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Lawless
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In 1931, the Bondurant brothers — Forrest, Howard, and Jack — are running a successful moonshine business in the Piedmont region of Virginia. The brothers use their gas station and restaurant as a front for their illegal manufacturing business with the assistance of Jack's disabled friend and engineer, Cricket. Jack witnesses infamous mobster Floyd Banner shoot dead a rival in broad daylight.
Jack returns to the gas station, where Forrest hires dancer Maggie as a waitress. Shortly afterward, the gas station is visited by newly arrived U.S. Marshal Charley Rakes, accompanied by the Virginia state's attorney Mason Wardell, the sheriff, and the sheriff's deputy. Rakes demands a cut of profits from all bootleggers within the county, including Forrest, who refuses and threatens to kill Rakes if he returns. Forrest implores his fellow bootleggers to unite against Rakes, but they refuse.
Meanwhile, Jack lusts after Bertha, daughter of the local Brethren preacher. He attends their church service drunk, embarrassing himself but piquing her interest. Jack walks in on a visit from Rakes to Cricket's house, and is beaten by him as a message to his brothers. That night, Forrest beats and throws out two customers who had been harassing and threatening Maggie. After Maggie resigns and leaves, Forrest is ambushed by the two men, who slit his throat. Maggie returns looking for Forrest but is beaten and raped by the men. She decides to keep the assault from Forrest.
While Forrest recovers at a hospital, Jack decides to cross the county line with Cricket to sell their remaining liquor. They too are ambushed by the mobsters, led by Banner, but are spared when Jack reveals he is a Bondurant, whom Banner admires for their stance against Rakes. Banner reveals to Jack the address of his brother's assailants, who were previous employees of his and currently work for Rakes.
Forrest and Howard later find, torture and kill the men and send one of their testicles to Rakes. Banner becomes a regular client of the brothers, who have expanded their operation with multiple large stills deep in the woods, increasing its profitability. Jack continues to court Bertha. Maggie decides to return to Chicago, but Forrest convinces her to stay and provides her with a spare room. They develop a romantic relationship. On a day trip, Jack decides to show Bertha the brothers' secret operation, but they are followed and ambushed by Rakes and his men. Howard, Jack, Cricket and Bertha all flee. The police take Bertha home but leave Cricket to Rakes, who murders him.
After Cricket's funeral, the sheriff of Franklin County warns the Bondurants that Rakes and his men are blockading the bridge out of town, with Wardell calling in Prohibition agents to shut down the county's moonshine businesses. Jack speeds off in Cricket's car to confront Rakes. Howard and Forrest quickly follow to provide backup for Jack, to Maggie's chagrin. She reveals she had delivered him to hospital after the attack and Forrest deduces that she had been assaulted as well. Jack arrives at the bridge but is wounded by Rakes. Howard and Forrest arrive and a shootout ensues, with Forrest and his driver also shot by Rakes. A large convoy of bootleggers then join the shootout on the brothers' side. Rakes is about to finish off the wounded Forrest but is shot in the leg by Sheriff Hodges in an effort to halt the bloodshed. Rakes shoots Forrest several more times before trying to escape. Jack and Howard confront Rakes and execute him together.
Following the end of Prohibition in 1933, Wardell is arrested on corruption charges while the Bondurants are all married — Jack to Bertha, Forrest to Maggie, and Howard to a Martinville woman — and working in legitimate occupations. During a festive reunion at Jack's house, Forrest drunkenly ambles to a frozen lake and falls into the freezing water. Although he drags himself out, he later dies of pneumonia, putting to rest the legend of his invincibility.
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boring, depressing, murder, dramatic, violence, revenge
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Then they mightily praise Oldman and Pearce for great acting when they were, in fact, just playing northern urban gangsters who like to behave over the top---the very thing that disgusts southern sensibilities.The folks making those review comments have probably spent too much time watching movies based on comic books and not enough time with dramatic characters representing actual human beings.
