back to town for a proper hanging.
As for why Widmark did all these nasty murders, he is supposedly part Comanche (he sure doesn't look it--that's because he was a white orphan raised by the tribe) and has a total disregard for society--and somehow this entitles him to kill with abandon.Problems soon develop with the settlers.
They are devout people and can't stand the way the sheriff takes pleasure in tormenting Widmark (who is now handcuffed to a wagon wheel).
Subtle its message ain't and the one young lady in particular plays a character too unlikable and annoying to be real--the one and only real deficit in an otherwise good film.Unfortunately for the wagon train, the land they eventually enter is Indian land.
At this point, the tables are turned and it's up to the cold-blooded killer, Widmark, to save the day--escorting the survivors to safety and teaching them to live off the land like natives.By the way, as you watch Widmark chained to the wagon wheel and doing some stunts as well while connected to the wheel, you are impressed by how much he was willing to do for this role.
It was great viewing this 1956 film and enjoying the great acting of a very young Richard Widmark,(Comanchi Todd), "Garden of Evil",'54, where he plays a very well experienced man who can deal with almost any situation and understands the Native Americans like a book.
Susan Kohner,(Jolie Normand), gave a great supporting role along with Nick Adams,(Ridge), both these characters had their own feels toward Comanchi Todd and some doubted if he was man enough to get them out of many death threatening situations.
If you are a fan of Richard Widmark, you will greatly enjoy this film which he made into a great Western Classic..
After his capture by Sheriff Bull Harper, Todd and his captor run into a wagon train of Christian settlers who suffer an attack by the Apache.
Severely depleted and ill equipped to deal with the terrain and threat of further attacks, the remaining settlers must put their trust in Todd to hopefully steer them all to safety.The Last Wagon is one in a long line of Westerns that feature a similar plot, but this Delmer Daves {Dark Passage & 3:10 to Yuma} picture is a touch above many of the others due to having a few things in its favour.
As a character study of a group of people under duress, Daves and his co writer, James Edward Grant, have excelled and broken away from maudlin tendencies so rife in films of this ilk.
Virtues and vices come under the microscope, as does the art of being humanitarian, regardless of circumstance and being armed with basic facts or foolishly acting on hearsay.Also containing some beautiful location work at the afore mentioned Oak Creek Canyon, Arizona {filmed in Cinemascope and Technicolor}, it's most certainly looking like a film that has apparently been forgotten outside of the Widmark and Western purists.
the scenery was beautiful also.All the young actors gave wonderful performances.please do yourself a favor and enjoy one of the great stories of all time..
As with most westerns, it has not aged well, although it is clear that the major story line isn't really about the "Indians" but instead is about "good" white people versus "bad" white people.
Seeing it again last night, I'm happy to report that this 1956 Western holds up well despite the dated score.THE STORY: Richard Widmark stars as Comanche Todd, a white man raised by Comanches and under arrest for murder.
First of all, this film is gorgeous to look at -- shot on location in Sedona, Arizona, at the mouth of Oak Creek Canyon.Secondly, not only is the plot excellent, so are the characters, cast and everything else.
The film successfully takes you back to the late 1800s and gives a good glimpse of what it must have been like to travel out West during that time.Felicia Farr and Susan Kohner stand out in the supporting cast; both are incredibly beautiful.
Not to mention, the Indians are portrayed realistically, unlike many 50's Westerns where you just roll your eyes at their silly depiction.Aside from the dated score (which isn't bad, just dated), the only negative I can cite would be the way in which the conflict with the Apaches is concluded.
We had guests at the time and took them to the site to see some of the filming.The guests were polite and remained out of the way, however Richard Widmark was rude and crude and used language that was extremely shocking to a 13 year old boy.The movie was better than fair (although I saw it more than 40 years ago).
What reaches you is the hysterical mood , Widmark being dragged by a horse, chained to a wagon wheel, the brutal killings , all this blended to an impressive scenery.
The love relationship between Fecicia Farr and Widmark has a sensuality not at all common at those times, specially in westerns..
Richard Widmark's costume does indeed show evidence of Comanche Todd being shot in the shoulder at the beginning of the movie: a tear and powder burn.
A half-breed (Richard Widmark) wanted for multiple murders is hunted down and captured by a vicious sheriff (George Matthews) who, as he's dragging him back to civilization to be tried and then hung, coincidentally meets up with a wagon train of devout Christians.
The situation as they join the train is the best part of the film, as Richard Widmark as the half-breed being convincingly mistreated by the sheriff (Matthews is pretty believable) wins the sympathy of a sizable proportion of those in the wagon train, which includes attractive Felicia Farr, Stephanie Griffin and Susan Kohner.
are well enough done, and the action builds fairly well with Widmark being chained to a wagon wheel, who manages to get one hand free enough to kill Matthews by skilfully throwing a hatchet at him.
That, unfortunately is the high point of the film, for when they return they find that everyone in the train has been killed by Apaches except Widmark who somehow escapes even though he's still chained to the wagon wheel.
The rest of the film is Widmark, half-breed, who's lived with Commanches for most of his life, now saving the young and attractive females along with Nick Adams and Tommy Rettig as he leads them to a town, where he faces a trial that is one of the more inane court scenes you are likely ever to see..
Richard Widmark is very sexy in his role as a white man who has been raised by the Comanches.
It seems that the director of this film, Delmer Daves, wanted to analyze the behavior of each person in the film, which has the context of a western with 'thirsty' Indian Apaches around.
The hero is a white man (Richard Widmark) raised in a Comanche area, who has lost his Comanche wife and two sons in a fight.
'Thirsty' Apaches came one night and killed nearly everyone of settlers except Widmark, who immediately organized the getaway of survivors, he also saved their lives and even of a platoon they found in their run away from the Indians.
Teens on the Run. Comanche Todd (Widmark) must lead a small band of teenage survivors through hostile Apache territory, despite suspicions about his Indian background.It's a great shot when the wheel with Todd shackled to it gets pulled up the rock overhang, with the spectacular Technicolor scenery behind it.
Richard Widmark - sporting the colourful name of Comanche Todd - plays a wrongly accused outlaw guiding a group of teenagers across hostile Indian country after their folks have been massacred by Apaches.
George Mathews as the unsavoury and brutish sheriff, Douglas Kennedy as the upright Wagonmaster, the beautiful Susan Kohner (whatever happened to?),as his half breed daughter, Stephenie Griffin as her bigoted sister, Ray Stricklyn, the ill-fated Nick Adams and Tommy Rettig as the young brother of the film's leading lady the lovely Felicia Farr.
Plot-wise the film is quite enthralling, and it's interesting to note the change in attitude of the people with time towards Widmark, from suspicion and hate towards gratitude and love by the end.
The other actors give reasonable performances but of course in this film, Widmark steals the show, just as he did in "No Way Out".
When I saw the film initially, I was fearing some ghastly sad ending, thinking that Widmark would inevitably come a cropper, but fortunately, love rules OK and all turns out right !
After he is tracked, caught and chained to a wagon train for killing, in cold blood, three brothers in revenge for the murder of three people closest to him, his wife and his two boys, Comanche Todd (Richard Widmark), leads a wagon to safety through Apache country...It is an intense drama because Col. Normand's train was massacred by the savages and six young survivors were left on his hands, putting their trust in a renegade murderer to bring them out of the wilderness
Delmer Daves tries to paint the West as a perfect artist proving himself as a talented director of the Western movies...
As in "Broken Arrow," "Drum Beat," "3:l0 to Yuma," and "The Hanging Tree," this great director gives us, in his exciting Western, a study of several characters as individuals and as representatives of virtues, vices, and other abstract qualities...Richard Widmark gives a great performance as a man who took the Comanche law to avenge his people
For him there was no "white man's law" for hundreds of miles!
For her Widmark could have saved himself
He could have gone and she urged him to go
Susan Kohner tells her sister Valinda (Stephanie Griffin) that she acts so clean but she thinks so dirty
And when she says "Indian-lover" and she makes it sound so filthy
Tommy Rettiga lot more man than a boy is the most effective member of the cast, sincere in his emotional feelings and highly amusing...Nick Adams saw those falls this morning but refuses to notice that the kid could get swept over them
George Mathews plays Sheriff Bull Harper with a killer he's bringing to justice
He explained to the Christians 'not to be fooled by the color of his eyes and his skin.
He may be white, but inside he's all Comanche.' Col. William Normand (Douglas Kennedy) asks the Sheriff to secure the prisoner but to stop his brutality
Filmed in Technicolor and CinemaScope, the picture has plenty of action, good exterior photography including splendid picturesque shots of the "Canyon of death", the rocks, plains and rivers....
The Last Wagon is a film with some good intentions and some very good moments, but it could have been a whole lot better.A really brutal sheriff played by George Matthews brings a prisoner in to a small wagon train.
They start having some sympathy with prisoner Richard Widmark.When some of the young people of the train go off and frolic in a midnight swim, they return and find the Apaches have massacred the train except for one survivor.
Reluctantly they trust him and the adventure begins.Widmark's is the only really developed character in The Last Wagon, the rest have some strange motivations and attitudes that are not fully explained.
In Commanche Todd Richard Widmark gives us one of his most likable and unforgettable characters in what could easily have become a throwaway performance in a "B" movie.
He begins the movie on the run from a posse of four and the audience don't know why, as we watch the action unfold he manages to kill three deputies before the sheriff finally gets the better on him.
Widmark and his captor fall in with a wagon train of devout Christians heading west looking for a clean start after the horror of the civil war.
I will not say anything about the end of this good movie, except that it doesn't "fit" with the rest of it, and it's sort of a sudden downturn.Richard Widmark is great, George Matthew's character last less than 20 minutes and you do think that was more than enough, the survivors are a solid and heterogenous group of characters, albeit a little stereotyped (Daddy's little girl, Daddy's Other little girl, etc) and even the Indians (Apaches if I'm correct) had their reasons (instead of the usual 'let's kill the palefaces because we do exist for that').But the end of the movie do seems to be imposed by a VIP of the studio who didn't cared about a more logic, honest and dramatic finale and had his own version of 'Happy End' imposed on the story.Anyway, the tale of a group of teenagers having to trust a renegade 'indian lover' wanted for three murders (and after he had committed a brutal fourth under their noses) is well delivered, and is a good entertainer..
Richard Widmark is Comanche Todd, captured by a brutal sheriff.
Apaches attack and slaughter all the passengers except Widmark and a handful of women and kids, including Felicia Farr, Susan Kohner, and Nick Adams.
He was raised by Indians, as so many other Western characters have been, from "Hombre" to "Hondo." He's stoic, knows nature, brims with common sense, and is tough as hell.Farr and the rest represent culture.
He snaps out orders and helps them shed their winsome civilian ways, as a Widmark character put it in another movie.No, Widmark doesn't sound much like an Indian.
There is, but we have to wait til the final reel which sees Comanche Todd (Widmark) on trial for murder to discover that three brothers raped his Comanche wife then killed her and his two sons.
For his trouble in the opening scene Widmark is 'captured' by brutal 'sheriff' Bull Harper (George Matthews) and winds up tied to a wagon wheel, part of a wagon train of pioneers heading West, yet is still able to bury an axe in Harper's head.
When a group of the younger people sneak off for a midnight swim they return to find that Apaches have killed everyone except Widmark who is halfway down a cliff still tied to the wagon.
There's really only one way for the story to go from here; Widmark must lead the survivors to safety through Apache territory and they are evenly divided between those who like him and those who hate him.
It's watchable because it revolves around Widmark but there isn't half as much chemistry as there should be between him and leading lady Felicia Farr (on the other hand that was the year she married Jack Lemmon so maybe she had other things on her mind) and of the three prominent females Susan Kohner walks away with the acting honours..
99 minutes.SYNOPSIS: Set in the Arizona territory in 1875, the story tells what happens to a small group of people, mostly teenagers, who, quite by accident, survive an Apache attack on their wagon train and endure terrible hardships in the long trek to safety.NOTES: Fox's 62nd CinemaScope feature.
Richard Widmark's character, Comanche Todd, is everything a man should be in the Wild West – brave, resourceful, resilient, stoical, astute, firm but fair with children, tender with women, able to lead and command, not violent by nature but able and willing to use violence to protect or avenge.
As the story progresses and he has to save the young people who survive the massacre of a wagon train, he is freed by gradual stages, as they come to trust him.
But it is satisfying, nevertheless, as it ties up the character arc of each of the young people, their growth measured by their relationship with Todd, who embodies the best qualities of both the Indians and the settlers..
Arrested for killing the men who murdered his wife and sons, "Comanche" Todd survives being chained to a wagon wheel when Apache ambush the wagon train leaving only 6 young people as well as Todd: it falls to him to lead them to safety through hostile territory.Richard Widmark has a meaty action hero leading role as Todd in this 1956 western.
The other characters are an interesting bunch, with Nick Adams in the thankless role of aggressive ass, Tommy Rettig as substitute son, and Felicia Farr as tasty young thing who could easily adapt to frontier wife.The action is good, the music is typical western fare, and the scenery is wonderful. |
tt0256524 | The Curse of the Jade Scorpion | In 1940, C.W. Briggs (Woody Allen) is an insurance investigator in New York City who is highly successful, owing to his many connections and ability to think like a criminal. His work does not impress Betty Ann Fitzgerald (Helen Hunt), an efficiency expert who butts heads with C.W. over his old-fashioned views. Her advice is usually followed, however, because she secretly is in a relationship with her boss, Chris Magruder (Dan Aykroyd), who constantly reassures her that they will be free to pursue their relationship in public once he finalizes his divorce with his wife.
While attending a dinner with some employees, Voltan (David Ogden Stiers), a stage magician calls on Betty Ann and C.W. to be in his hypnotism act. Using the words "Madagascar" and "Constantinople" on them respectively as trigger words to put them in a trance, the two are given the suggestion that they are newlyweds who are madly in love before being reawakened. When C.W. returns home for the evening, he receives a call from Voltan, who uses C.W.'s trigger word to put him back in a trance and orders him to steal jewels for him. C.W. has no recollections of these crimes after he is woken up and is determined to prove himself by solving the crimes. He starts investigating Betty Ann on the grounds of her suspicious behavior (actually related to her affair with Chris) and sneaks into her house one evening. There, he witnesses Chris telling her that he has reconciled with his wife and will not have a divorce. When he leaves, Betty Ann becomes drunk in a fit of depression and tries to jump out of a window. C.W. stops her and spends the night keeping her from other self-destructive activities.
Eventually, investigations start picking up evidence pointing to C.W., leading to his arrest. He manages to escape to Betty Ann's place, where she grudgingly hides him. Thinking that C.W. is no longer available, Voltan calls Betty Ann, using her trigger word of "Madagascar" to put her in a hypnotic state and steal for him. On her return, still in a trance, the subliminal suggestion of being in love leads her to seduce C.W. Eventually C.W.'s co-workers and friends George Bond (Wallace Shawn) and Alvin "Al" (Brian Markinson) recall the initial hypnotism and realize that it is the cause of the robberies. George, an amateur magician, frees C.W. of the trigger word and restores his memories. C.W. realizes what has happened and goes back to Betty Ann's apartment to find her missing. He then realizes that Betty Ann must have been hypnotized again and manages to locate the site where the still hypnotized Betty Ann is delivering the jewels to Voltan. Voltan discovers C.W. and holds him at gunpoint. However, C.W. deduces that a small-time criminal like Voltan would not have the nerve to do something as drastic as murder. Voltan tries escaping, but the police catch him shortly after. The still-hypnotized Betty Ann expresses her love for C.W. who takes advantage of her state to passionately kiss her before erasing her memories of the event.
Back at work, the employees talk about Betty Ann and Chris going on a romantic getaway. C.W. goes to Chris to inform him of his resignation. An apologetic Chris understands and lets him know that if C.W. leaves, the company will give him his blessing and if he stays, Chris will give him a raise. He also promises C.W. that if he stays, he will make sure that Betty Ann will no longer interfere with his work, letting him know that he intends on forcing her to retire after they get married, as he does not want his wife to be working with him. This visibly disturbs C.W. C.W. then heads to Betty Ann's office to let her know of his resignation and say goodbye. The two have a parting drink during which Betty Ann playfully insults C.W. a few more times and C.W. expresses his amazement that an intelligent woman like Betty Ann would be with Chris, stating that she refuses to be vulnerable even at the price of finding true love and happiness. Outside, Al says that he will quit if C.W. does, and the rest of the staff hail him as a hero. C.W. dismisses his success as luck. When Al notes that hypnotism can make people do things that they do not want to do, George reveals that a hypnotized would not do anything that they would not when in a normal state, leading everyone to realize that both C.W. and Betty Ann have secret criminal instincts. Al then privately gets C.W. to admit that he loves Betty Ann. At Al's urging, C.W. decides to go after Betty Ann, who is about to leave for Paris with Chris. C.W. proceeds to propose to Betty Ann, confess his love for her, and convince her that she loves him, too. Betty Ann repeatedly rejects and insults C.W. while Chris tries to get C.W. to leave. As Betty Ann and Chris are about to leave, a desperate C.W. uses her trigger word to hypnotize Betty Ann. Betty Ann, who is now in an amorous state, dreamily tells Chris that she is staying with C.W. and announces that the two are getting married, confessing to C.W. that she fell in love with him the moment that they met. A frantic Chris runs to stop his divorce while Al presents C.W. with the jade scorpion as a gift. C.W. and Betty Ann decide to go to her apartment to have sex. As they are leaving, Al notes that it was lucky that George forgot to deprogram Betty Ann, but George reveals that he had done that the night before. Meanwhile, Betty Ann continues to gush out her love for C.W., and C.W. promises her that he will be able to make her love him for real. Betty Ann notes that anything is possible, pointing out that she was able to make C.W. fall in love with her without using his trigger word. At that moment, C.W. realizes that Betty Ann is no longer hypnotized and finds her grinning knowingly. Understanding that she is going with him willingly, the two head off with Betty Ann putting her arm around C.W. | comedy | train | wikipedia | null |
tt2209418 | Before Midnight | Nine years have passed since Before Sunset. Jesse and Céline have become a couple and parents to twin girls. Jesse struggles to maintain his relationship with his teenage son, Hank, who lives in Chicago with Jesse's ex-wife. After Hank spends the summer with Jesse and Céline on the Greek Peloponnese peninsula, Jesse drops him off at the airport to fly home. Jesse is a successful novelist, while Céline is at a career crossroads, considering a job with the French government.
The couple discuss their concerns about Hank, and then about Céline's choices for her career. Over dinner they talk more about love and life. Friends staying with them pay for a hotel room so they can have a night alone. While walking to the hotel, the couple reminisce about coming together. After reaching the hotel, they have a fierce argument, expressing fears about their present and future together. Among other issues, Jesse wants them to move to Chicago so he can be closer to Hank, which Céline thinks will cost her any chance of a life outside her family. In the heat of the argument, Céline tells Jesse she no longer loves him.
Céline leaves their room and sits alone in the hotel's outdoor restaurant. Jesse joins her and jokes that he is a time traveler bringing her a letter from her 82-year-old self, describing this night as one of the best of their lives. Unamused, Céline says their fantasies will never match the imperfect reality. Jesse proclaims his love, saying he does not know what else she could want. After a moment, Céline joins in Jesse's joke, and the two seem to reconcile. | boring, romantic, fantasy, philosophical, storytelling | train | wikipedia | There's a one-take during a car drive that lasts probably ten minutes (before a brief cut away), however, it goes on for probably another ten minutes (and Linklater said he could have kept the whole take, but needed to show ruins along the country side and cut away for script purposes, not performance.) There's a 30 minute scene of the two actors in a hotel room and I didn't even notice it (by that time I was so invested in the characters and their actions and emotions I wasn't even aware of time, it wasn't until the post screening Q&A that Linklater mentioned the actual time of the scene.) All three, Linklater, Delpy, and Hawke have matured into their rolls (writing, directing, acting) so easily that it's all just great fun for them and the audience.
This is a must see for many reasons (including the history of film--there's only one other modern trilogy where the final film is the best--LOTR, and their food budget was probably more than the total cost of BEFORE MIDNIGHT.)i could go on gushing about this movie ad nauseum, however I'll finish by saying that BEFORE MIDNIGHT is what indie film making (and the Sundance Film Festival) is all about--truly original, creative, unique, interesting characters and their stories, told outside the Hollywood system, by people passionate about their craft (and in this case at the top of their craft)..
I just saw Richard Linklater's Before Midnight his newest and third film about Jesse and Celine the couple who meet as young adults in Before Sunrise and re-meet as adults in Before Sunset (one of my five favorite films).This is simply brilliant film making: funny, raw, emotionally honest and complicated.
The film takes place at the tail end of a six-week vacation in Greece where Jesse has just dropped off his thirteen-year-old son Hank, from his previous marriage, at the airport for his return back to Chicago.
I was lucky enough to get tickets for the one of the Before Midnight- screenings at the Berlin Film Festival this year.Being a big fan of both Before Sunrise and Before Sunset, I was truly thrilled to see this new (last?) chapter of Jesse and Celine's relationship.To sum up the story shortly without spoiling too much, we meet Jesse and Celine 9 years after the events of Sunset.
On the last day of their vacation in Greece, Jesse and Celine are trying to find the spark in their relationship again - we are dealing with a couple, like so many others, who in their 'middleage crisis' start asking themselves "where am I in my life, why do I live it this way, and does my husband/wife still love me?".For me, the relevance of the film, is its force, along with of course the acting and the script, which Hawke and Delpy again have written together with Linklater.
In my eyes, Midnight works very well for as an end to a trilogy, but the door is of course a little open for another sequel 9 years in the future (2022...?)Again, the acting is superb (the entire hotel scene is magnificent!), and dialog is so grounded, natural and strong and the film has relevance and could inspire a lot of couples struggling with their relationship to their partner.10/10.
In summary, while my favourite of the three movies remains Before Sunset, Before Midnight adds richly to the overarching story that has been told, in real time over 18 years, of two characters that fans of the series have grown to love.
This movie was written by not only the director, but also the two main actors, and this series is really their "baby" - you can tell much love and care went into these films, even though they are all shot very quickly and with a small budget.
Preceded by "Before Sunrise" and "Before Sunset", the film continues the story of Jesse and Celine, now a middle-aged, two child couple on vacation in Greece.
It doesn't hurt that the film was shot in Greece, but the picturesque beauty of that country comes second to the riveting portrayal of a couple at the stage of life where the often painful questioning of a couple's future begins.Two hours with these characters flew by, and as the credits rolled my first thoughts were about how much I really liked the film, and how I need to think more "out of the box" when it comes to selecting films to view.
Eclectic filmmaker Richard Linklater, known for such diverse films such as his debut indie feature Slacker and his wide appeal comedy School of Rock, understood the idea of life beyond the ending credits once he reintroduced his two romantic leads Jesse (Ethan Hawke) and Celine (Julie Delpy) with a chance encounter in Before Sunset after their initial meeting nine years earlier in Before Sunrise.
Before Midnight, the latest chapter of this ingenious film series, offers the creative staples that the romantic saga is known for with Linklater's consistently delicate observational style, Hawke and Delpy's engaged performances, philosophical witty banter relating to relationships, life, and more but this time unfolding the details of a relationship that has marinated beyond its initial romantic beginnings and changed into something far more palpable, strained, and relatable.
The collaborative writing between Linklater, Hawke, and Delpy demonstrates their immense understanding of their created characters and deliver their most uncomfortably emotional and richly life-affirming vignette in this particular reflective road stop in the lives of Jesse and Celine.
Before Midnight takes the initially romantic setups in Before Sunrise and Before Sunset and expands them into their most logical and equally emotional prolongation where it expands the narrative strength, character vivacity, and philosophical importance of the series into a fully realized and painfully heartfelt whole that speaks uncomfortable truths in an engagingly entertaining way.Read more: http://wp.me/py8op-yV; more reviews: generationfilm.net.
Most people know that Julie Delpy and Ethan Hawke started their conversational fictional companionship on film with "Before Sunrise" and then continued it with "Before Sunset." The first of these was shot in 1995, and the next followup was nine years later, and then this new one, nine years more.If you saw (and liked) the first two films as I did, this continuance alone makes "Before Midnight" worth checking out.
Unlike the previous 2 where their encounters were serendipitous and fleeting, this movie opens with them as a couple, with children, and plethora of issues!I was in love with Celine's character; this beautiful, smart, funny, and confident girl.
We all know what happens to relationships over a period of time ― in the beginning there's sparks and excitement and this can then lead to falling in love, but eventually reality decides to kick in and years down the line life becomes nothing but routine and full of arguments.
This of course is not the happiest thought in the world, so we turn to films to lighten the mood and bring back the belief of romantic love (which I strongly adhere to).I have adored the beautiful dream-like story of Jesse and Celine ever since I saw Before Sunrise ― meeting on a train in Vienna and taking a leap of faith, falling "a little bit in love" as they strolled around the city until morning where they vowed to meet again 6 months later.
Of course we learn in Before Sunset that this did not happen, but fate brings them together once more, giving them a final chance at true love.Unfortunately, what I did not expect from Before Midnight was to be watching a couple I had admired for so long constantly argue for at least two thirds of this film, leaving a bitter taste in my mouth as I left the cinema.
Agreed, the acting of course was undeniably good and the script was as always clever, funny and a little shocking, but this does not make up for the unsatisfying ending and having to see the couple I loved so much ridicule each other almost to death.Okay, maybe I have seen one too many fairy tales, but for me, watching something like this is completely illogical, especially since the main reason I go to see a movie in the first place is for escapism, not to get a reality check!.
The film takes place in Paris eighteen years after Jesse (Ethan Hawke), a then young American aspiring writer first meets Celine (Julie Delpy), a French graduate student on her way to Paris from Vienna.
As in the first two films, the third consists mostly of extended rapid-fire conversations between Jesse and Celine as well as with Jesse's literary friends with whom they are spending six weeks at a writer's workshop in Greece.At an outdoor luncheon at 85-year-old Patrick's (Walter Lassally) villa, talk centers on a wide range of subjects such as whether books are still viable in the modern age of computers, how different age groups relate to love and romance, and other relevant topics that sound "deep." To make sure we know that the film is "edgy," Linklater sprinkles the dialogue with cutesy references to sex, orgasm, and genitalia that feels as if one has wandered into a high school cafeteria rather than a gathering of artists and intellectuals.
But the sexual politics are about as profound as Men Are from Mars Women Are From Venus, and there's nothing much to care about in Jesse and Celine's big fight, because by that point in the film, we don't like either of them enough to care.Before Midnight represents a colossal lapse of self-awareness by Linklater, and an even more embarrassing load of self-absorption from its stars and co-authors..
But I don't watch a movie for that!I look for inspiration in a film, quality conversations, ingeniousness, great shots and that special feeling that life is a unique and marvelous gift.
The third installment in the series destroys everything that you loved and cared about the two most fascinating and enchanting characters that were painstakingly built on a refreshing premise of two normal people exploring a world of stuff over a string of conversations over exotic locations.The Celine and Jesse you came to grow so close are nowhere to be seen here.
It may be realistic, but it's sure uncomfortable to watch at times.We catch up with Jesse (Ethan Hawke) and Celine (Julie Delpy) in Greece, where they are vacationing with their twin daughters.
It's not entertaining, even if it's real, like eavesdropping on an old married couple across the hall while they argue about duvets or table runners or something equally mundane, only with the conviction of Patrick Henry asking for liberty.As with the earlier films, the movie focuses almost exclusively on conversations between our two leads, with two exceptions: one is a group dinner in which (surprise) truths are revealed, and the other is two scenes in one, with Jesse talking to the men in the film and Celine to the women.
Not only do you get the grandiose, adolescent philosophizing you've grown to know and love from the first two films, Linklater now treats you to extended real-time couples' arguments with one special added bonus: you can't get up and leave the room.If you're in the middle of the 'Before' series, it's not too late to stop now.
Hawke is more annoying in Before Sunrise & Before Sunset actually thought his acting was very good in this one positive.Julie Delpy totally different hated her character If another Before is made in hoping there an elderly couple.
The beauty of the fleeting moment, the transient nature of things.In this third movie in the franchise we once again meet Jesse and Celine - this time nine years after Before Sunset and in a rather different situation than earlier.
Usually when you hear the word trilogy in the film world you think about summer blockbusters with massive explosions, aliens and/or machines destroying earth and morons with performance enhanced muscles quickly driving expensive performance enhanced cars, but somehow Richard Linklater's (Bernie, Dazed and Confused) wonderfully touching Before series (Before Sunrise, Before Sunset & Before Midnight) has found a way to slip through the cracks.Just like he did with the first two films, Linklater brings us back into Jesse & Celine's evolving love story an astonishing nine years after the last chapter.
Whether it's because the two actors helped write their story, or if they've just lived inside these characters for so long is hard to say
but whatever the case
Jesse & Celine may be the most realistic believable characters in the history of American cinema.By showcasing the flaws we all have, Before Midnight isn't always easy to watch, but it's pure honesty makes it the best movie of the year to date.
Those looking for a sappy Hollywood love story may not be pleased with the honest reflection of life that the film provides, but fans of Jesse & Celine are sure to be pleased by the latest chapter and excited to see what happens in the next 9 years.
But, I finally made it to this one at it's premiere at the Sydney Film Festival.If you loved Sunrise, felt Sunset, then you would want to live Midnight, as brutal as it is at times.I shall not spoil the specifics of the story because the scenes are the specifics.
The chatter, at times homage to early screwball comedies, never grates and gives an authentic feel, as if we were overhearing conversation at the next table.As the committed couple ramps up the intensity of the disagreement, which starts with his veiled attempt to have her leave her career in Paris to move with him to Chicago to be near his son, the language takes on universal meaning to the extent that most 40 something's in the audience can appreciate the challenges children inevitably bring to romance.Director Richard Linklater, Delpy, and Hawke collaborated on the script, and it shows.
A further nine years later, this long-awaited film was rolled out this May.The story is about an American student, Jesse (Ethan Hawke), who has fallen in love with a French student, Celine (Julie Delpy), on the train to Vienna.
There's also a great scene, unlike the other two movies, where the couple converses with other people, all of whom have their own theories on love and life.
The ultimate goal of the storyteller is to leave the listener or listeners thirsty for more.Before Midnight accomplishes just this, and for the third time in the indie darling series.This dramatically beautiful film follows the lives of two characters that avid moviegoers have come to know about and love for the past two decades.
But with the right characters, the right story, and the ability to keep you engaged, keep you guessing, keeps you begging for more, even a simple movie about two people in love just talking can become the most beautiful of films.
Finally in this movie I liked very much the whole story because at the start we have two young people who fell in love and after two decades we see them be together, I think that's the best part of this trilogy!.
You can either stay in that relentless circle of love or you can try on your own, and maybe find yet another circle.In Before Midnight, Linklater best accomplishment is to inspire all of that reasoning with a film riddled with flaws, that feels as tired of itself as the couple, as if it was a due paper work you must fill in order to go on with your life, something unpleasant that has to be done rather than delaying it any more.
Before Midnight is a delightful, bitingly realistic, and sometimes uncomfortable but wonderfully truthful and romantic film about the two incredibly well-written, '90s defining characters Jesse and Celine.The movie follows Jesse, a kind American writer, and Celine, a resolute and intelligent French woman, 18 years after they first met on a train bound for Vienna - that last statement I think everyone is familiar with.
The movie expands on their brilliant love story - this time with a few quarrelsome complications.Before Midnight is arguably not only the best film of the "Before" trilogy, but also the best film of the year.
Not so with Before Midnight, Richard Linklater's absolutely delightful addition to what has become a trilogy of tender, intensely romantic films about falling - and staying - in love in the real world.We first met Jesse (Ethan Hawke) and Celine (Julie Delpy) eighteen years ago in Before Sunrise, when they were idealistic young adults who meet by chance on a train bound for Vienna.
Eighteen years later, and we once again get to look in on the lives of Jesse (Ethan Hawke) and Celine (Julie Delpy) for a day.
'BEFORE MIDNIGHT': Four Stars (Out of Five) Director Richard Linklater and actors Ethan Hawke and Julie Delpy reteam to tell the continuing story of Jesse and Celine for the third time (following 1995's 'BEFORE SUNRISE' and 2004's 'BEFORE SUNSET').
Linklater wrote the script with Hawke and Delpy (the three also co-wrote the last film) and it once again picks up nine years after the previous film (just as the second film did) and focuses on Jesse and Celine's troubled relationship as they live with their twin daughters in Greece.
As with the previous two films the movie is full of long dialogue scenes that seem like you're actually watching two real people talk about life.
If that's something you enjoy in a film you'll probably like this movie.The film begins with Jesse (Hawke) and Celine (Delpy) now nine years into their relationship as a couple, living with their twin daughters (Jennifer and Charlotte Prior) in Greece.
We meet Jesse (Ethan Hawke) and Celine (Julie Delpy) nine years on in Greece.
These are conversations that are simultaneously mundane and crackling with intelligence at the same time.The people who have watched the other two films will obviously get the better audience experience, since they can note the differences (and similarities) in the way Jesse and Celine act. |
tt0023151 | The Lost Squadron | Captain "Gibby" Gibson (Richard Dix) and his close friend "Red" (Joel McCrea) spend the last hours of World War I in the air, shooting down more of the enemy. They then return to America with fellow pilot and comrade "Woody" Curwood (Robert Armstrong) and their mechanic Fritz (Hugh Herbert) to an uncertain future.
Gibby finds his ambitious actress girlfriend Follette Marsh (Mary Astor) with a new boyfriend, one who can do more for her career. Good-natured braggart Red decides not to take back his old job, as it would mean the firing of a married man with a new baby. Woody learns that he is penniless, swindled by his embezzling business partner. Years later Gibby, Red and Fritz ride a boxcar to Hollywood to look for Woody and find work in lean times.
At a movie premiere, they spot a prosperous Woody, who is working as a stunt flier. He offers them well-paying jobs working for disreputable and tyrannical director Arthur von Furst (Erich von Stroheim). Gibby is reluctant, as Follette is now married to von Furst, but finally gives in.
Woody introduces his two comrades-in-arms to his sister, "the Pest" (Dorothy Jordan). She worries constantly about him, as von Furst utilizes dangerously worn-out aircraft and Woody drinks a lot. Both Gibby and Red are attracted to her. Gibby misinterprets her concern for him when he barely survives a crash (caused by parts of his aircraft falling off) as love. When Red impulsively asks the Pest to marry him, she agrees, and Gibby accepts the situation with grace.
Meanwhile, von Furst is aware that his wife still has strong feelings for Gibby. He sabotages the aircraft Gibby is to fly for a dangerous stunt, secretly applying acid to a control wire, not only out of jealousy, but also to add to the realism of his film with a real crash. However, unbeknownst to him, Woody decides to do the stunt in Gibby's place. Red sees von Furst tampering with the wires and alerts Gibby. Gibby takes off in another aircraft and catches up to Woody, but cannot make himself understood over the roar of their engines. The cable breaks, and Woody crashes and is killed.