Lawless is the story of the three Bondurant brothers from Franklin County, Virginia, Tom Hardy, Jason Clarke, and the runt of the litter Shia LaBoeuf.
It seems like such a waste, it would have been interesting to see his character included in the plot a lot more.Overall this film was fantastic but there was a few things that director John Hillcoat could have improved that would have made this film truly brilliant, such as giving more characters some crucial screen time.
The novel was adapted for cinema by Australian alternative rock icon Nick Cave.The story concerns how the Bondurant's once cozy relationship with sympathetic rural police is changed by the arrival of a corrupt Chicago law enforcement officer, Charlie Rakes (played by Australian Guy Pearce), who wants a cut of the Bondurant's illegal liquor business.
Tom Hardy's take on Forrest Bondurant incorporates many big cat like purrs, which also amuse.Set in America's South, you mostly hear Southern drawls, so if Cave's screenplay is any good, you will miss a chunk of it unless you can decipher the more unintelligible dialogue in this movie...which I couldn't, but I understood enough of it not to lose the plot.
That said you are still left with the impression Hillcoat is trying a bit too hard to make the film be a massive box office success and one wishes he'd stuck to his guns and made a movie involving a lot more dubious morality and nihilism that the director had done in GHOSTS OF THE CIVIL DEAD , THE PROPOSITION and THE ROAD.
Based on a true story, this movie follows 3 brothers as they fight for their position and respect in the illegal business.Few actors bring a high level of intensity to the character they play as Tom Hardy does and for his role as Forrest Bondurant, it's no let down.
Lawless has a great cast - Shia LaBeouf, Tom Hardy, Gary Oldman, Guy Pearce.
There are some fantastic actors in this film who all show their versatility and most notable for me was Tom Hardy and Shia LaBeouf who did an amazing job of making their characters real to the audience and made you really care for them.
The acting was wooden (except for Guy Pearce who was more like a cartoon character), it was stop-and-go pacing meaning that there were too many pointless scenes, and it took too much time for too little information.
And I don't think that it is a movie that I will ever sit down to watch a second time.The story is about the Bondurant brothers who run a very lucrative moonshine business.
The three brothers: Jack (Shia LaBeouf), Forrest (Tom Hardy) and Howard (Jason Clarke); were legendary in their parts of Virginia, and also one of the few groups left not selling their wares through a higher authority.
Nick Cave's score works very well with the visuals and ads to the prohibition-hillbilly feel of the film.I was never bored while watching Lawless and it looked great and was wonderfully acted by Hardy in particular, but it sometimes feels as though there are too many characters vying for too little screen time.
He's just not that good...he cannot carry a movie, he just does not have the presence.This was a formulaic flick with very little you haven't seen before (other than the repeated use of knuckledusters); characters appear to fill roles that are needed to broaden the story.Jessica Chastain plays one of those roles; for us, she was one reason to see it (she was brilliant in The Help).
"Lawless" is based on the true story of the Bondurant Brothers, Forrest (Tom Hardy), Howard (Jason Clarke), and Jack (Shia LaBeouf) , a Prohibition era Virginia bootlegging family that finds themselves involved in a violent, bloody feud with a sadistic, crocked State law enforcement official, Charlie Rakes (Guy Pearce).
Overall it is a compelling drama based on a book.The Good: Tom Hardy as Forrest, the eldest brother, is the star of this movie.
This all changes when a Deputy called Rakes(Guy Pearce) comes to the county with the promise of bringing the brothers business to it's knee's.Tom Hardy is amazing as Forrest Bondurant and once again delivers a fantastic performance.
Set in the late 1920's story of three brothers(Tom Hardy,Jason Clarke, Shia Labeouf) run a bootlegging business in a small town, but things get really dangerous when a special agent(Guy Pearce) tries to muscle in on them, and he does not care who he hurts or kills to do it.
Shia Labeouf really surprised me here on how good his performance was, usually in all his films, it is like he is playing the same character, but not here.
Also considered a gangster film, Lawless is still a good movie with pretty much stellar performances from every cast member.
Little character development, a thin story thread, and dialog that sounds like it could have been written by a pro wrestler in five minutes; this movie really only focuses on the violence aspect.Some Prohibition era bootleggers are running amok in the backwoods someplace, and there's (not again) local law enforcement corruption, complete with dullard cops looking the other way.
It stars Shia LaBeouf, Tom Hardy, Jason Clarke, Jessica Chastain, Guy Pearce, Mia Wasikowska, Dane DeHaan and Gary Oldman.
Music is by Nick Cave and Warren Ellis and cinematography by Benoit Delhomme.Prohibition-era Franklin County, Virginia, and a bootlegging gang of brothers is threatened by a sadistic new special deputy who will stop at nothing to smash their operation.The directing and writing team behind 2005's excellent Aussie Western, The Proposition, gather again to produce this bloody tale of the real life Bondurant brothers who stood up and fought the law on their own terms.
The runtime is also overlong.The film has humor, a great use of violence, and some interesting characters.Pro: Interesting story and characters, good acting, an amazing performance by Tom Hardy, a great ending, some fast pacing in the beginning and end, and seeing Jessica Chastain nakedCons: Poor performance by Shia LaBeouf and Guy Pearce, slow pacing during the second act, and an overlong runtime.
Unfortunately, a combination of a confusing soundtrack, excessive violence and a dash of overacting diverts our attention from the main plot.The focus of the movie is young Jack Bondurant (Shia LaBeouf) and his struggle to get into the family business while earning some respect from his brothers Forest (Tom Hardy) and Howard (Jason Clarke).
It seems minor, but it all adds up and by the end of the movie it's just annoying.Overall, this film could have been put together more effectively, but overall Hillcoat did a pretty good job making a prohibition era love story action movie.
To me, the detestable federal agent Charlie Rakes is not less authentic than the noble federal agent Eliot Ness from "The Untouchables".Instead of chasing the formidable, powerful and extremely hard to catch villains like Al Capone, Charlie Rakes focuses on a seemingly easy target – the Bondurant brothers – mere rural moonshiners Forrest (Tom Hardy, Howard (Jason Clarke) and Jack (Shia LaBeouf).
The brothers finally got a worthy archenemy to test the validity of their bold legend.Yet other critics were noticed condescendingly smirking at the female movie characters - Maggie Beauford (Jessica Chastain), a dancer from Chicago and Forrest Bondurant's darling and Bertha Minnix (Mia Wasikowska), daughter of the local preacher and Jack Bondurant's sweetheart.Not being able to find any faults in the Jessica Chastain's and Mia Wasikowska's superb performances, the critics venomously remarked that the gifted actresses were regrettably constrained by their formulaic characters - "love interests" of the respective Bondurant brothers.Let me remind to these critics that the events of the movie take place in Prohibition era (almost a century ago) in the rural Franklin County,Virginia and represent the bloody ruthless confrontation between the local bootleggers and the federal special agent.Now, let me ask the critics a question: "What role, other than the love interest, do you with your undoubtedly sophisticated minds see for the female characters in this movie?" Do you want them to zealously participate in the fistfights, knifing, and fire exchanges along with the men just like the CIA agent Evelyn Salt?
Some of the scenes, including the well-made scenes with the famous mobster Floyd Banner (Gary Oldman in a memorable performance) should probably have been edited out as overall insignificant and unnecessary.Not without faults, "Lawless" nevertheless boasts solid screenplay, strong directing, a beautiful cinematography (Benoît Delhomme), excellent casting (Francine Maisler), memorable acting ( Tom Hardy, Jason Clarke, Shia LaBeouf, Guy Pearce, Jessica Chastain, Mia Wasikowska, Gary Oldman and the rest of the acting crew), and last but not least – excellent original music score (Nick Cave, Warren Ellis).Most importantly, "Lawless" is an engaging, masterfully and honestly told story.