Red takes von Furst captive at gunpoint, determined to apply vigilante justice. Gibby and Fritz find out. Gibby starts to telephone the police to report a murder over Red's objections. While they are arguing, von Furst tries to escape, and is shot and killed by Red. When police detective Jettick (Ralph Ince) shows up in answer to Gibby's interrupted call, the men hide the body. Sensing something wrong, Jettick insists on searching for von Furst. When he leaves, Gibby loads the corpse into an aircraft and takes off. He then deliberately crashes, killing himself and taking the blame for the crime. | romantic, murder | train | wikipedia | null |
tt0078078 | Petey Wheatstraw | Petey Wheatstraw (Rudy Ray Moore) is born during a great Miami hurricane, and after a difficult labor by his mother, emerges as a talking, diaper-wearing six-year-old boy who promptly attacks the doctor, and then his father for "disturbing me in my sleep every night." His mother puts him in his place, and names him "Petey Wheatstraw."
While a teenager, Petey meets a mentor "Bantu" who teaches him the philosophy of "Kung Fu," and self-respect - vowing to bow before no man. Petey grows up to become a successful nightclub comedian, who books a series of shows at a club in Los Angeles called "Steve's Den" - much to the dismay of comedy rivals Leroy and Skillet, who have just borrowed a large sum of money from the Mob to finance their own opening at another club. Realizing that their show is likely to fail with Petey in town (and therefore default on the loan), they beg Petey to delay his act. When Petey refuses to do so, Leroy and Skillet send out their henchmen to convince Petey otherwise.
Leroy and Skillet's henchmen gun down Petey's business partner Ted's little brother Larry, and then attempt to wipe out Petey himself at the boy's funeral by machine gunning the entire party. Mortally wounded, Petey is visited by "Lou Cipher" - the Devil himself - who tells him that his death was a mistake. He is willing to undo Petey's death on one condition - that Petey marry the Devil's daughter and provide him with a grandson. Petey nearly quashes the deal when he sees the picture of the Devil's ugly daughter, but hears the words of Bantu - and decides to make a deal.
Petey and his friends are brought back to life, and Petey tells them of the Devil's deal and his plans to gain revenge on Leroy and Skillet - and trick the Devil by not marrying his daughter.
Armed with the Devil's own magic "Pimp Cane," Petey sets out to exact his revenge. | paranormal, murder, blaxploitation | train | wikipedia | It combines a ryhming charismatic hero (the devil's son in-law) with 60's Batman-inspired supervillains, hilarious kung-fu battling, black folklore, and a pimp staff with magical powers.
The movie's humor is complete slapstick, the bumbling leroy and skillets doing their best to impersonate the three stooges combined (and they're both fat enough to do it).
The acting is terrible, with purposfully, silent-movie style over-the-top expressions and reactions.
I had trouble watching Dolemite (horrible acting) one month ago and Disco Godfather (crazy-a** halucination scenes, going on very long!) today!!!
- Petey Wheatstraw had me laughing pretty much through the entire thing - watermelons, Petey's magical gift he recieved from the Devil, and Leroy & Skillet - hahahaha!!!
If you want to check out a Rudy Ray Moore film, check out this one!
It's got a GREAT soundtrack, and the acting is better than his others (although I haven't seen Human Tornado in a while, very funny Kung-Fu moves by Rudy)..
Rudy Ray Moore Movies: He's the devil's son in law!.
Petey Wheatstraw (1978) marks the end of Rudy Ray Moore's great run at independent film making.
Rudy Ray Moore plays a signifying performer who some how manages to get mixed up with the Devil's personal affairs.
He makes a deal with old Lucipher (watch the film to get that joke) and tries to welsh on his end of the deal.
Loosely based upon one of his stand up skits (Dolemite and the Human Tornado were also based on stand up routines)and technically sound (for a low budget production) Petey Wheatstraw is a must watch.I highly recommend this film..
This one should have been called Dolemite versus Satan and the Reverend Al Sharpton (Leroy Daniels looks just like the reverend).
Rudy Ray Moore stars as Petey Wheatstraw the Devil's Son-in-law in this black action classic.
The basic story breaks down like this: Petey Wheatstraw is murdered and makes a bargain with Lucifer to come back and exact his revenge.
So Petey is given an enchanted pimp cane which gives him superpowers and he begins to plan out his vengeance (as well as a plan to doublecross the devil).
For example: Rudy Ray stopping in the middle of the street to comb some kids hair, ridiculous jogging, and watermelon child birth.
Petey Wheatstraw is also loaded with the regular Rudy Ray cast, including Jimmy Lynch, Queen Bee, and Sheriff Beatty.
It's not quite the masterpiece that is Dolemite, but it does have the greatest sex scene in the history of film.
As another review once said, "The written word cannot do justice to the comedic stylings and kung-fu antics of Rudy Ray Moore movies." I agree.
Petey Wheatstraw is a movie that must (and should) be seen to be believed.
After his mother first passes a watermelon(!), the child is born and the good doctor gives him a few smacks on the butt to get him started.
However, Petey is no infant, he's an eleven year old boy, even born with underwear.
Such is Petey Wheatstraw: The Devil's Son-In-Law, and it only gets worse (or better?) from here.
Full of offensive comedy, horrible kung fu, Moore's rhymes (the original rapper!), and cheap, crazy scenes (Satan's demons have glued on horns, wear red tights, and move like robots), this is a great cult flick not to be missed.
FYI, the movie was actually influenced by the real blues artist, Peetie Wheatstraw..
There is no other film quite like "Petey Wheatstraw".
My friends and I love cheesy, weird little cult films and we've seen almost ALL of them in almost every genre - the black urban films that were churned out during the 1970's have some classics and some clunkers and Rudy Ray Moore is a fascinating movie "star".
A nightclub comic who was famous forhis filthy "poems" - we had enjoyed his other films "Dolemite" and "Disco Godfather" but nothing prepared us for "Petey Wheatstraw" - from the absurd plotline to the garish costumes, the cheap sets, the great music, the bad acting and the awful, laughable fight scenes, this movie has everything!!!
Rudy Ray Moore, with his out of shape nightclub comic's body, struts around like he's the sexiest thing in the world and the street worn looking women in the film fling themselves at him.
His "kung-fu" fighting has to be seen to be believed - my 95 year old grandpa could lift his leg higher!!.
I was wrong about Petey Wheatstraw.
Years ago, I wrote a hostile review of Petey Wheatstraw for IMDb. What can I possibly say to justify that?
Petey Wheatstraw is not great, but rather "amusing" and somewhat "crazy." If you permit yourself to be drawn into the film's wacky universe, you may have a thoroughly enjoyable viewing experience.Petey Wheatstraw, in short, is about a kung-fu fighting stand-up comedian who makes an unwise bargain with Lucifer.
The film bounces breathlessly between these genres, especially in the early scenes, which are disorienting and seem totally unconnected.
But soon enough, the story settles into a kind of weird rhythm.Needless to say, the production values are poor (Lucifer's demon minions are men in ballet tights and Halloween masks), the editing is choppy, and the acting is of highly variable quality.
The comedy dialog, though extremely crass, is sometimes really funny, and some of the "character" scenes when Petey and Lucifer get together are bizarrely effective.Now I feel all weird, because I'm trying to defend what is, in essence, an extremely tacky bad movie.
But it's a *witty* bad movie, and I can appreciate the effort that went into its production.
It's sort of hypnotic.Let me put it this way: I bought Petey Wheatstraw as a bargain DVD years ago, hated it on the initial viewing, and almost pawned it.
It survived several years of DVD trading-in, numerous changes of address on my part, and other seismic events in my life that might easily have caused Petey Wheatstraw's demise.
But that DVD survived through it all; I still have the movie, still think about it sometimes, still smirk when I see it on my shelf.
The best film made in the Blaxploitation genre...
A true film classic.
Rudy Ray Moore stars as Petey Wheatstraw, a man who makes a deal with the devil and agrees to marry his daughter (the ugliest woman alive) in exchange for his life.
The only film that rivals Petey Wheatstraw as best blaxploitation film is Black Belt Jones.
Moore, as well as all of the other regular Dolemite regulars, are superb...
A Different Kind of Rudy Ray Moore.
Petey Wheatstraw (1977) ** (out of 4) Rudy Ray Moore is back, this time playing the title character, a comedian who is doubled crossed by a couple jerks.
Petey is shot dead in the streets and his spirit is visited by Lucifer who offers him a deal.
If Petey agrees to marry his daughter and have a son, Petey can continue life and be given a magical pimp stick.
Petey takes the deal and enjoys the powers that the stick gives him but when it comes time to pay he wants no part of Lucifer's daughter.After DOLEMITE and its sequel THE HUMAN TORPEDO, Moore found himself playing a new character and while it's not nearly as entertaining as the earlier movies, if you're a fan of the comic then there's plenty to enjoy here.
If you're coming to this film expecting to see anything like THE HUMAN TORPEDO then you had better check yourself because this film is something completely different.
Everything before that is pretty much a straight but bizarre drama dealing with Petey being murdered but then given a chance to seek revenge on the men behind it.
All of this is played rather straight and it is entertaining but I'm just not sure the blaxploitation crowd are going to enjoy something straight when it comes to Moore.The film finally reaches some high marks at the end when Lucifer and his servants come for revenge.
The make up on the devils is quite generic but it makes for some fun.
As usual Moore doesn't give a great performance but he's certainly quite the character and he manages to make the role fun and keep the viewer interested in what's going on.
The supporting cast is nice and for the most part fans of Moore should enjoy this one..
Fun but Not as Entertaining as the DOLEMITE Movies.
In 1977, comedian Rudy Ray Moore must have gotten tired of the same old Dolemite routine and wanted to branch out into new characters.
Rather than go through all the trouble of developing a new character with it's own brand of humor, Moore and writer/director Cliff Roquemore created a carbon copy of the Dolemite character and slapped a new name on him.
Thus, we were blessed with Moore's third film, PETEY WHEATSTRAW: THE DEVIL'S SON-IN- LAW.
If you're a fan of Moore's previous DOLEMITE movies, there is enough here to elicit some chuckles.
It's Moore's usual brand of humor with the same flaws we've come to expect from his movies.
Petey Wheatstraw (Moore) is
what else
a comedian.
Born to his mother as a near ten-year-old child with a watermelon, he is soon taken under the tutelage of the wise old Bantu who teaches him martial arts and the importance of wisdom.
Years later as Petey's comedy career explodes, he becomes the target of bumbling duo Leroy and Skillet.
At first it appears their plan has worked and Petey is gunned down, but the Devil has other plans for the comedian.
He gives Petey the chance to return to life and seek vengeance in return for marrying his daughter and giving him a son.Also, there's a magic pimp cane.As I made my way through my collection of Rudy Ray Moore movies, PETEY WHEATSTRAW is about where my interest began to wane but not enough to keep from enjoying the film.
It's still chock full of Moore's trademark humor with the added absurdity of the supernatural storyline.
Even after two movies and a few years of experience, Moore and his crew still haven't learned how to tell a proper structured story on film.
The first act is all about Leroy and Skillet's attempts at sidetracking Petey from performing the same night as their grand opening.
The second act introduces the Devil plot but continues to focus on Petey's vengeance against his attempted murderers (and discovering his new powers via the magic cane).
And then the final act, which almost feels tacked on, is Petey trying to outsmart the Devil and avoid the marriage to the Prince of Darkness's hideous daughter.
The whole "Devil's Son-in-Law" portion of the movie is largely unimportant until the final 30 minutes, after the whole Leroy/Skillet plot has been resolved and most movie's would end.
It's a shame too because the whole Devil storyline, the part I was most interested in watching has some of the better WTF moments.
With its horrible makeup effects and crappy professional wrestling style demons, there are some awesome fight sequences that'll have you laughing so hard it hurts.There is a lot of promise for a comedian like Moore in such a bizarre concept but it's all wasted for yet another "save the club" plot.
Another interesting point I've noticed: the movie is obsessed with watermelon.
Seriously, there is a LOT of it here: Petey's mother gives birth to one, characters are always eating it, and a truck load of watermelons is even blown up.
It's everywhere, and this is the only Moore film where he plays so heavily on this stereotype.
Anyway, the cast is really what makes this movie so fun.
Moore is doing his usual routine, but the rest of the cast adds some new flavor.
For a women who was billed as a comedian, she couldn't act and I was glad to see she sat this one out.
Leroy and Skillet are probably the best part of the movie.
As funny as the duo are, I would have liked to see them show up in more of Moore's movies.
The characters are a blast and the humor hasn't quite run dry in PETEY WHEATSTRAW; so while it's a little boring at times and the structure needs serious work, I would still recommend this movie to fans of Moore's movies..
One of the worst movies in cinema history!
If enjoyably (?) bad movies are your cup of tea, by all means, knock yourself out.
Interestingly, in Croatia the distributors called it just "Devil's Son" (they conveniently forgot the "in-law") and advertised it as a horror movie to lure the unsuspecting (and, I might say, relatively undiscriminating) fans of the genre.
And horrible it was: ludicrous plot, the worst acting imaginable, cheesiest fight scenes, the painful musical numbers, the lowest of the low production values (as I recall, Lucipher's mighty scepter was a stick with a ball of tin foil on top)...
Okay, I respect Rudy Ray.
_Dolemite_ was an absolute classic blaxploitation film.
When I saw Dolemite, I noticed something fresh, something raw, and something that is deserving of its place in film history._Petey Wheatstraw the Devil's Son In Law_ was by far the worst movie I have ever seen.
It was recommended by a friend who knows what I want to see, and suggests both the best and the worst movies ever for me to see.
I ALWAYS finish movies.
I hate leaving, even to go to the bathroom, from even bad movies.
But the acting is not just poor, it is terribly excessive overacting at points, and at other points cardboard-cutout-esque.I had a hard time getting my mind around the stereotypes displayed.The worst part of all is, it is not a bad movie you can make fun of.
I mean, a scary movie, a drama, an action film...
But when a no budget comedy is horrible, you can't laugh at it.
If it breaks, its not funny." This broke before the movie started and consistently waves the broken pieces in your face.Look at it like this: A friend tells you a bad joke.
It is uncomfortable to listen to, but the reward comes when you pretend to laugh and then they feel good about themselves.
Its even hard to make your own jokes about it, because this film goes to such great lengths to try to make you laugh anyway but fails at every turn.
And I do mean EVERY TURN.Maybe I missed something, so you can try to watch it.
At least you will be able to appreciate good comedy.Forgive me, Rudy Ray..
some of the most racially offensive acts on film, beautiful!
see this movie, and everything else rudy ray did in the 70s, you won't be disappointed.
(spoiler) the opening scene has petey being born (as a 7 or 8 year old boy) following a watermelon.
Simply put, Petey Wheatstraw The Devil's Son In Law is a beautiful movie man.
Along with Dolemite, this is Rudy Ray Moore's best and most memorable work in film.This crosses over into the horror/supernatural genre a little bit as Petey Wheatstraw makes a deal with the devil to marry his daughter if he brings Petey back from the dead to get even with the treacherous Leroy and Skillet.
Lucifer gives Petey a pimp cane that gives him all the powers of The Prince Of Darkness to even the score and along the way Petey has some fun with it.
This is a constantly entertaining picture with almost no budget that works due to the natural coolness of Rudy Ray Moore.
This features his usual Rudy Ray Moore Fu as he takes on the devil.
Petey Wheatstraw is totally insane entertainment and one of my all time favorites..
Rudy Ray Moore Grafts Supernatural Thriller and Ghetto Comedy.
What this Rudy Ray Moore action-comedy lacks in pace and skill (not like "Human Tornado" was a bastion of mature, professional film-making) it makes up for in sheer sloppy insanity.
The grafting of a supernatural thriller onto Moore's usual urban scenario enables some of the funniest, bug-eyed, ethnic performances on record.
Whether it be the film's ridiculously costumed demons attacking ghetto toughs with kung-fu, an orgy of she-devils seducing Moore, as he whoops and giggles straight at the camera, ridiculous, feel-good montages, or the film's opening: the arrival of Petey Wheatstraw as a fully developed 9 year old boy, birthed straight out of his mommy's uterus following the discharge of a watermelon, there's plenty to enjoy.
Yes, watermelons figure prominently in the movie, almost as much as the black supporting cast's hyper-gesticulating mugging and other raunchy, offensive material--and this doesn't include the sight of Moore's flabby body packed into tight polyester leisure suits, or the man's bare feet.
This man's performance is more reason to see the movie than the nudity, doo-doo humor, awful karate fights, and funk score.
Still, unlike the infinitely superior "Human Tornado" or even the tighter "Dolemite", what passes for a script here is about the most trampled, dismembered, impossible-to-figure-out, narrative mess, additionally hindered by too many lengthy scenes and abandoned characters.
Yet it definitely beats Moore's unwatchable "Disco Godfather".
For all the man's commitment to the project, Moore is disappointing, whereas Skillet is the true genius presence of the movie..
This was my first Rudy Ray Moore movie, and it may be my last.
I read all of the comments and reviews and figured this would be a fun bad movie, and it has its moments.
How could the cane given by Satan to Petey be more powerful than Satan himself?
And why would Petey break the powerful cane since it was what had saved him time and time again?
As I mentioned, the film has its moments, like when Petey combs the nappy-headed boy's hair, and the little boy's t-shirt that said 'I'm a little devil' was a nice touch.
Rudy Ray seems to have done alright for himself, being ambitious and being in the right place at the right time.
I'm happy for him, but I'm just not a fan of this movie. |
tt0033482 | El conde de Montecristo | === Summary ===
On the day of his wedding to Mercédès, Edmond Dantès, first mate of the Pharaon, is accused of treason, arrested, and imprisoned without trial in the Château d'If, a grim island fortress off Marseilles. A fellow prisoner, Abbé Faria, correctly deduces that his jealous rival, Fernand Mondego, envious crewmate, Danglars, and double-dealing Magistrate, Villefort, betrayed him. Faria inspires his escape and guides him to a fortune in treasure. As the powerful and mysterious Count of Monte Cristo, he arrives from the Orient to enter the fashionable Parisian world of the 1830s and avenge himself on the men who conspired to destroy him.