Tom Hardy brings out another terrific performance as Forrest, the middle brother, Shia LaBeouf gives what could be his strongest performance yet as the youngest and Jason Clarke as the oldest brother is great but doesn't get the screen time, which is a shame since he brought his character to life with such energy, I wanted to know more about him.
The characters are brilliantly executed with great performances by a very stoic Tom Hardy (who does perhaps the best southern accent in a film), Jessica Chastain, Mia Wasikowska, (in a small role) Gary Oldman, Jason Clarke, an extremely menacing Guy Pearce and yes even though he does not have much credit as far as acting skills go Shia LeBeouf has them and delivers a fine performance here (accent and all) which is needed for the weight of his role.The southern charm (portrayed excellently through period costumes, production design and period sounding music by Nick Cave (who I might add wrote the screenplay)) gives "Lawless" a very authentic and likable vibe.
This time, Hillcoat allies with his old pal Nick Cave (who is billed as the screenwriter and unsurprisingly co-writes the original music with Warren Ellis), and musters a pack of red-hot Hollywood names (from his third-time collaborator and fellow countryman Guy Pearce, to the Hollywood new talent Jessica, Mia, Tom and of course, Shia, until a career-revived Gary Oldman), the star power is dazzling and the film is carried out in a compelling way to some extent one would be carried away by the narrative and put the based-on-a-true-story tag out of mind (save for the moderately disappointing coda).
Tom Hardy is perfect as the reserved, cool and frighteningly twisted Forrest Bondurant, Gary Oldman, who given his billing I expected to be a second bad guy, hardly featured, but when he did he added a new dimension to the film, a view into the big bad gangsters in the city from the outside, which is not a perspective we are used to seeing.Guy Pearce is hateful, perverse and everything a truly bad guy should be, he had no redeeming features and you were not endeared to him in any way, you wanted him to be killed from the first moment he stepped on screen.
Shia Le Bouef was a little better than his usual 1 dimensional acting will allow but he was still playing the part he plays best, weedy good guy with a heart, his love stories were a bit cheesy but he provided a lot of the humour in the film, The rest of the supporting cast is perfect such that you leave not knowing who the star was, and not caring how many big actors were cast in the film.The expression that sprang to mind was a modern day Scarface, brutal, vicious and starkly revealing, giving a unique perspective from the countryside and not shying away from any perversion or violence but each element pulled perfectly into a film which tells a story which draws you in and surprises you from start to finish.
In this gangster's paradise, knuckleduster-enthusiast Forrest Bondurant (Tom Hardy) leads his two loyal brothers, Jack and Howard (Shia LaBeouf and Jason Clarke), in sustaining their moonshine racket.
The latest film Lawless isn't so much a straight mobster film, but more moonshine runners that have to deal with some aspects of gangsters and the law giving the potential to deliver to the genre that's sorely missed.Lawless follows the true story of the infamous Bondurant brothers who were moon shiners during Prohibition-era in Virginia, whose loyalty are put to the test against the backdrop of the nation's crime wave.
He does an alright job for the most part but he does not have the charisma or screen presence to be the lead of the film (especially not when he has to go toe to toe with actors like Guy Pearce, Tom Hardy, and Gary Oldman) he also doesn't know how to do a southern accent properly or consistently (to be fair Hardy also has trouble with this)There are individual great scenes in this film.
Lawless is a great movie with a well written and very well developed storyline,a very talented cast and very good character development.The movie is based on a true story,which I found to be a very interesting and fun way to learn about how people loved during the Great Depression,as we follow these men making great money with high quality moonshine.Shia LaBeouf,Jessica Chastain and Guy Pearce all bring fantastic performances,among many others ,but the best performance has to go to Tom Hardy,his character Forrest was the most likable and he pulls off a really great accent and was clearly inspired to play this character.I would highly recommend Lawless to fans of both crime and drama films.Set towards the end of the Great Depression,a gang of men producing high quality moonshine are out under huge pressure when many people want to get their hands on this product..