=== Edmond Dantès ===
In 1815, Edmond Dantès, a young merchant sailor who has recently been granted the succession of his captain Leclère, returns to Marseille to marry his Catalan fiancée Mercédès. Leclère, a supporter of the exiled Napoléon I, found himself dying at sea and charged Dantès to deliver two objects: a package to General Bertrand (exiled with Napoleon Bonaparte on Elba), and a letter from Elba to an unknown man in Paris. On the eve of Dantès' wedding to Mercédès, Fernand Mondego (Mercédès' cousin and a rival for her affections) is given advice by Dantès' colleague Danglars (who is jealous of Dantès' rapid rise to captain) to send an anonymous note accusing Dantès of being a Bonapartist traitor. Caderousse (Dantès' cowardly and selfish neighbor) is drunk while the two conspirators set the trap for Dantès and stays quiet as Dantès is arrested, then sentenced. Villefort, the deputy crown prosecutor in Marseille, destroys the letter from Elba when he discovers that it is addressed to his own father, Noirtier (who is a Bonapartist), since if this letter came into official hands, it would destroy his ambitions and reputation as a staunch Royalist. To silence Dantès, he condemns him without trial to life imprisonment.
After six years of imprisonment in the Château d'If, Dantès is on the verge of suicide when he befriends the Abbé Faria ("The Mad Priest"), a fellow prisoner who had dug an escape tunnel that ended up in Dantès' cell. Over the next eight years, Faria gives Dantès an extensive education in language, culture, and science. Knowing himself to be close to death, Faria tells Dantès the location of a treasure on the island of Monte Cristo. When Faria dies, Dantès takes his place in the burial sack. When the guards throw the sack into the sea, Dantès breaks through and swims to a nearby island. He is rescued by a smuggling ship that stops at Monte Cristo. After recovering the treasure, Dantès returns to Marseille. He later purchases the island of Monte Cristo and the title of Count from the Tuscan government.
Traveling as the Abbé Busoni, Dantès meets Caderousse, now living in poverty, who regrets not intervening and possibly saving Dantès from prison. He gives Caderousse a diamond that can be either a chance to redeem himself or a trap that will lead to his ruin. Learning that his old employer Morrel is on the verge of bankruptcy, Dantès buys Morrel's debts and gives Morrel three months to fulfill his obligations. At the end of the three months and with no way to repay his debts, Morrel is about to commit suicide when he learns that his debts have been mysteriously paid and that one of his lost ships has returned with a full cargo, secretly rebuilt and laden by Dantès.
=== The Count of Monte Cristo ===
Reappearing as the rich Count of Monte Cristo, Dantès begins his revenge on the three men responsible for his unjust imprisonment: Fernand, now Count de Morcerf and Mercédès' husband; Danglars, now a baron and a wealthy banker; and Villefort, now procureur du roi. The Count appears first in Rome, where he becomes acquainted with the Baron Franz d'Épinay, and Viscount Albert de Morcerf, the son of Mercédès and Fernand. Dantès arranges for the young Morcerf to be captured by the bandit Luigi Vampa and then seemingly rescues him from Vampa's gang. The Count then moves to Paris and dazzles Danglars with his wealth, persuading him to extend him a credit of six million francs. The Count manipulates the bond market and quickly destroys a large portion of Danglars' fortune. The rest of it begins to rapidly disappear through mysterious bankruptcies, suspensions of payment, and more bad luck in the Stock Exchange.
Villefort had once conducted an affair with Madame Danglars. She became pregnant and delivered the child in the house that the Count has now purchased. To cover up the affair, Villefort told Madame Danglars that the infant was stillborn, smothered the child, and thinking him to be dead, buried him in the garden. While Villefort was burying the child, he was stabbed by the smuggler Bertuccio, who unearthed the child and resuscitated him. Bertuccio's sister-in-law brought the child up, giving him the name "Benedetto." Benedetto takes up a life of crime as he grows into adolescence. He robs his adoptive mother (Bertuccio's sister-in-law) and ends up killing her, then runs away. Bertuccio later becomes the Count's servant and informs him of this history.
Benedetto is sentenced to the galleys with Caderousse, who had sold the diamond but killed both his wife and the buyer out of greed. After Benedetto and Caderousse are freed by Dantès, using the alias "Lord Wilmore," the Count induces Benedetto to take the identity of "Viscount Andrea Cavalcanti" and introduces him into Parisian society. Andrea ingratiates himself to Danglars, who betroths his daughter Eugénie to Andrea (not knowing they are half-siblings) after cancelling her engagement to Albert. Meanwhile, Caderousse blackmails Andrea, threatening to reveal his past if he doesn't share his new-found wealth. Cornered by "Abbé Busoni" while attempting to rob the Count's house, Caderousse begs to be given another chance. Dantès forces him to write a letter to Danglars exposing Cavalcanti as an impostor and allows Caderousse to leave the house. The moment Caderousse leaves the estate, he is stabbed by Andrea. Caderousse dictates a deathbed statement identifying his killer, and the Count reveals his true identity to Caderousse moments before he dies.
Years before, Ali Pasha of Janina had been betrayed to the Turks by Fernand. After Ali's death, Fernand sold Ali's wife Vasiliki and his daughter Haydée into slavery. While Vasiliki died shortly thereafter, Dantès purchased Haydée. The Count manipulates Danglars into researching the event, which is published in a newspaper. As a result, Fernand is brought to trial for his crimes. When Albert blames the Count for his father's downfall and challenges him to a duel, Mercédès, having already recognized Monte Cristo as Dantès, goes to the Count and begs him to spare her son. During this interview, she learns the truth of his arrest and imprisonment. She later reveals the truth to Albert, which causes Albert to make a public apology to the Count. Albert and Mercédès disown Fernand, who is confronted with Dantès' true identity and commits suicide. Albert and Mercédès renounce their titles and wealth and depart to begin new lives.
Valentine, Villefort's daughter by his late first wife, stands to inherit the fortune of her grandfather (Noirtier) and of her mother's parents (the Saint-Mérans), while Villefort's second wife Héloïse seeks the fortune for her son Édouard. The Count is aware of Héloïse's intentions and introduces her to the technique of poison. Héloïse fatally poisons the Saint-Mérans, so that Valentine inherits their fortune. Valentine is disinherited by Noirtier in an attempt to prevent Valentine's impending marriage with Franz d'Épinay, whom she does not love. The marriage is cancelled when d'Épinay learns that his father (believed assassinated by Bonapartists) was actually killed by Noirtier in a fair duel. Afterwards, Valentine is reinstated in Noirtier's will. After a failed attempt on Noirtier's life, Héloïse targets Valentine so that Édouard will get the fortune. However, Valentine is the prime suspect in her father's eyes in the deaths of the Saint-Mérans and Noirtier's servant, Barrois. On learning that Morrel's son Maximilien is in love with Valentine, the Count saves her by making it appear as though Héloïse's plan to poison Valentine has succeeded and that Valentine is dead. Villefort learns from Noirtier that Héloïse is the real murderer and confronts her, giving her the choice of a public execution or committing suicide.
Fleeing after Caderousse's letter exposes him, Andrea is arrested and returned to Paris, where Villefort prosecutes him. While in prison awaiting trial, Andrea is visited by Bertuccio, who tells him the truth about his father. At his trial, Andrea reveals that he is Villefort's son and was rescued after Villefort buried him alive. Villefort admits his guilt and flees the court. He rushes home to stop his wife's suicide but is too late; she has poisoned her son as well. Dantès confronts Villefort, revealing his true identity, but this drives Villefort insane. Dantès tries but fails to resuscitate Édouard, causing him to question if he has gone too far.
After the Count's manipulation of the bond market, Danglars is left with a destroyed reputation and 5,000,000 francs he has been holding in deposit for hospitals. The Count demands this sum to fulfil their credit agreement, and Danglars embezzles the hospital fund. Abandoning his wife, Danglars flees to Italy with the Count's receipt and 50,000 francs. While leaving Rome, he is kidnapped by the Count's agent Luigi Vampa and is imprisoned. Forced to pay exorbitant prices for food and nearly starved to death, Danglars signs away his ill-gotten gains. Dantès anonymously returns the stolen money to the hospitals. Danglars finally repents his crimes, and a softened Dantès forgives him and allows him to leave with his freedom and 50,000 francs.
Maximilien Morrel, believing Valentine to be dead, contemplates suicide after her funeral. Dantès reveals his true identity and explains that he rescued Morrel's father from bankruptcy years earlier; he then tells Maximilien to reconsider his suicide. On the island of Monte Cristo, Dantès presents Valentine to Maximilien and reveals the true sequence of events. Having found peace, Dantès leaves the newly reunited couple part of his fortune and departs for an unknown destination to find comfort and a new life with Haydée, who has declared her love for him. The reader is left with a final thought: "all human wisdom is contained in these two words, 'Wait and Hope'". | revenge | train | wikipedia | null |
tt0028522 | Yellow Dust | The film opens in the hills of California. Bob Culpepper is a college-educated man from Tennessee, who has chosen the life of a gold prospector. Culpepper witnesses veteran prospector Silas "Solitaire" Carter getting attacked by an intruder, and comes to his defense. The fight results in the intruder's death and the two new allies decide to bury him. While digging for the grave, they discover a gold-bearing vein. They use the vein to calculate that there is a mother lode of gold in a nearby mountain. Eager to profit from their discovery, Carter and Culpepper head to the nearest town to make a land claim for this area.
Before reaching the town, the two partners witness a gang of outlaws who is in the process of robbing a stagecoach. They decide to help the victims and manage to scare off the gang. Among the passengers is a lovely saloon singer, Nellie Brian, and Culpepper is instantly smitten with her. Brian is also attracted to him, but her mother urges her to focus on her next singing gig.
At the town, Brian entertains her new boss, Jack Hanway. He is the prosperous owner of a local saloon. Neither Brian, nor her mother realize that Hanway is secretly the leader of the gang of outlaws. Brian eventually confesses her love to Culpepper, and also talks to him about a valuable necklace which the outlaws had stolen from her. Culpepper locates the necklace, at the hands of an outlaw known only by the nickname "Missouri". He forces the outlaw to hand over the necklace to him.
Trying to impress Brian and outstage Culpepper, Hanway stages a robbery at his own saloon. His gang are supposed to act as robbers, and Hanway acts as the hero who bravely thwarts their plan. Culpepper figures out the plan and tries to expose Hanway as a criminal. Instead, "Missouri" accuses him of being involved with the stagecoach robbery and being in possession of the loot. With the necklace found in his possession, Culpepper is arrested as a thief and imprisoned. Brian is convinced that Culpepper is a villain.
With his rival out of the way, Hanway romances Brian. He gets careless and she overhears his plans to lay claim to the mother lode. Brian tries to alert Carter that he is in danger of losing his gold, but he is too drunk to listen to her. Brian gets another idea of how to ruin Hanway's plans. She tricks him into delaying to make his land claim, then makes the claim herself. Brian is now the only one with a legal claim to the gold. Carter is shocked to find out about this development and informs Culpepper. Culpepper figures that his love interest has conspired against him, and wants to retaliate. He convinces "Missouri" to help him escape from prison.
After escaping, Culpepper abducts Brian and restrains her with a straitjacket. He rides with his captive to the area with the gold. Their time together allows them to clear the misunderstandings between them and declare their own innocence. Realizing that neither of them is a villain, they reconcile and express their love for each other. When arriving at the area of the claim, they are captured by Hanway and his gang.
Hanway wants Brian for himself and proposes marriage to her. She accepts, hoping that she may use her new position to help Culpepper. Meanwhile, Carter and "Missouri" arrange a fake execution for Culpepper. They use the opportunity to escape with him back to town. They stop the wedding of Hanway and Brian in time, and expose Hanway as a gang leader. | violence, romantic, historical fiction | train | wikipedia | A B-Western Treat!. This is a little treasure that I remember from the good old days when the CBC used to show these cool second features from the RKO catalog on Saturday mornings. It's a solid, very entertaining B western featuring Richard Dix who gets mixed up in the gold rush and some owlhoots who frame him for a stagecoach robbery. Although his film is less tongue-in-cheek than a lot of these matinee westerns, there is a great scene featuring the three outlaws, who really did rob the stage, in the saloon. The bartender casually mentions that the stage got robbed, and they simultaneously spit booze out of their mouths! And there's a cool climax in a dust storm. This is a great treat from yesteryear; I hope it resurfaces again some day.. Why is it that no one in town thinks Hanway is an evil jerk?!. One of the most familiar B-western themes is the big bad boss...the rich guy who is greedy and wants everything! So, when you see Hanway (Onslow Stevens)....you instantly recognize him as this character. So why is it that no one in this silly town recognizes this as well?!When the movie begins, an old guy is involved with a shootout. You really aren't sure who's in the right....and Bob Culpepper (Richard Dix) doesn't question it when one guy shoots the other...he just helps bury the loser! During this burial, however, he strikes gold and the two men have a very rich strike. Not surprisingly, Hanway wants to steal this claim...and he's already involved in several other illegalities, such as having his men try to rob the stage. Can niceness possibly prevail or is Hanway destined to run everything and everyone? And, what does the pretty lady have to do with all this?As you can assume from what I've already written, "Yellow Dust" is a formulaic film. Fortunately, formula can still be good if you have good actors--and Richard Dix was always terrific in westerns. And, because of this and better than normal production values, this is sort of like a B+ film....better than a typical B but not quite as fancy a production nor as long as an A film.For what it is, it's quite good and enjoyable. Though predictable, it's well made and well acted.. Slow paced western. Yellow Dust was based on a flop Broadway play Mother Lode which only ran 9
performances on Broadway in 1934. Flop plays occasionally make good films,
but not here.This is not a bad film just a terribly dull one that moves at the pace of a Galapagos tortoise. Richard Dix who did some good westerns and had the look
of a jut jawed hero just can't get any life into this.Dix who is college educated geologist partners up with grizzled old prospector
Andy Clyde when they make a strike. But Andy in a drunken stupor spills the
beans to Snidely Whiplash like villain Onslow Stevens. Dix is also framed for a
robbery by Stevens as Snidely has designs on saloon entertainer Leila Hyams.You've seen it all before and better.. Dull Old Fashioned Western. Richard Dix finds himself a partner, a gold mine, and a girlfriend, in this paint by the numbers western. In the meantime, Dix has to foil a stage robbery, prevent a claim jumper from getting his mine, break out of jail, and avoid getting hanged so he can keep the black hatted bar owning bad guy from marrying his gal.What's just plumb too bad about this movie is that, though there sure seems to be a lot of action going on from a bare description of the plot, there is not a whole lot of action, and none of it is terribly interesting. While it's refreshing, in a way, to see a movie that does not strive to put a single negative trait (except, perhaps, a slightly too swift jumping to conclusions) in its clean livin' hero, it makes for rather bland drama, particularly as there is no possible way the plot won't play out in the way it plays out.Richard Dix gets a few scenes with the leading lady where he shows a lot of charm. Otherwise. It's just boring. |
tt0045053 | The Prisoner of Zenda | On his deathbed, the king of Ruritania announces to his two twin sons, Rudolph and Michael, that he must choose one of them to be the future king of Ruritania following their father's death. The king believes that his youngest son Rudolph is more fit to be king than Michael, and so chooses him for the throne. Rudolph is shocked with his father's decision and Michael is outraged and angry. Following his father's death, "Black Michael", as he is known to some of the villagers, gathers his minions and expresses his anger at his father's decision, which he believes to be foolish. He recalls that his father had mentioned that he, Michael, should be king, if and when his brother died; thus, he begins to devise a plan to cause Rudolph's death. Michael's wife, Princess Antoinette, is shocked after hearing her beloved husband speak ill of his dead father, and even more after hearing of his plot to murder Rudolph. When she confronts him, Michael sends Antoinette away and tells her that if he can't count on her loyalty, she is no longer his wife. Antoinette runs to Rudolph and informs him of Michael's plots; thought at first Rudolph refuses to believe her, Antoinette insists. Following one of Rudolph's plans to ensure his own safety, Princess Antoinette travels to London, where he meets another young man, by the name of Rudolph, who looks remarkably and exactly like the king-to-be of Ruritania. Princess Antoinette brings the new Rudolph to Ruritania, hoping that he may help her and Rudolph to be safe from Michael. Rudolph, who still trusts his brother, accepts an invitation from Michael, who offers him a drink. Pretending that his intentions were to congratulate Rudolph stepping up to the throne, Michael drugs his brother causing him to enter a deep coma, only a few days prior to his coronation. The new Rudolph proposes to accept the crown himself, so that Prince Rudolph will step up to the throne as soon as he comes out from his state of unconsciousness. When Michael learns of this, he kidnapps the prince and takes him away to the Castle Zenda, where he intends to murder him. Antoinette and Rudolph come up with a plan to surprise Michael and his minions at Zenda and thus rescue the prince. When they defeat Michael, the young prince Rudolph becomes the king of Ruritania and takes his father's place at last. | action | train | wikipedia | While sequels are most common (offering original cast members, older and less believable in their roles, performing variations of the same plot that made the original film popular...usually less successfully...), remakes have a long history, as well, with some remakes an improvement over the original (John Huston's THE MALTESE FALCON far outshines both of the earlier sound versions), some just as good (1939's BEAU GESTE, with Gary Cooper, has as loyal an audience as Ronald Colman's silent version), and some truly disastrous (why anyone would even CONSIDER remaking Frank Capra's LOST HORIZON, much less turning it into a 70s MUSICAL, defies comprehension!)MGM, in their 1952 remake of 1937's classic THE PRISONER OF ZENDA, tried to surpass the earlier version by creating a 'scene-for-scene' duplicate of the film, while utilizing some of their biggest stars in each role, reworking Alfred Newman's original score, and shooting it all in glorious Technicolor.
While Robert Douglas was every bit as sinister as Raymond Massey as Black Michael, the most disastrous miscasting came with the film's other major villain, Rupert of Hentzau.
bad guy' dialog, lacking the unique chemistry Colman and Fairbanks brought to the roles.As for shooting the film in Technicolor...While the regal color photography certainly made the Palace scenes more impressive (don't forget, Great Britain was crowning Elizabeth as Queen when the remake was released, and American audiences were rabid Anglophiles, totally enthralled by all the Pomp and Circumstance), it also 'dated' the story, making the adventure seem quaint and old-fashioned in the Cold War era.
While I think he was, perhaps, too hard on the Granger film, I have to agree that no other version has ever even come close to the magic of Ronald Colman's 1937 classic!.
With no less significance is the color ,makes the costume and characters look more sensational, and gives more feeling for the romantic fairy tale .This movie is pure entertainment, I first saw it in high school, loved it, I still enjoy it 30 years later ..
'The Prisoner of Zenda' (1952) is a remake - using the same shooting script, which was in turn adapted from the 1890s stage-play - of the 1937 Ronald Colman/Douglas Fairbanks jr version.
While the colour photography makes quite an impact, especially with the costumes, sadly Stewart Granger is not in the Colman league in the dual role of Rudolf Rassendyll and Rudolf V.
Stewart Granger was one of the better of the later generation of swashbuckling stars, but somehow he lacks Colman's dignity as Rassendyll.
Mason could have been a *wonderful* Duke Michael, although here - as per the 1937 version - that character was still under-written, and again cast too old (Robert Douglas).
Seems to me that if you're going to do a re-make of an earlier film, you need to have a better approach than just to refilm it, scene-by-scene, from its immediate predecessor.Watching this 1952 version of "The Prisoner of Zenda," it emerges an astonishing "carbon copy" of its 15-year-old vintage model, only with different actors and in color.What was most surprising was using Alfred Newman's 1937 music almost note-for-note.
Conrad Salinger, MGM arranger-orchestrator-composer, seemed to have merely pulled out the old score, dusted off the parts, and passed them out to the MGM Orchestra to re-record.Since this was also the music used for the now historic early December '39 sneak-preview of "Gone With the Wind" (outside of Los Angeles prior to its premiere before Max Steiner finished his work) it's even more strange to hear it here.While the '52 cast was talented and the production values intact, there were no particularly fresh insights or viewpoints offered here, resulting in an efficiently "cloned" confection.Less that an auspicious feather in MGM's cinematic folio, it still probably went over well with a new "generation" unfamiliar with either the '37 film or the original novel..
Next to the 1937 version with Ronald Colman and Douglas Fairbanks, Jr., this version of The Prisoner Of Zenda is the one most fondly remembered by movie audiences.
If it doesn't quite have the panache of the Colman film, it makes up for it with the introduction of some nice color cinematography.The casting of Stewart Granger in the double role of Rudolph Rassendyll and his royal cousin, the Crown Prince Rudolph of Ruritania and James Mason as the villainous Rupert of Hentzau is hardly some stock company casting.
Mason who has also played some of the best villains on screen keeps up the fine tradition for that role.The 1937 version benefited from having the world wide publicity of the constitutional crisis in the United Kingdom over Edward VIII choice of consort.
We've seen over ten versions so far going back to the silent screen.The women in the cast, Deborah Kerr and Jane Greer as Princess Flavia and Antoinette DeMauban respectively never come in for much discussion of their roles.
On the face of it, "The Prisoner of Zenda" has everything a swashbuckler could require to make it a glorious success: a star-studded cast with previous form, Technicolour pageantry, MGM production values, an Alfred Newman score, a classic story of self-sacrificing heroism...
But on viewing it again after a lapse of some years, I find that it still doesn't work for me; and there doesn't seem to be any obvious reason why.There were in fact *two* films released in 1952 starring Stewart Granger in sword-fighting heroics: one of them -- enchanting, bittersweet, dancing of wit and of blade, and featuring what was to become one of the most famous fight sequences in screen history -- was, of course, "Scaramouche".
Deborah Kerr is sweet, fiery and entirely convincing as Princess Flavia, next in line to the throne, and Jane Greer is more than equal to the pivotal role of Antoinette de Mauban, whose complex motives prove the key to the whole plot.Ultimately, I found this a decent film, but not as outstanding as it should have been, given its constituent parts.
Stewart Granger is marvellous in his dashing and heroic dual role, and Deborah Kerr is ravishing as Princess Flavia.
Jane Greer comes off even better, while James Mason is a menacing and somewhat austere Rupert and while his part is a little underwritten perhaps Robert Douglas is appropriately sinister as Michael.
This exact double is asked to fill in for the man who is to be crowned king--and gets caught up in all sorts of intrigue and romance.If you watch this film, you will no doubt enjoy it.
Here, Stewart Granger and James Mason (among others) were good but at no point did they make me prefer this over the classic 1937 version.
Adventure, pageantry and royal intrigue are forged at sword point in the two finest screen versions of the beloved 1894 novel filmed many times," according to the Warner Home Video release, "Ronald Colman plays the double role in the resilient 1937 David O.
Stewart Granger stars in the eye-filling 1952 color version (Side B), romancing Deborah Kerr and wielding bold steel in the film's bravura climactic duel." Thanks to whoever at Warner/Turner decided to release these two versions of "The Prisoner of Zenda" together.
Of the two available here, the 1937 "black-and-white" version wins the sword fight, though the 1952 color version is inoffensive and beautifully photographed (by Joseph Ruttenberg).Examined together, the three films support the widely held belief that the more villainous role in a drama is often the one to act.
In the 1937 and 1952 versions, Douglas Fairbanks Jr. and James Mason are always above or equal to anyone else in the cast.
In each case, "The Prisoner of Zenda" is an attractive production.****** The Prisoner of Zenda (11/4/52) Richard Thorpe ~ Stewart Granger, Deborah Kerr, James Mason, Louis Calhern.
I've already seen it three or four times and I've never got tired of it.Stewart Granger is absolutely perfect as the hero,playing two parts with gusto:I love the crowning where he manages to be as majestic as a king and yet shows he is not completely at ease ;his waltz with Deborah Kerr is also a great moment.James Mason vies with Robert Douglas in wickedness ,greed and Machiavelism.Deborah Kerr is gorgeous as Princess Flavia.This kind of story belongs to an imaginary remote past -although it is supposed to happen in 1897-like the fairy tales.That's why "the prisoner" is so magical..
While on holiday an Englishman who resembles the king of a small European nation gets mixed up in palace intrigue and royal romance when his royal doppelgänger is kidnapped.A Technicolor remake of Anthony Hope's much filmed story sees Stewart Granger, Deborah Kerr and James Mason star, while directing is Richard Thorpe, composing the score is Alfred Newman and cinematography is by Joseph Ruttenberg.Lush and at times lavish, this MGM production is however rather ponderous at times.
The first hour positively crawls and while Granger is just fine in the dual roles of Rudolf Rassendyl/King Rudolf V, the dynamism and breezy pace of the Ronald Colman starring 1937 version is sadly lacking.
He falls in love with Princess Flavia (Deborah Kerr) while dastardly Rupert of Hentzau (James Mason) also wants to take control of the kingdom.This is a lavish Technicolor remake of the Ronald Colman version, a faithful pedestrian remake though.
Grainger of course eventually saves the kingdom against the dastardly machinations of the King's designing brother, Prince Michael and the even more dangerous James Mason, (a picture in lilac jodhpurs!) as the real brains and cold-steel of the whole operation, Rupert of Hentzau.
Although they were as usual doing some great work around this time, there were some pretty forsaken awful films getting a release at this time, and this was a film which could have been more, but wasn't.Remake of the 1937 Ronald Colman classic, the latter is a disastrous film, probably an ill advised adventure.
This adaptation of The Prisoner Of Zender has Stewart Grainger playing European King Rudolf V at Strelsau who is the constitutional head of a version of a feudalistic system.
Another prominent actor in The Prisoner Of Zender is Jane Greer who plays Antoinette de Mauban with conviction.The Technicolour of the film reflects and captures the ostentatiousness of a regal lifestyle, here directed by alleged budget conscious Richard Thorpe.
Stewart Granger played the title characters, a tourist who resembled the king of a fictional country, and was recruited to spoil a plot by the brother of the king to take over the throne and a fair princess, played by the beautiful Deborah Kerr.
It moves at a rather stately pace, as though impressed enough with its own trappings to conclude that a viewer needs nothing more.STEWART GRANGER and DEBORAH KERR are graceful replacements for Colman and Carroll and both look splendid in their roles with Granger having considerably more acting to do in a dual role when he assumes the identity of the King of Ruritania.
Of course, there has to be a villain and JAMES MASON fills that role superbly as Rupert, involved in the plot to kidnap the real King in a struggle for power.
Likewise, ROBERT DOUGLAS as a fellow conspirator plays another villain with relish.It's a lavish costume adventure/romance of the highest order, prettified in color by Technicolor so that it seems like a fairy-tale for adults.
The 1952 version featured MGM's imported British leading man, Stewart Granger in a dual role, with Deborah Kerr as his leading lady, James Mason as a charismatic villain, Robert Douglas as the king's enemy and Louis Calhern and Robert Coote as loyal friends of the weakling king.
In this film, Granger has one of his best roles as a brave and ethical young man; Deborah Kerr is lovely, acts very well and shows the emotional reluctance of her character to attain selfhood and renounce royalty very clearly.
James Mason and Robert Douglas are outstanding in their villainous parts, even better together than separately; Jane Greer, Louis Calhern and Lewis Stone are very fine.
Children would love it because it is so uncomplicated and you do not have to think beyond what you are told on screen.The only redeeming feature in the film was James Mason's above average performance.
It has everything you could possibly wish for, romance, action, adventure, comedy + what really matters is superb acting, especially from Steward Granger (Rudolph Rassendill + King Rudolph) Deborah Kerr (Princess Flavia) and James Mason (Rupert of Hentsau) it is a classic of its time and the more i watch it the more it grows on me.
When a British subject, Rudolf Rassendyll (Stewart Granger) arrives to Ruritania, in a fishing trip, he was ignoring that he is a replica of the man who would be king...He was also surprised to find out that Rudolf V will be betrayed by two enemies: his half-brother Michael, Duke of Strelsau (Robert Douglas) who dreams to be the future sovereign, and by the impertinent, ambitious Officer Rupert of Hentzau (James Mason) who wishes to be the first man in the Kingdom...Michael, after drugging the King, wants the Crown to be offered to him by the people...
He poses as their savior from the excesses of an incompetent King...But two faithful Officers, Colonel Zapt (Louis Calhern) and Lieutenant Fritz von Tarlenhein (Robert Coote), actively in favor of 'crowning the King,' persuade the 'Englishman on holiday' to substitute the 'twin cousin' and to stand assuming the position of a true king at his Coronation...Rossendyll discovers himself involved in a tensional political web as well as in a strange human sensation...He couldn't play the impostor after meeting Princess Flavia (Deborah Kerr).
Now, so careful, so concerned, so in love...After the success of "Scaramouche," Stewart Granger performs with dignity the king part in "Prisoner of Zenda." He plays with certain charm the innocent hero, the swordsman, the perfect English gentleman in love...
He proves to be 'the finest Elphberg of them all.' Granger will be always remembered as the handsome elegant actor of them all...Deborah Kerr, who worked with Granger in "King Solomon's Mines," is exquisite as the delicate, sensitive princess, 'born to her cares and duties.' Her honor lies in keeping faith with her country and her house...Jane Greer plays the French Lady madly in love with Michael...
Her only care was 'no harm' to her lover..."The Prisoner of Zenda" has all the elements of a highly romantic costumed adventure: secret plots; confused courts; honor; power; fame; duty; bravery; flirt; passion; love; hate; and swordsplay...Filmed in Technicolor, the film is a beautiful exact remake of the 1937 Version with Ronald Colman, Douglas Fairbanks Jr., Madeleine Carroll and Raymond Massey....
The Stewart Granger - Deborah Kerr movie version of Anthony Hope's THE PRISONER OF ZENDA is an entertaining film, but it comes off second best to it's 1937 predecessor with Ronald Colman and Madeleine Carroll.
Yet the later film is not quite as good.According to the Turner Classic Movie's Stewart Granger was at a dinner at Ronald Colman's house where they ran the 1937 film as entertainment.
The only changes was the production crew, the cast and the color film stock.Granger comes off as good as Rudolf Rassendyl and King Rudolf V, but he is a trifle self conscious.
When Colman played the part he had a great lightness of touch that helped color his performance (particularly when dealing with both Douglas Fairbanks Jr. as Rupert of Hentzau and Raymond Massey as Black Michael).
It's odd because he had an advantage over Colman regarding the cast - Rupert in the 1952 film was played by James Mason, who had already appeared in two films (as deadly adversary) to Granger (THE MAN IN GRAY and FANNY BY GASLIGHT).
David Niven and Robert Coote were Fritz von Tarkeheim in the two versions, and both played the role effectively but not remarkably.The color was useful in the 1952 film in making the sets more evocative of that period from 1890 to 1897 (Victoria's upcoming Jubilee is mentioned at one point).
The most notable is in the climactic sabre duel between James Mason as Rupert and Stewart Granger as Rudolf.
In the earlier version poor Ronald Coleman was stuffed into a homely and somewhat raggedy looking woolen turtleneck sweater.And the principle parts are played by different actors and actresses so there are additional variations on the theme of intrigue, action, and love in Ruritania.
In the definitive 1937 version, Ronald Colman played the prisoner opposite Madeleine Carroll.
Best of all, Stewart, Mason and Douglas are appropriately dashing and/or villainous, and have the well-tuned support of seasoned players like Jane Greer, Robert Coote and Peter Brocco.
Both Stewart Granger and Deborah Kerr are almost impossibly beautiful and impossibly noble as lovers for whom Duty will always be more important than Love.
This 1952 version of the 1937 film of Anthony Hope's classic adventure novel is an almost exact copy.They used the sane screenplay, same sets, & same music, only differences besides the cast is that this is in beautiful 3-strip techicolour,The final sword fight scene is extended a bit as both participants were more skillful then the original 2 actors.Like the 1937 version this also has a well known cast.
Stewaet Granger, Deborah Kerr, doing well as the leads that Ronald Colman & Madeline Carrol did in the original.
Robeert Coot was not as funny as David Niven was.James Mason had the role the Douglas Fairbanks Jr. made memorable.They all did fine jobs under Richard Thorpe's fine direction.See my write up on the 1937 film for more details.Basically this is not as great as the original version BUT it still is a fine re-do.Ratings *** (out of 4) 88 points (out of 100) IMDb 8 (out of 10) **** the 1937 version was ***1/2 96 points & IMDb 9.
Meanwhile, James Mason--incredibly enough--doesn't overshadow Douglas Fairbanks, Jr., in the role of amoral Rupert.
They may have opted to film the 1937 version shot for shot but, alas, they couldn't replicate the original cast and had to settle for acting joke Stewart Granger, insipid Deborah Kerr and rely on James Mason to supply the only decent acting amongst the principals, plus strong support from Louis Cahern and Robert Coote. |
tt0074646 | Hot Potato | Hot Potato begins in Chang Lan, a fictional country somewhere in east Asia. The villain Carter Rangoon (Sam Hiona) orchestrated the kidnapping of a U.S. senator's daughter a Ms. June Dunbar (Judith Brown). Rangoon's demands were to see aid to Chang Lan or Ms. Dunbar would be executed. The U.S. was in a difficult situation. They were not welcome in that area of the world and had little influence in the region. They sent in whom the general (Ron Prince) described as their best man, Black Belt Jones (Jim Kelly).
Jones assembled a small force of mercenaries to assist in the task at hand. Johnny Chicago (Geoffrey Benney), whose primary motivation in life was money, was the first the mercenaries introduced in the film. The duo of Jones and Chicago were joined by Pamala (Irene Tsu), a Chang Lan operative who was to act as the group's interpreter and guide. She quickly proved her usefulness as a skilled fighter as she took on several goons refusing assistance from Jones and Chicago. Finally the group joins up with Rhino (George Memmoli) at a brothel. Rhino is a grotesque Italian from Texas with a passion for women and food.
Rangoon's scheme was more diabolical than kidnapping and extortion. He also arranged for a prostitute named Leslie (also played by Judith Brown) to pose as the senator's daughter for the rescue party to free her. Leslie was concerned for her safety if she were discovered. So, to insure her safety she stole some letters from Rangoon's office. If the material in the letters were to get out it could spell the end of Rangoon.
Jones and his team invade Rangoon's jungle fortress, symbolic of Hannibal Barca on the backs of elephants.
After the rescue Rangoon discovers his letters are missing and dispatches his minions to follow them through the jungle.
As the group make their way through the jungle they engage several groups of henchmen, all of whom fail. The plot begins to thicken as well. Romantic involvement begins to form as Chicago falls in love with Leslie. The group is also joined by a native woman and her son whom Rhino won in a wrestling match.
Jones becomes suspicious of the impostor and at the opportune moment went looking in the purse she seemed to cherish more than life itself. He found the letters. The group attacked and Leslie was taken. Jones proposed a trade: the letters for the girl. Things did not go as planned and Leslie was killed.
Jones then plans a covert attack on Rangoon's primary estate ending in a one-on-one fight scene between Rangoon and Jones as the senator's daughter hung over a pit of tigers. | blaxploitation | train | wikipedia | Painfully unfunny action comedy that is a chore to sit through..
Jim Kelly was super cool in 'Enter The Dragon' fighting alongside Bruce Lee and John Saxon.
He was even enjoyable in his first starring vehicle 'Black Belt Jones' directed by Robert Clouse, who also directed E.T.D. But 'Hot Potato', supposedly the sequel to 'Black Belt Jones', is the pits.
Clouse was no fool, he jumped ship.