Set in 1931 Virginia, this film stars Shia Labeouf as Jack Bondurant, a timid young man who runs an illegal bootlegging operation with his brothers Forrest (played by Tom Hardy) and Howard (played by Jason Clarke).
Jessica Chastain who plays their waitress is effectively charming as is Mia Wasikowska as the rebellious daughter of a church minister and later becomes the lover of Shia LaBeouf's character; nothing in the performance department to disappoint.Lawless may not be as powerful and enthralling as the critically crime-dramas of today, but is very engaging and entertaining experience with decent performances, a visceral outlaw story, and the fine script that works just fine.
Filled with superb direction,great performances and memorable characters Lawless is very underrated.Lawless tells the true(although probably fictionalized)story of the Bondurant brothers Jack Bondurant(Shia LaBeouf)and his older brothers Forrest Bondurant(Tom Hardy)and Howard Bondurant(Jason Clarke) who sell illegal liquor during Prohibition in Franklin County,Virginia during the depression era and having great success.
But when a corrupt lawman from Chicago named Charlie Rakes(Guy Pierce) has been brought in as a new special deputy to make life tough for the Bondurants and their business,the Bondurants must band together and put a stop to it.Lawless is a great film from beginning to end that will have you glued to the screen and the reasons the film works so well is because of the way it combines the Gangster and Western film,the portrayal of the Bondurants and brutality of the violence in the film.
Three brothers, Jack Bondurant (Shia LaBeouf), Forrest Bondurant (Tom Hardy), and Howard Bondurant (Jason Clarke), watch each others backs as the crooked law tries to move in on them.
"Lawless" is a film based on the true story of the Bondurant brothers whose moonshine business is threatened..
However the acting really helped to drive the time period home.The three Bondurant brothers were portrayed by Tom Hardy, Jason Clarke and Shia LaBoeuf.
And just as he did in The Dark Knight Rises, Tom Hardy comes off with another brilliant performance as Forrest Bondurant, one of three brothers, with the other two being Howard and Jack Bondurant, played by Jason Clark and Shia LaBeouf respectively, all of which are bootleggers during the 1930's Prohibition Period in rural Virginia, USA.I found this to be Shia LaBeouf's best performance to date, personally, as it shows his true talent for acting, such a talent likely lost in the Transformers' movies in place of the CGI Autobots and Decepticons.
The new crime/drama "Lawless" is filled with big names, including Shia LaBeouf, Tom Hardy, Guy Pearce, Jessica Chastain, and Gary Oldman.
The Bondurant brothers (Tom Hardy, Shia LaBeouf,and Jason Clarke) are bootleggers in Franklyn County, Virginia.
Three bootlegging brothers, played by Shia LaBeouf, Tom Hardy and Jason Clarke, work in rural Virginia in a county that isn't too keen on Prohibition.
Lawless pits three brothers, Forrest Bondurant (Tom Hardy), Howard (Jason Clarke) and Jack (Shia LaBeouf), against a crooked deputy Charles Rakes (Guy Pearce).
The book itself is based on a true life story of Bondurant's grandfather and grand uncles.The plot is about a bottlegging gang in Virginia who were dealing in moonshine successfully until the authorities decided to cut off some of their profits, which lead to various gun, knife and fist fights between the gang and the authorities.Although Shia LaBeouf Tom Hardy and Gary Oldman are exceptional actors in their own levels their combination was not enough to save this movie.
Set during prohibition era in rural Virginia, 'Lawless' tells the true story of three brothers who come together to fight those who threaten their family moonshine business.The film has plenty of positive aspects.
I can't go into details for fear of disclosing spoilers, but just know that Hardy once again makes us fall in movie-love with his character.The story is quite good, giving the audience a different look to the bootlegging scene.