The direction is handled instead by screenwriter Oscar Williams who wrote Jones and the Isaac Hayes vehicle 'Truck Turner'.
Well the script stinks on this one and Williams shows little talent as a director, so Kelly is behind the eight ball from the word go.
The plot, which is very thin and basically just an excuse for some okay fights and lots of painfully unfunny gags, see Jones enlisted to free the daughter of an American Senator (Judith Brown) who has been kidnapped by a Thai criminal mastermind (Sam Hiona).
He is helped by his buddy Chicago (Geoffrey Binney), a local female cop (Irene Tsu), and overweight buffoon "the white Rhino" (George Memmoli).
Rhino is responsible for almost all the so-called comedy which really drags the movie down.
He plays an obnoxious fat guy ala John Belushi/Chris Farley.
And just so we know it's supposed to be funny the soundtrack is full of "amusing" music and sound effects.
The sad thing is that Rhino is played by the late Memmoli, an actor who worked with Scorsese, De Palma and Schrader and showed a lot of comic (and dramatic) talent in their movies.
But he's just awful in 'Hot Potato'.
In fact EVERYTHING is just awful in 'Hot Potato!
It's absolute garbage that is a chore to sit through.
Steer clear of this one!.
Bad. I'm sorry.
Maybe I just expected too much after seeing Black Belt Jones.
Maybe I expected there to be less of what the filmmakers call "comedy".
I could barely stand to watch it.
I would have to say that I think this movie is on the top ten of my least favorite films ever..
Mid-period Jim Kelly for non-discriminating fans only.
This film isn't as good as earlier Kelly flicks like ENTER THE DRAGON and THREE THE HARD WAY and also not as deliriously bad as later films like Al Adamson's BLACK SAMURAI and DEATH DIMENSION.
This film does have some good fight choreography but is bogged down by slapstick comedy and goofy sound effects.
Was this film meant to be a parody or was it an accident?.
Tepid 70's actioner starring Jim Kelly.
Professional martial artist/instructor-turned-actor Jim Kelly stars in "Hot Potato".
This film, released in 1975.
The film is a nominal sequel to 1974's "Black Belt Jones": Here, Kelly again plays a US government agent/contractor, 'black belt' Jones, but no mention is made at all of his adventure battling Pinky & the Los Angeles Mob, so this could alternately be thought of as a prequel as well.
Presumably the film was mainly meant for overseas/international audiences, as it is light on dialogue (despite the principals being American), and mostly dependent on extended fight sequences (replete with slapstick sound effects) to move the plodding plot along.The plot-- such as it is-- involves the kidnapped adult daughter (Judith Brown) of a southern U.S. senator, who is held a fictional southeast Asian island country by a crime lord, Rangoon, (Sam Hiona).
Jones is partnered with two Americans who are also martial artists, the slick-talking Chicago (Geoffrey Binney) and the potbellied Rhino (George Memmoli).
A tough-talking fourth party, Thai detective (Irene Tsu), leads the rescue expedition (and guess who she falls for?) "Black Belt Jones" screenwriter Oscar Williams does double duty as writer/director here, but the film seemingly suffers.
Attempts at comedy just come across as lame, as when a toy car seems to genuinely terrify a crew of indigenous henchmen, or when Rhino gets into a pick-up Sumo match with a local; A "romantic interlude" is shoehorned in just before a climactic battle, involving random fireworks, a crucified woman and a pit with two tigers.Kelly, inexplicably paired with two bickering sidekicks, has even less dialogue here than in its predecessor.
Chicago's smart-aleck front supposedly masks his pain over losing a wife and child 5 years ago; Rhino (the most obnoxious presence in the film) apparently spends his free time in eating contests with locals and trying to bed multiple women; As a "fish out of water" escapade, this film doesn't have the same impact as "Black Belt Jones" and its hip-urban-America setting.
The film, shot on location in Thailand, takes advantage of the interesting visuals of the landscape, including ancient buddhist temples.One last thing: It's a mystery just what the title 'Hot Potato' refers to, if anything: Likely just something 'clever' thought up by the filmmakers and/or the studio..
One of the worst martial arts movies ever made.
Try as I might, I can't think of anything positive to say about HOT POTATO.
Though filmed on location, each setting looks dull to the eye.
The action is slow, clunky, and poorly choreographed.
Robert Clouse shows again that his acclaimed direction of ENTER THE DRAGON was either a fluke or that he got help from Bruce Lee. The worst thing of all about the movie are the attempts at comic relief, which are so slapstick and in your face, I got angry.
If you ever wondered why Jim Kelly never became a star, watch this movie - which is the *only* reason it ever should be viewed.
Otherwise, avoid!.
This sequel is downright corny!.
After the success of "Black Belt Jones", Jim Kelly does the sequel of it called "Hot Potato".
However, the result isn't what I call a follow-up success.
This movie is downright corny and Jackie Chanish.
The sound-effects are annoying and silly.
It's like looking at a live cartoon almost.
This time Jones(Kelly) is in Thailand, looking for a daughter of an US Senator.
He doesn't work alone he's got a new sidekick, and a over-sized fighter named Rhino(George Memmoli).
The trio work with an uncooperative inspector(Irene Tsu), but they all get the job done.
They meet with the impostor who later ends up helping them ge5t the real deal back from the warlord.
Everyone fights off the army with their martial arts skills, it's funny when Rhino took on the big opponent.
To me, this is one bad movie that should have been improved completely.
I mean ever martial art movie shouldn't be all violent, it should be fun which it is.
More action and less cheese.
But without the cheese factor, it would be a completely boring film.
If you enjoy the Jackie Chan films, enjoy this movie on your own terms.
2 out of 5 stars!.
Bad Movie, Great Costumes!.
This movie has little to redeem it.
The fight choreography stinks the comedy stinks, the dialogue stinks.
The main reason me and mine rented this was to see all of our favorite Hong Kong stunt men, who appear in this film.
Not only is Billy Chan, Yuen Biao and Lam Ching Ying in it you will also see a lot of Eric Tsang, Chan Lung and Mung Hoi among others.
All I can say is, they must have really needed that paycheck!
Never have I seen so many great men used so shamefully!
The 5 different costumes they were forced to wear have to be seen to be believed!
( The jester-like costumes were my personal favorite!) We laughed ourselves silly!
So if you want to see Lam Ching Ying in a leopard print jungle outfit and short shorts, this is film for you!.
Lame as a comedy, OK as an action flick..
This "sort of" a sequel to "Black Belt Jones" (Jim Kelly's character is referred to merely as "Jones") is far inferior.
The comedy is lame, the acting mediocre and the dialogue often very bad.
But there is a continuous stream of action running through the film, and Kelly shows once again that he had the stuff to be a martial-arts star (although his career was fairly brief).
Plus, there are the colorful exotic locations that help you keep watching even the worst scenes.
Hot pile of feces.
I love Jim Kelly.
He convinced me from viewing Enter The Dragon and Black Belt Jones that, he is one of the coolest dudes on the planet.
This poor excuse of a film is a strong candidate for worst movie ever .
Hot Potatoe was billed as a sequel to blaxsploitation classic Black Belt Jones .
Besides the return of Kelly of the Black Belt Jones character , this bears no resemblance to the original film .
Lame and unfunny across the board .
Every aspect of this movie is bad.
Even the fights suck, which is a shame considering Jim Kelly 's skills as martial artist and that he was in Enter The Dragon .
Which is the most crucial and classic martial arts movie of all time !
His sidekick Rhino was painfully annoying .
Hot Potatoe is one movie that I feel has no entertainment or artistic value at all.
This is one serious bummer and one pile of crap all around..
Plagued by Extremely Weak Attempts at Humor and a Very Poor Script.
After a Senator's daughter by the name of "June Dunbar" (Judith Brown) is kidnapped by an Asian warlord named "Carter Rangoon" (Sam Hiona) and scheduled to be executed if the United States doesn't comply with his demands, two agents "Jones" (Jim Kelly) and "Johnny Chicago" (Geoffery Binney) are sent in to rescue her.
To do this they need the assistance of the local police and "Detective Sergeant Pam Varaje" (Irene Tsu) is assigned this important task.
However, what none of them take into consideration is how crafty Carter Rangoon can be when necessary.
Now rather than reveal any more I will just say that I thought that Jim Kelly performed adequately enough for the most part.
Unfortunately, the rather weak attempts at comedy involving a particular character nicknamed "Rhino" (George Memmoli) and the poor script proved too much and ruined what could have been a decent film.
That said, I don't consider this to be a good martial arts film by any standard and I have rated it accordingly.
Below average..
Halfway decent C-level actioner.
Supposedly a follow-up to Jim Kelly's starring vehicle Black Belt Jones, but I only think that was an afterthought by the marketing department.
Well, Kelly does play a guy named Jones.
He's never once called "Black Belt".
Maybe they were just unsure of whether Black Belt Jones was going to be a hit or not.
Really, Hot Potato isn't even the same genre.
It is a martial arts action flick, but there's not the smallest element of blaxploitation in it.
Kelly's the only black person in the film.
In it he hooks up with three other action heroes, Irene Tsu, Geoffrey Binney and George Memmoli to save a senator's daughter from her captors in Southeast Asia (the film was shot entirely in Thailand, and, while I don't think the name of the country is specifically mentioned in the film, the culture is most definitely Thai).
Much like Black Belt Jones, the action is horribly directed, and the comedy bits are lame as all Hell (the film tries to force the doughy Memmoli on the unsuspecting audience as a comic action star, and his bits are particularly groan-inducing), but it's still amusing in the way the best bad movies are.
Can't say I enjoy this nearly as much as Black Belt Jones, but it was worth seeing.
I got this and BBJ in an awesome four pack of movies entitled "Urban Action Movies".
One of the great buys!
The other two movies, another of which stars Jim Kelly (along with Jim Brown and Fred Williamson!), look awesome, too..
The follow up to Black Belt Jones!
The follow up to Black Belt Jones!
starring the great Jim Kelly!!!This 70's flick has it all!
Kung-fu!Comedy!The zamboni driver from Rocky!
nice scenery and of course Jim Kelly!
The plot deals with a team sent to Europe by the U.S Government to rescue a Senator's daughter.
A must for all fans of Jim Kelly and B-grade action flicks..
Has laughable has KUNG POW..
This was probably meant to go down has bad movies we love.
I just rented this movie hoping it would have been an amusing martial arts movie.
What I got instead was silly brainless acting, and fight scenes that look almost funny instead of exciting.
Jim Kelly(Williams from Enter The Dragon) don't get me wrong is a awesome martial artists, did'nt look much over when desided to do this movie.
Some of his fight scenes were good.
But the rest makes you miss Bruce Lee. You wonder why he did'nt get to be a big star like Chuck Norris.
But most of the film is enjoyable.
For viewers if you are looking for a funny Kung Fu film.
Next to Kung Pow, you'll love this one..
Lackluster tongue-in-cheek chopsocky romp.
A team of American special agents lead by super smooth ace martial artist Jones (the ever cool Jim Kelly) travel across Thailand to rescue June (Judith Brown sporting in atrociously overdone Southern accent), the daughter of a U.S. senator who's been abducted by the evil Rangoon (Sam Hiona doing a third-rate Fu Manchu impression).
Writer/director Oscar Williams, who previously penned the lowdown funky blaxploitation winners "Black Belt Jones" and "Truck Turner," really fumbles the ball with this disappointingly mild and plodding PG-rated clunker: the sluggish pace, meandering narrative, and especially lots of extremely dumb and forced attempts at painfully unfunny and witless humor doom this baby to outright mediocrity.
The cast struggle gamely with the subpar material: Kelly just about manages to retain his dignity throughout, the lovely and personable Irene Tsu adds some spark and spunk as feisty lady cop Pam, Geoffrey Binney is okay as the hip Joe Chicago, and Brown ain't half bad in a second role as the fetching and duplicitous femme fatale Leslie.
However, George Memmoli is simply insufferable as the White Rhino, an obnoxious bumbling fat slob comic relief character who's supposed to be lovable and amusing, but instead proves to be extremely irritating and unappealing.
Several action set pieces like a dangerous trek down a river on a raft and a raid on a village on a bunch of rampaging elephants fail to deliver the expected thrilling pay-offs due to the fact that they are clumsily executed.
A hideously sappy romantic interlude at the halfway point doesn't help matters any.
Only in the surprisingly dynamic and exciting last third does this flick finally spring to life, but by then it's much too little way too late to compensate for the general tedium which preceded it.
A very blah and forgettable wash-out..
Steer clear of Hot Potato.
It seems the nefarious Carter Rangoon (Hiona) has kidnapped the daughter of an American Senator (Brown) and has her held captive at his training camp for baddies somewhere in Thailand.
Said Senator does the only rational thing he can do in that situation - he calls Black Belt Jones!
This time around, Jones (he is simply known as "Jones" and no mention is made to his "Black Belt" status) enlists the help of comical fat guy Leonardo "Rhino" Pizzarelli (Memmoli), a competitive eater and all-around wild man, Johnny Chicago (Binney), the counterpoint to Rhino, a "hunk", if you will, and the local woman Pam (Tsu), enlisted to be their contact in Thailand.
Will our mismatched team of heroes fight through an endless stream of wacky baddies, silly obstacles and childish music and sound effects to save the girl?
Basically an unfunny comedy that becomes really tiresome really fast, Hot Potato is Saturday-afternoon-style fare.
With its PG rating, America's Funniest Home Videos-style sound effects and cartoonish score, it might be perfect for a kid in elementary school that wants to get into martial arts cinema but can't see the more violent entries in that genre.
The extended (read: filler) fight and stunt scenes are filled to the brim with slapstick and have all the edge of the fights on the 60's Batman TV show.
Again, that's fine if you're a kid, but these kind of juvenile antics will grate on the nerves of adults.While Black Belt Jones (1974) is basically beloved by everyone that's seen it, and deservedly so because it has a certain verve, Hot Potato is just self-conscious.
Yes, Kelly makes some funny faces, and there are some beautiful locations, shot very well in Chiang Mai, Thailand, and it is a professional, Warner Brothers production, but it is watered-down mainstream Kung Fu for the masses.
No characters are even remotely developed and it becomes a slog at a certain point.
It's a childish adventure picture, and while it is somewhat amusing to see people getting kicked, punched, maimed, and in some cases presumably killed in the name of high-spirits comedy and fun, somehow it never really gels or works.If you ever get a hold of Hot Potato, simply fast forward to the end credits, as there is a montage of the "best" scenes in the movie.
Seeing these highlights, you will get the same, if not a better effect as watching the movie and you will save about 90 minutes.
Although you might miss the legendary Yuen Biao if you do.
But then again, it's easy to miss him if you watch the movie straight through.Anyone who wants their fond memories of Black Belt Jones unsullied should steer clear of Hot Potato.For more insanity, please visit: comeuppancereviews.com |
tt0102592 | One False Move | Three criminals, Ray, Pluto and Fantasia (Ray's girlfriend), commit six brutal murders over the course of one night in Los Angeles as they seek a cache of money and cocaine. The trio leave for Houston to sell the cocaine to a friend of Pluto's.
The LAPD Detectives Cole and McFeely are investigating the case. After getting a few leads, they discover that the three are possibly headed for Star City, Arkansas. The LAPD contacts the Star City police chief, Dale "Hurricane" Dixon, who is excited about the case, as it gives him an opportunity to do "some real police work". He is well-known throughout the small county, chatting with locals while on patrol. The detectives fly to Star City and meet Dixon. He attempts to ingratiate himself with the detectives, whom he reveres, while they pretend to respect him.
After stopping at a convenience store, a state trooper pulls over and attempts to arrest Ray and Pluto but Fantasia kills him as she is asked to get out of the car. Word of the trooper's murder gets to the detectives in Star City, and the trio review surveillance photos of Ray and Fantasia in the store confirming their identity. Dixon informs the detectives that Fantasia is Lila Walker and she grew up in Star City. He recalls she was a troubled youth who left for Hollywood with dreams of an acting career.
The detectives sense Dixon may know Fantasia better than he is letting on after they stop by her mother's house. They question Fantasia's mother and brother Ronnie about Fantasia's whereabouts and if she had contacted them recently. They also meet a young boy who is revealed to be Lila's young son. The detectives suspect that Lila will be coming home to see him.
Ray, Fantasia and Pluto arrive in Houston to sell the drugs as planned. Fantasia takes a bus to Star City. Angry that their buyers are reneging on the previously agreed upon price for the cocaine, Pluto and Ray kill them and flee. They drive to Star City to meet up with Fantasia and plan their next move.
When Fantasia arrives in Star City, she hides at a rural house. Dixon confronts her, and it is revealed that the boy is Dixon and Lila's son, conceived during an affair years earlier. After tense conversation, they make a deal. She will lure Ray and Pluto to ensure their arrest and in exchange, Dixon will help her leave town.
Pluto and Ray arrive at the house and are immediately confronted by an armed Dixon. Pluto stabs Dixon in the stomach and Dixon shoots Pluto. Ray draws his gun and runs outside while shooting at Dixon. The two fire at each other, but Fantasia stops Dixon from killing Ray, only to have Ray errantly shoot her in the head. Shot in the chest, Dixon steadies himself and shoots Ray, killing him. Pluto walks outside and falls dead in the grass. Dixon calls for help with his police radio, and the LAPD detectives arrive, amazed at what Dixon has accomplished. The boy walks over and talks to Dixon as he lies bleeding, and he asks the boy to tell him about himself. | neo noir, realism, murder, violence, atmospheric, suspenseful | train | wikipedia | Well, he drew his gun seven years ago and it has now come back to haunt him and put him in a position that could get him killed.Billy Bob Thornton (A Simple Plan, Sling Blade, Astronaut Farmer), Arkansas born himself, co-wrote and starred in this film and really pulls off the psycho robber with such perfection that I really cannot understand how a supposedly intelligent guy like "Pluto" (Michael Beach - Short Cuts, "Third Watch," "ER") could hook up with him, especially since they spent two years in jail after the last job.