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tt0072856
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Death Race 2000
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In 1979, the United States collapsed, resulting in massive civil unrest and economic collapse. The government restructured into a totalitarian regime under martial law. To pacify the population, the government has organized the Transcontinental Road Race, where a group of drivers is driving across the country in their high-powered cars, infamous for violence, gore, and innocent pedestrians being struck for bonus points.
In the year 2000, the five drivers in the 20th annual race, who all adhere to professional wrestling-style personas and drive appropriately themed cars, include Frankenstein, the mysterious black-garbed champion and national hero; Machine Gun Joe, a Chicago tough-guy gangster; Calamity Jane, a cowgirl; Matilda The Hun, a neo-Nazi; and Nero The Hero, a Roman gladiator. Each drives with a navigator of the opposite sex, who also implicitly functions as a love interest. The race is covered on national TV by a news team headed by the boisterous and comical Junior Bruce, seductive matron Grace Pander, and laconic commentator Harold (a parody of Howard Cosell). The game has sadistic rules, where killing babies and physically challenged people will give the player extra points. Machine Gun Joe is the main opposition to Frankenstein.
A resistance group led by Thomasina Paine, a descendant of 1770s American Revolutionary Thomas Paine, plans to rebel against Mr. President's regime by sabotaging the race, killing most of the drivers, and taking Frankenstein hostage as leverage against the President. The group is assisted by Paine's great granddaughter Annie, Frankenstein's latest navigator. She plans to lure him into an ambush to be replaced by a double. Despite a pirated national broadcast made by Ms. Paine herself, the resistance's disruption of the race is covered up by the government and instead blamed on the French, who are also blamed for ruining the country's economy and telephone system.
At first, the Resistance's plan works. Nero is killed when he runs over a booby-trapped doll planted by the Resistance, which he mistakes for a real baby and proceeds to run it over to gain points. Matilda drives off a cliff while following a fake detour set up by the Resistance. Calamity Jane inadvertently drives over a land mine. This leaves only Frankenstein and Machine Gun Joe in the race.
As Frankenstein nonchalantly survives every attempt made on his life during the race, Annie comes to discover that the Frankenstein she knows is anything but a willing government stooge, nor is he the original man. The current Frankenstein is, in fact, one of a number of random wards of the state trained exclusively to race in the identity. "When one is used up, they bring in another," he tells Annie. The current Frankenstein also reveals that he has his own plans: when he wins the race and shakes hands with Mr. President, he will detonate a grenade which has been implanted in his prosthetic right hand (he calls it his "hand grenade"), which he has kept concealed by keeping his glove on at all times (even while undressed). His plan goes awry, however, when Machine Gun Joe attacks and Annie kills him using Frankenstein's "hand" grenade.
Having successfully outmaneuvered both the rival drivers and the Resistance, Frankenstein is declared the winner, although he is wounded and unable to carry out his original grenade attack plan. Annie instead dons Frankenstein's disguise and plans to stab Mr. President while standing in for him on the podium. As the president congratulates "Frankenstein" for his victory, in the process declaring war on the French and appointing Frankenstein leader of the war, Annie is mistakenly shot and wounded by her own grandmother, who is desperate for revenge against Frankenstein for having supposedly killed her during the race (he'd actually just drugged her). The real Frankenstein takes advantage of the confusion and rams the President's stage with his car, finally fulfilling his lifelong desire to kill him.
In the epilogue, Annie and Frankenstein marry. Frankenstein, now President, abolishes the race and plans to rebuild the country. However, Junior Bruce starts to protest against it. When unable to find a moral reason to continue the race, he starts shouting that it is a way of life, to keep America satisfied, to entertain and give the people what they want, now desperate to have the race perpetuate. Frankenstein, annoyed, runs him over with his car and drives off with Annie to the cheers and applause of the crowd.