In Los Angeles, after a violent drug rip-off, the Los Angeles Police Department detectives find the identity of the trio – the sadistic I.Q. of 150 and college graduate Lenny "Pluto" Franklyn (Michael Beach); his not so bright buddy in San Quentin Ray Malcolm (Billy Bob Thornton); and his girlfriend Fantasia (Cynda Williams).
Their further investigation indicates that the criminals are fleeing to Star City, Arkanas, and LAPD detective Dud Cole (Jim Metzler) and his partner John McFeely (Earl Billings) contact the local Chief of Police Dale 'Hurricane' Dixon (Bill Paxton) and they head to the little town.
Cynda Williams, in her second film, is awesome but Bill Paxton "steals" the film in the role of a bragger hillbilly and chief of police that sees the chance of his life of arresting real criminals but meets his past instead.
It marked the feature-film debut of American director Carl Franklin who takes a run-of-the-mill cops and robbers yarn and wisely places the emphasis on character.
Williams, Thornton (who also co-wrote the script) and Beach are excellent as the three gangsters while Bill Paxton is also excellent as Hurricane the Star City cop entrusted with the task of helping the LA police track the gang down.
Billy Bob Thornton, however, has since become an international star appearing in such modern classics as A SIMPLE PLAN (1999) and the Coen Brothers' sublime black and white noir film THE MAN WHO WASN'T THERE (2001)..
This time I noticed though the thrilling aspects of the film were used to set the movie in motion, underneath there was an examination of big city meets rural town.
After a drug buy goes bad, Ray(Thornton)and Pluto(Michael Beach)with pretty Fantasia(Cynda Williams)in tow head from California to Star City, Arkansas.
He gets in over his head tangling with on-the-lam, murderous drug dealing thugs escaping from Los Angeles and heading to his small, rural town of Star City, Arkansas, where they plan to hide out at friend's house.
Billy Bob Thornton's screenplay is superb, as is his acting (and that of his co-stars including Michael Beech and Bill Paxton), which helps us identify, if not quite like the character 'Ray'.
The haunting climax aided by a well used blues soundtrack is also worthy of specific recognition, but in short this movie will not disappoint any audience appreciating an interesting story.Modelled on a High Noon good guys Vs bad guys like destiny, narrative also has little observations on racism and the class divide between big city America and small town Americana.
The cast are uniformly strong, with the stand outs Williams, Paxton and Thornton reaching down deep to give their respective characters some stunning grittiness, doling out sadness, misguidedness and rage with a believability that's as impressive as it is riveting to watch.Overall rating: 9 out of 10..
Directed by Carl Franklin and written by Billy Bob Thornton and Tom Epperson, 'One False Move' is a thriller starring Cynda Williams, Billy Bob Thornton, Bill Paxton, Michael Beach,etc.
I have to individually mention Bill Paxton and Cynda Williams for showing a lot of range by playing character, the perceptions for whom change radically in the viewer's mind with the revealing of new facts about their past.I have already mentioned that the script is layered, but even then this could have become a standard crime-thriller with no depth.
Heading for Star City, Arkansas, the three are oblivious to the fact that the law, both local and of L.A., is lying in wait for them.One time actor Carl Franklin has good standing as a director in neo-noir circles, his Devil in a Blue Dress (1995) and Out of Time (2003) had the benefit of starring Denzel Washington, with the former often thought of as an undervalued treasure.
These be a mix of classic losers, psychotics, redemption seekers and a naive dreamer, and there's a link from the past that's going to impact devastatingly on the present.Modelled on a High Noon good guys Vs bad guys like destiny, narrative also has little observations on racism and the class divide between big city America and small town Americana.
The cast are uniformly strong, with the stand outs Williams, Paxton and Thornton reaching down deep to give their respective characters some stunning grittiness, doling out sadness, misguidedness and rage with a believability that's as impressive as it is riveting to watch.One of the best crime pictures of the 90s and an essential viewing for anyone interested in pure neo-noir.
The biggest joy of this movie is, unsurprisingly, getting to know Bill Paxton's Dale "The Hurricane" Dixon, the chief of police of a small Arkansas town that three vicious criminals seem to be heading toward like a particularly nasty storm front, leaving a trail of corpses in their wake.
Wow.What starts as a police procedural quickly turns into one of the best Filme Noires of the last 30 years, right up there with Blood Simple.Black director Carl Franklin is at the peak of his craft as he creates a tale that builds and builds.
And Michael Beach gives an unforgettable performance as a stone killer who barely blinks once during the entire movie.Billy Bob gives basically the same performance he has been giving for his entire career along with his signature line, "Goddammit." So it is hard to single his one out.ONE FALSE MOVE is a terrible title for his film and one suspects it was the working title and no one remembered to to change it.A wonderful piece of work from all concerned..
What's great about One False Move is we really spend time with the characters, an amazing quality I found here in this BB penned film, where too his threatening and menacing performance as a really bad dude, part of a trio, kind of chills ya, because he can just go off, at any moment.
The ending was kind of worrying as to Paxton's fate, but here is such a bloody well constructed film, that really captures the lives of it's characters, good or bad, big or small.
Hitching the rating way up is first-rate ensemble acting, first with an in-depth performances from Billy Bob Thornton, as well as with lesser known but equally able performances from Cyndi Willimas, Michael Beach, and Bill Paxton (who turns out to be an unlikely hero of sorts).The final twenty minutes is mesmerizing, with a professional editing job that carefully links together all the complex interweaving gone before, taking the viewer all the way from LA to Arkansas back country.
Yes I will openly admit to bias here, but I can't help thinking that if Billy Bob Thornton would've been the director as well as one of the writers and a principle actor, this film would've been much better.
I know how that sounds, but trust me, see this movie.This was done before Billy Bob Thornton had gained wide recognition (he was co-writer) and it was only a hint of things to come.
They are more sophisticated investigators but Hurricane knows the small town of Star City and the players very well, and in one case too well.This was the first film directed by Carl Franklin and was co-written by Billy Bob Thornton and they both did a great job.
It is really one of the best films about crime, punishment, race and class in the recent film history and the careers of everybody involved, Paxton, Thornton, Franklin, Michael Beach, and Cynda Williams got a well-deserved boost from this one..
Paxton was absolutely perfect for his role, as was Thornton.I could have done without some of the more violent scenes, but I never thought that they were gratuitous or forced.Highly recommended for film noir fans, but definitely not for the kids..
I have to mention Michael Beach who really seems to be cold blooded psycho and good performance by Billy Bob Thornton (who is also the writer of the movie).I give it 7/10..
ONE FALSE MOVE (1992) **** Bill Paxton, Cynda Williams, Billy Bob Thornton, Michael Beach, Earl Billings, Jem Metzler, Natalie Canerday.
Carl Franklin made his directorial debut with this swiftly paced and excellently executed tale of a crime spree from Los Angeles to a small Arkansas town with intriguing characters of cops and criminals in this above-average road film.
This was the first movie that I ever saw Billy Bob Thornton in and only the third that I had seen Bill Paxton in.
If you want a tough and realistic thriller watch this one.Full of bloody action sequences(VERY graphic ones indeed) and a terrific bad guy played by Thornton,this movie deliver the goods.Exciting and very realistic.Very.After watching this movie I was happy,finally a great film noir without ANY of the typical Hollywood flaws.There`s not a better film noir than this.If you like this one I recommend "Devil In a Blue dress"(also Franklin),Red Rock West and The Last Seduction(both directed by John Dahl).By the way,the best film noir ever is "L.A Confidential".Okey,so One False Move is SECOND then.Enjoy!Rating 8/10.
Lila, her boyfriend Ray (Billy Bob Thornton), and Pluto (Michael Beach) decide to steal a store of drugs and cash, leaving 6 dead bodies in their wake.
However, there is a common thread that runs between Lila and Dixon as the plot runs much deeper than we initially believe.Bill Paxton is solid in his portrayal of the small town police chief, a good ol' boy with a chance to have a real case to work on in a town where nothing beyond the crimes of domestic disturbances or breaking the speed limit occur.
Ray Malcolm (Billy Bob Thornton), his girlfriend Fantasia (Cynda Williams), and psychopathic killer Pluto Franklyn (Michael Beach) kill a drug family and steal their money and drugs.
The trio is heading to Houston to sell the drugs before going to Star City for family.Billy Bob Thornton is warming up in this 1992 movie.
Directed by Carl Franklin from a script by Billy Bob Thornton, and starring Thornton, Bill Paxton, Cynda Williams, and Michael Beach, it begins with bloody bodies on the floor and ends with bloody bodies on the ground.
I am therefore condemning director Carl Franklin to an absurdist nightmare in which he dreams of getting scripts in the mail in which the dialogue for all characters consists of just that one word in its various grammatical forms, repeated for one hundred and twenty pages.Paxton plays a small town sheriff in awe of the cops from the big city who is nonetheless intent on proving his manhood.
Going there are sleazy snorting Billy Bob Thornton (as Ray Malcolm), sexy girlfriend Cynda Williams (as Lila "Fantasia" Walker), and smartly psycho Michael Beach (Pluto).
They augmented it by having Mr. Paxton characterize the film's unraveling hero, revealing beneath the elimination of race as a barrier to love.********* One False Move (5/8/92) Carl Franklin ~ Bill Paxton, Cynda Williams, Billy Bob Thornton, Michael Beach.
Several years before he struck gold with "Sling Blade", Billy Bob co-wrote and starred in this neat little thriller.A drug heist that results in a mass execution puts Thornton, iceman Michael Beach, and Thornton's girlfriend Cynda Williams on the run.
Bill Paxton is fine as well, as the local Sheriff who has a few secrets of his own.It's very rare to find a film like "One False Move".
Astounding performances were given by the dismal villains (Billy Bob Thornton, Michael Beach, and Cynda Williams) and the high spirited sheriff (Bill Paxton).
This routine drama benefits from having some interesting characters, particularly Paxton as a small town police chief who dreams of joining the LA force and Thornton, who co-wrote the screenplay, as the leader of the criminals on the run.
Her boyfriend, "Ray Malcolm" (Billy Bob Thornton) has just gotten out of prison and along with another ex-convict named "Lenny 'Pluto' Franklin" (Michael Beach) are involved in drugs and murder.
Both Billy Bob Thornton and Cynda Williams performed in an excellent manner and in my opinion carried this film.
It shows us what we first take as stereotypes, then throws them back at us: clean-cut, good-looking, intelligent (black) Pluto (Michael Beach) and beady-eyed, slovenly, foul-mouthed, slack-jawed trailer-trash (white) Ray Malcolm (Billy Bob Thornton) are partnered with beautiful black call girl Phantasia (Cynda Williams) in a rip-off of some Hollywood coke dealers.
And, as it also turns out, Phantasia isn't Pluto's girlfriend, as would seem logical, but she's with Malcolm, who looks and acts like he should be on a recruiting poster for the Ku Klux Klan--and who, for all his outward bluster, tough talk and murderous appearance, is actually the weaker of the two men by far, and almost totally under the thumb of the icy, cold-blooded Pluto, of whom he appears (with good reason) to be terrified.The L.A. police eventually discover the trio's identities, and their investigation leads them to believe that the killers are headed for an Arkansas backwater called Star City, so they send two homicide detectives there to help the local sheriff apprehend them.
Even the Star City sheriff, a young, garrulous "bubba" (Bill Paxton, in a first-rate job) excited by the prospect of doing some "real" police work with some "real" big-city cops, turns out to have more of an interest in this case than just a purely law enforcement one.This is a crackerjack movie, with no big stars but chock full of good, solid character actors, an inventive, well written script (by Thornton) and direction by Carl Franklin that brings to mind the best of Don Siegel, Phil Karlson, Joseph H.
Three killers -- Billy Bob Thornton or whatever his three names are, Williams, and Beach -- drive from LA to Star City, Arkansas, where two LA detectives (Metzler and Billings) and a local chief of police (Paxton) await them.
The movie's carefully created atmosphere, its precise pacing and its visual style are all impeccable and enhance its overall quality enormously."One False Move" is a tense thriller which makes a powerful initial impact as it depicts very graphically the grotesque savagery of a series of murders before it develops into an intriguing tale about a group of people whose lives are destined to be brought together in an unavoidable and deadly confrontation.Two ex-prison buddies called Ray (Billy Bob Thornton) and Pluto (Michael Beach) and their accomplice Fantasia (Cynda Williams) steal a substantial quantity of cocaine and money from an L.A. drug dealer and then travel to Houston to sell the cocaine to one of Pluto's contacts.
The detectives go to Star City and discuss their plans with the local sheriff Dale "Hurricane" Dixon (Bill Paxton) who is very impressed by the big city cops and is tremendously excited to be working with them.Fantasia leaves Houston by bus to see her five year old son who's being cared for by her mother in Star City and Ray and Pluto stay to complete their drug deal.
The two detectives on the other hand are seasoned and cynical city cops who exploit Dixon's good natured generosity and at the same time regard him as naive and inferior.The use of low angle shots and close-ups in the violent scenes early on in the movie are particularly effective in emphasising the amount of fear and tension involved and similarly, in some later sequences, there are numerous moments of real suspense which are very convincing.The screenplay by Billy Bob Thornton and Tom Epperson is excellent, the acting is of a consistently high standard and despite its various plot twists, a palpable sense of inevitability remains strong throughout.
The trio consists of Billy Bob Thornton as the most vicious of the group, Ray; his reluctant girlfriend, Fantasia (Cynda Williams); and highly intelligent Pluto (Michael Beach).
Very few movies can successfully pull off unforgiving bad guys but still making them compelling.The other story deals with two LAPD cops who investigate the case and are led to the small town of Star City in Arkansas, where the sheriff Dale "Hurricane" Dixon (Bill Paxton) works with them.
Frankly, I found the characters to be quite caricatured and stereotypical, from Bill Paxton's small-town cop with big dreams, to loony toons villains Billy Bob Thornton and Michael Beach (although played menacingly enough).Plot-wise, there were really no interesting twists and turns in this film.
Bill Paxton stars as Dale Dixon a police chief in Star City, Arkansas who is with the help of two Los Angeles detectives (Jim Metzler and Earl Billings) are on a case of six murders over a drug deal gone wrong, and later it is found out that there are three suspects in the case a man nicknamed "Pluto" (Michael Beach), his friend Ray (Billy Bob Thornton), and with them is a girl named Lila (Cynda Williams) who is nicknamed "Fantasia" by Ray. Then they are all caught but they don't go to jail for reasons that I won't mention because they are too crucial to the story of this film.
A pair of brutal criminals named Ray Malcolm and Pluto (Billy Bob Thornton and Michael Beach) rob an LA drug dealer and leave a pile of bodies in their wake.
Most interesting is the contrast between Billy Bob Thornton's Ray and Michael Beach's Pluto.
If you want to watch a good movie, or just want to see Billy Bob Thornton with a douchebag ponytail, give it a look.. |
tt1371159 | Iron Man 2 | In Russia, the media covers Tony Stark's disclosure of his identity as Iron Man. Ivan Vanko, whose father Anton Vanko has just died, sees this and begins building a miniature arc reactor similar to Stark's. Six months later, Stark is a superstar and uses his Iron Man suit for peaceful means, resisting government pressure to sell his designs. He reinstitutes the Stark Expo to continue his father Howard's legacy.
The palladium core in the arc reactor that keeps Stark alive and powers the armor is slowly poisoning him, and he cannot find a substitute. Growing increasingly reckless and despondent about his impending death, and choosing not to tell anyone about his condition, Stark appoints his personal assistant Pepper Potts CEO of Stark Industries, and hires Stark employee Natalie Rushman to replace her as his personal assistant. Stark competes in the Monaco Historic Grand Prix, where he is attacked in the middle of the race by Vanko, who wields electrified whips. Stark dons his Mark V armor and defeats Vanko, but the suit is severely damaged. Vanko explains his intention was to prove to the world that Iron Man is not invincible. Impressed by Vanko's performance, Stark's rival, Justin Hammer, fakes Vanko's death while breaking him out of prison and asks him to build a line of armored suits to upstage Stark. During what he believes is his final birthday party, Stark gets drunk while wearing the Mark IV suit. Disgusted, U.S. Air Force Lieutenant Colonel James Rhodes dons Stark's Mark II prototype armor and tries to restrain him. The fight ends in a stalemate, so Rhodes confiscates the Mark II for the U.S. Air Force.
Nick Fury, director of S.H.I.E.L.D., approaches Stark, revealing "Rushman" to be Agent Natasha Romanoff and that Howard Stark was a S.H.I.E.L.D. founder whom Fury knew personally. Fury explains that Vanko's father jointly invented the arc reactor with Stark, but when Anton tried to sell it for profit, Stark had him deported. The Soviets sent Anton to the gulag. Fury gives Stark some of his father's old material; a hidden message in the diorama of the 1974 Stark Expo proves to be a diagram of the structure of a new element. With the aid of his computer J.A.R.V.I.S., Stark synthesizes it. When he learns Vanko is still alive, he places the new element in his arc reactor and ends his palladium dependency.
At the Expo, Hammer unveils Vanko's armored drones, led by Rhodes in a heavily weaponized version of the Mark II armor. Stark arrives in the Mark VI armor to warn Rhodes, but Vanko remotely takes control of both the drones and Rhodes' armor and attacks Iron Man. Hammer is arrested while Romanoff and Stark's bodyguard Happy Hogan go after Vanko at Hammer's factory. Vanko escapes, but Romanoff returns control of the Mark II armor to Rhodes. Stark and Rhodes together defeat Vanko and his drones. Vanko seemingly commits suicide by blowing up his suit.
At a debriefing, Fury informs Stark that because of Stark's difficult personality, S.H.I.E.L.D. intends to use him only as a consultant. Stark and Rhodes receive medals for their heroism.
In a post-credits scene, S.H.I.E.L.D. agent Phil Coulson reports the discovery of a large hammer at the bottom of a crater in a desert in New Mexico. | good versus evil, violence | train | wikipedia | First review isn't too positive. If you want me to be honest I only got this game to play as War Machine (who wouldn't) and I got that alright but it was too short. For that last comment about it being too short people who may follow my reviews would say "but you liked Alan Wake" well my opinion is that Iron Man 2 didn't have the addictive feel of games like The Darkness, Doom or Alan Wake.I did actually like what I had to do as a final fight in the game (battle a 50ft robot Iron Man) because it was challenging I play video games for a challenge and in that... lets just say I got a little bit too much of what I wanted in that respect.I would say play the original Iron Man game but I am going to give this one a bit more credit because it has a different storyline to the movie I prefer movie-games that have it's own story rather than knowing the main story which my opinion to that is If you know how somethings going to end doesn't mean to say you can't enjoy it.The enemies in this are smarter than most video games I play because they're not like "oh here's an enemy that's trying to kill us lets just run towards him" they fight you and strategise meaning the AI is intelligent... but the only 2 huge challenges were Ultimo and some huge robot thing that was an enemy (not the final fight). |
tt0063443 | Play Dirty | During the North African Campaign in World War II, Captain Douglas (Caine) is a British Petroleum employee seconded to the Royal Engineers to oversee incoming fuel supplies for the British 8th Army. Colonel Masters (Green) commands a special raiding unit composed of convicted criminals, and after a string of failures he is told by his commander, Brigadier Blore (Andrews), that he must have a regular officer to lead a dangerous last chance mission to destroy an Afrika Korps fuel depot, lest his unit be disbanded. Despite Douglas' objections, he is chosen for his knowledge of oil pipelines and infrastructure. Douglas is then introduced to Cyril Leech (Davenport), a convicted criminal rescued from prison to lead Masters' operations in the field.
The next day, Douglas and Leech are provided with armed jeeps and lead six other men out into the desert disguised as an Italian Army patrol. They endure a long and arduous trek across the desert: encountering enemy tribesmen, sandstorms, and a booby-trapped oasis, among other dangers. While Leech and his men are often insubordinate towards Douglas' command, they eventually reach their objective, only to discover that the depot is fake. They then head to a German-occupied port city hoping to steal a boat and escape; Douglas sees the fuel depot there and convinces Leech that destroying it would aid their plan. Meanwhile, Masters is confronted by Blore with aerial photographs of the (supposed) depot intact — confirming the mission's failure. Having lost contact with the men for some time, Masters is ordered to leak intel on the team to the Germans; the British Army is now on the offensive, and they wish to keep any enemy fuel depots intact for capture.
Under the cover of night, the men don German uniforms and sneak into the port depot to plant their explosives, but one of them sets off a trip flare and they are quickly surrounded; an officer on a loudspeaker calls each of them out by name, revealing Masters' betrayal. The men scatter as the depot is detonated; Leech and Douglas manage to slip away while the rest are caught and killed. After taking shelter, Leech admits to Douglas that he is being kept alive only because Masters is paying him £2000 for his safe return.
The 8th Army arrives the next morning; Douglas and Leech (still donning their German uniforms) decide to surrender to the British. Unfortunately, a trigger-happy British soldier opens fire — killing them before they have a chance to speak. | anti war | train | wikipedia | Michael Caine is his brilliant self, supported ably by Nigel Davenport and Nigel Green in this film which has drawn comparisons to the "Dirty Dozen" but, I believe, strikes ground of its own.
Play Dirty (1969)You almost have to see this anarchic, nasty, selfish, brutal WWII movie as a comment on Vietnam, and on war.
At first you think Michael Caine, for all his talent, is miscast, but the odd displacement of his character among a lot of very hardened, serious men is part of what works.This is not like any WWII you've seen.
There is also fighting amongst the men, a somewhat horrifying (and unnecessary) attempted rape, some bloody carnage of natives, and of Germans, a long twenty minutes of Fitzcarraldo heroics with some cables, and so on.But in the end, it really does capture something essential of war, including the nonsense of some of it, and the lack of rules, and the lack of personal safety that comes from chaos, and the difficulty of companionship and trust..
Somewhat similar to "The Dirty Dozen," in that its plot features a group of convicts recruited for a deadly mission during WW 2, this fast paced war epic is much more stylish and unpredictable than that crudely made, if undeniably entertaining, Robert Aldrich blockbuster.
With great performances from Michael Caine and Nigel Davenport, as well as able support from a cast of fabulous British actors, the film features one terrific action sequence after another, with plenty of surprises in store.
After a string of failures, Col. Masters is given one last chance by General Blore with his information taken from behind enemy lines, which involves blowing up a Nazi fuel depot in North Africa.
Masters gets a seven-man unit of criminals ready, led by mercenary Captain Leech, but Blore wants a British officer in charge and Captain Douglas with his oil experience gets picked.
Leech and Douglas clash over who's in command, but Leech sees Douglas' honoured methods aren't well suited for their situation and lets Douglas string them along, as there's a money reward for him if he returns back with Douglas alive.What hits me straight away is the comparisons to Robert Aldrich's 1967 film "The Dirty Dozen", which gets unfairly lumped onto this feature.
Caine's professionally stout and well-judged performance as Captain Douglas works fine and a slyly hard-boiled performance by Nigel Davenport as the rogue Captain Leech is that of high quality and the pick of the lot.
Tough, macho Nigel Davenport matches wits with firm English captain Michael Caine as they team up to kick axis butt in this two-fisted war movie that will keep you glued to the screen.The harshness of the unforgiving desert and the danger of combat is expertly presented by director Andre de Toth.
A virtually unknown British masterpiece from the 60's.Its cynical and bleak portrayal of men in war is only matched by its lack of notoriety which is a shame considering how powerful the films message is.
Admittedly Caine is a little wooden as the straight laced British Officer, but it is the much less known Nigel Davenport who steals the show as the hard bitten second in command.
Well-made War adventure in which an officer (Michael Caine) is assigned by superiors (Nigel Green, Harry Andrews) leading an unit of ex-convicts on a dangerous mission in WWII North Africa.
To add intrigue a German nurse female (Vivian Pickles) is kidnapped and after that they are double-crossed.This exciting war/adventure about a misfit band of crooks who are led by Michael Caine on a daring mission whose objective results to be destruction of the Rommel's indispensable fuel depots, it is packed with noisy action, suspense, thrills and is quite entertaining.
The film gets a certain likeness along the lines of ¨Tobruk¨, ¨Kelly's heroes¨ , ¨Where eagles dare ¨ and especially in the wake of ¨Dirty dozen¨ and group of films that were made regarding to warlike adventures during the 1960-1970 years about special forces in dangerous missions .
Michael Caine is top notch as good and unwilling officer ; rough and gruff Nigel Davenport is nice as leader of the motley group.
When the military unit are all killed, Douglas is forced to abandon his training and become a little more like the un-gentleman-like Capt Leech, and play dirty.I had only seen this film once almost 15 years ago and had reasonable memories of it.
I say `action' because, although it sustains the interest, it is a rather plodding film that is consistent but has no high points as a result.The story is good but the delivery is one that is clearly meant to make a point rather than entertain in the way Dirty Dozen does.
The support cast are unmemorable whereas many people can name all the dirty dozen, none of these really make an impression only the gay pair stick but mainly because of how surreal it feels in the setting.Overall this is an OK film with a good ending.
But unlike The Guns of Navarone or the Dirty Dozen, Play Dirty puts the position of the British army in this desert scene as greedy and malicious and really only caring about getting to the oil, and surely before the 'decoy' team gets there.
It's a story of unheroic men doing some heroic things and always for the almighty dollar.In the film, Michael Caine is a Captain Douglas in the army- he doesn't look entirely like the army type and no wonder since he was formerly a Petro-exec- who is put in charge of a group to go through rocky terrain in the North African desert to bomb an oil field.
With this in mind, the head guy puts Cyril Leech (Nigel Davenport) in charge to make sure the Captain is kept alive - at a good cost of two thousand pounds.
It's an uneasy partnership with their fellow soldiers also not always sure who to follow, especially when coming into some enemy territory, or when they come upon a 'fake' enemy outpost in a sandstorm.Andre De Toth's film is rough and tough, as any men-on-a-mission war film should be, but it has something extra to keep one interested.
Even a scene involving an attempted rape is shown without any punches pulled, until the one oddly-effective laugh had at the outcome of the scene.It's a forgotten little wonder of the world war two movie, and it's more bitter than sweet with its view of the buck-stops-here mentality of wartime - or rather, as a character points out, how war is "a criminal enterprise", hence having a guy like Cyril, who was in prison for fifteen years until being put to use on the mission.
The film is about a group of cutthroats and criminals who are on a mission behind enemy lines AND it has TONS and TONS of long and dry (no pun intended) desert scenes where very little is happening.
Considering that these two other films were made before "Play Dirty" and are much better films, then you can guess some of my feelings about the film.The film begins with an officer and petroleum expert (Michael Caine) being forced to go on a crazy mission behind enemy lines in North Africa to destroy fuel depots during WWII.
This guy has a group of equally nasty rogues who are all experts at playing dirty and NOT abiding by the rules of warfare and this includes dressing up as Italian soldiers.Too much of the film is spent on the team's trek across the desert...way too much.
How the world turns...Anyway this effort does have some great and witty lines delivered by Caine and Davenport as the two rival captains on a mission to blow up a German petrol dump in the Libyan desert during the second world war's African campaign.
On that basis, it's somewhat pedestrian many scenes of travelling through desert areas, naturally; getting bogged down in the sand, naturally; meeting and killing Arabs at an oasis, naturally; and generally verbally fighting with each other, as each tries to assert their individuality.Where the narrative is different, however, is first, the twists in the story that produce some worthwhile surprises; second, the grittiness of the situations that serve to highlight the totally amoral attitudes of all concerned; third, the irony of the true nature of the German dump; and finally, the tongue-in-cheek chutzpah of the ending which, for me, almost turned the whole movie into a very long shaggy-dog story.
I could imagine Bragg having a real giggle about it as he wrote it and that's not maligning him at all.All of the main characters provide suitably professional performances, Caine once again with that disdainful and bored attitude reminiscent of his role in Zulu (1964) as Lt. Gonville Bromhead; Nigel Davenport gives a terrific performance (he outshines Caine, in my opinion) as Caine's rival; while the likes of Harry Andrews and Nigel Green exemplify the vacuous and glory-seeking nature of all military top brass.
The standout performance, however, goes to Vivian Pickles as the German nurse who shows all the British soldiers what it means to stand up for your rights not to be missed.As war movies go perhaps anti-war it's well done, but not without its faults, particularly some of the gaps in the narrative, sloppy editing and inexplicable jump cuts.
top action film with no frills direction by screen veteran Andre DE Thoth.the scene in the sandstorm with the attack on the dummy fuel dump is a beauty.interesting to note Richard Harris was replaced by Nigel davenport.anyone know why?
also interesting is the cynical nature of the storyline.nobody seems to win at anything and betrayal is always around the corner.the characters played by harry Andrews and Nigel green seem to sum up the nature of the storyline and i found the script quiet good in letting the story unfold around the events as they happen.the supporting cast is completely unknown but i guess this adds to the cynical nature of the piece and helped with their budget i guess..
Trobruk is a good exception blurring the lines a bit and bringing a "grit" factor.Play Dirty goes even further showing extreme ruthless and deceit in all directions -- VERY GRITTY.
This film is interesting in that Caine shares the spotlight with Nigel Davenport as Capt.
This is a good movie that should be in any serious war film collection.
On the surface PLAY DIRTY resembles THE DIRTY DOZEN except for one important difference - In Robert Aldrich`s film some of the criminals were likable in a strange way .
In fact that`s PLAY DIRTY biggest problem , it`s a film where the audience will find it impossible to relate to the characters sent on a suicide mission because of their cut throat personalities .There`s other problems with it too , it`s very slow in parts with a sequence of getting some land rovers up a ridge taking up a fair slice of running time , and Michael Caine does not deliver a good performance .
If you like war films then you may like PLAY DIRTY .
As has been said already, this film is a gem - one of the best anti-war movies I have seen.
Play Dirty is a movie worth seeing, as it's a skillfully written absurd tragedy that presents a plausible depiction of war.
Play Dirty is quite possible the worst war movie I've ever seen, and considering I've seen a lot, that's saying something.
Unless you like terribly upsetting films that don't seem to serve a purpose, I can't really recommend it.Michael Caine, Nigel Davenport, Nigel Green, and Harry Andrews star in this Desert War film, involving British soldiers, Italian soldiers, North African terrain, and Nazis.
As memory serves, 1968's Play Dirty has Michael Caine leading a bunch of commandos toward some derring-Dirty-Dozen-do in WWII North Africa.
Play Dirty is another of the great anti-war films although most of the way appears another typical, but well-done, suspenseful war movies.
Anybody that dismisses director Andre De Toth's amoral World War II adventure thriller "Play Dirty" with Michael Caine as just another "Dirty Dozen" clone entirely misses the point of this first-rate combat epic.
Sixth, aside from the Michael Caine protagonist, none of the characters in "Play Dirty" is sympathetic.
However, he forces Masters to use a regular British Army officer, Captain Douglas (Michael Caine of "Alfie"), while Masters demands that Captain Cyril Leech (a mustached Nigel Davenport of "Nighthawks") bring Douglas back alive (as opposed to dead) unlike his numerous predecessors.
"The way to survive here," he indicates, "is to watch, listen, and say nothing."Altogether, "Play Dirty" qualifies as an excellent World War II actioneer dripping with irony and sarcasm.
It's a bloody war film.Caine and Leach, who had been clever up to the point of blowing up the German supplies base, are suddenly reduced to utter retards when they walk straight into an ongoing military operation (Monty's invasion), waving a white flag that is smaller than a hamster's bum.
I generally like Michael Cain so when I saw that he was in this movie I became interested enough to watch it yesterday on Cine+ Classic.
It starts of pretty promising but as soon as the actual mission starts it all goes downhill.Both Michael Cain and Nigel Davenport make good performances in the roles they were given.
After having watched through the entire movie you get this ending as a final insult.The only reason this movie got any stars at all is because of Michael Cain..
Michael Caine plays Captain Douglas, a British army officer in North Africa, that is ordered to lead a mission in the desert.
Brigadier Blore(Harry Andrews)wants a German fuel reserve knocked out but he doesn't trust Colonel Masters(Nigel Green)with the task after failing several times doing so.
Douglas is chosen to lead mercenaries in this latest mission; but Cyril Leech(Nigel Davenport), a war experienced mercenary, is hired to guide Captain Douglas and his motley band into the desert.
It's surprisingly cynical for a British war movie of the era, and its depiction of army brass as scheming glory-seekers perhaps signifies a point in time when the cinema began to grow up.
Veteran director Andre de Toth, making his first film in five years, creates an appropriately tense and heated atmosphere, but offers little in the way of characterisation.Michael Caine plays Captain Douglas, an army captain ordered against his will to lead a bunch of ex-convicts on a mission to destroy one of Rommel's fuel depots situated deep in the African desert.
The men he leads are a ragtag band of cutthroats, murderers, thieves, junkies and homosexuals (whose sexual orientation was at the time obviously still considered akin to more anti-social practices), all loyal to prickly desert veteran Captain Leech (Nigel Davenport) who joins the mission only after being offered £2,000 if he manages to keep Douglas alive.
The twist ending doesn't really work for me, and I can't help feeling the message would have been stronger had the unit following them been allowed to survive in order to shoot down Caine and gang at the mock fuel depot in the mistaken belief that they are Germans..
so, the men are all betrayed and killed, and Michael Caine and Nigel Davenport survive.
Super Cynical War Movie Very Much From Its Anti Establishment Era. This is a film that has escaped my attention for the best part of 50 years.
The landscapes look much like the Mirsch produced Rat Patrol produced a couple of years earlier though that is not a problem.Michael Caine is good in a story of a group whose assignment is to blow up a German Fuel Dump.
The British command even puts out orders to kill the group.This is a solid film though I always wonder about whether or not the forces for both sides really had as many trucks and jeeps in World War 2 as are depicted here.
"Play Dirty" has been one of many films in which Michael Caine's career hasn't exactly benefitted.
The story tends to resemble something out of "The Dirty Dozen" film - except that one is ten times better.
Nigel Davenport as the soldier who accompanies Caine on their suicide mission is somewhat better.
The dialogue delivery is so immaculate that one forgets the surrounding glitches, if any, in the plot or the performance of the supporting actors.Coming to this movie, Play Dirty is consistent with Caine's golden string of 60's and 70's .
"Play Dirty" is a brutal, handsomely-photographed WWII film set in the North African desert.
While the characters here are even more dislikable than those in Aldrich's movie, the pace of "Play Dirty" is sometimes plodding and the film is littered with half-assed ironies, none more so than the cruelly hard-edged ending.A British petroleum trader working in North Africa during the Second World War is unhappily assigned to go on a dangerous mission, despite the fact that he thought his job description protected him from such risky front-line soldiering.
"Play Dirty" is an interesting and fairly original war film, not a classic by any stretch of the imagination but definitely one that you should keep an eye out for..
This was the case with PLAY DIRTY.The war in Africa carries on and the allied forces are doing all they can to bring it to an end.
It isn't until the last portion of the film that the fate of Douglas and all in his command is revealed.I enjoy war movies as well as anyone.
The choice to focus on the two main protagonists of Douglas and Leech leaves the rest of the team relatively unknown with little or no dialogue with their dialogue extremely limited.In the end it was interesting to view from a historic aspect, a movie made against war about war, but I found little else to make me recommend this film to anyone but die hard WWII movie fans and Michael Caine fans. |
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