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comedy, murder, violence, cult, psychedelic, humor, satire, sadist
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Ostensibly, the film is about a race involving five participants - Frankenstein (Carradine), Machine Gun Joe Viterbo (Stallone), Calamity Jane (Woronov), Mathilda the Hunn, and Nero the Hero - all of comic book stature.
Directed by the late Paul Bartel ('Eating Raoul', 'Lust In The Dust')), co-produced by b-grade legend Roger Corman ('Bloody Mama', 'House Of Usher'), and co-written by Charles Griffith ('The Wild Angels', 'Little Shop Of Horrors'), this is simply one of the most enjoyable and entertaining exploitation movies of all time.
Seventy-nine minutes is too short a time to go into these political subplots at all, but that Death Race 2000 touches on them at all when far more serious and lengthy films made years later cannot even consider them is a credit to Corman and his company.
In my youth, I never really understood where he picked it up from, but now I think it is safe to say that "Death Race 2000" was his source.While this movie is fairly cheesy, it is fun in a way most other films simply are not.
Death Race 2000 is one of the most entertaining films ever made and I, for one, can't imagine someone not loving the severely ridicule story of a coast-to-coast car race where the contesters score points by wiping pedestrians off the road.
This cult hit is set in a Dystopian future , 21th century , a cross country automobile race , there five car (several of the cars in the movie are re-bodied Volkswagens) contenders challenge the national championship in which drivers score points by killing pedestrians in a televised death race .
As there participates an assertive and charismatic masked man called Frankestein (David Carradine , the role was originally offered to Peter Fonda, who considered the movie too ridiculous for words) , Machine Gun Joe Viterbo (Sylvester Stallone did much of their own driving and wrote some of his own dialogue) , co-driver Annie Smith (Simone Griffeth was excellent as David Carradine's enticing co-pilot) , Mary Woronov as Calamity Jane , Roberta Collins as Matilda the Hun , Martin Kove as Nero , among others .
In the final of the race the lives of the competitors , pedestrians , the President and the death race itself are in deep peril .This cult fave based on the 1956 story by Ib Melchior about a futurist international sport , a violent and bloody car race where the drivers score points for hitting other vehicles ; though the screenplay retains only the basic premises of the original short story ; the characters and incidents are all different .
New World's Roger Corman wrote the original treatment of the film, which was serious in tone , but thought it was not right and, in his words, was "kind of vile" ; he decided the dark material of the story would be better served by making the movie into a comedy and had Robert Thom rewrite the treatment .
The most occasional one is the star, Frankenstein, in one of his great parts by David Carradine, who is one of many drivers who in the Death Race go across the country (apparently, it would seem, in one day, since you know they have cars like that in the year 2000) racking up points by running over as many people as possible, with children and the elderly garnering the most points.
How some of the logistical problems actually come off- why wouldn't people just stay indoors if it's the most highly anticipated "event" of the year to save their lives- is left up in the air, but by the time the story is really moving its hard to even care.This is, in essence, a near perfect exploitation flick, something grungy and rude and crude and featuring loud and crazily designed death-mobiles, plenty of naked women popping up, fights, explosions, goofy bits like Frankenstein's hand with a near-permanent grenade stuck to it, and characters with lots of meaty and fun dialog to work with (Stallone, in one of his first big performances, hams it up wonderfully and is actually not too hard to understand with his speaking voice).
I also loved the totally tasteless political satire bits, like the mention of France as an evil super-power or just the nature of the President and the resistance movement to stop the Death Race by any means necessary.Watch it friends, grab a few brews, and be prepared to actually have a really fun time with exemplary film-making on a shoestring (yes, a shoestring); its attitude and action remain fresh, which is really hard to accomplish when usually looking at the Corman body of producing work which is varied and often full of total crap.
The media is in on the barbarism, but some revolutionaries are trying to sabotage the race.Paul Bartel's film suffers both from it's minuscule budget (whatever the economic/social disaster that has caused the fall, it's left the whole of America looking like a deserted backwoods, where only cable TV exists), really obvious political satire and lame attempts at wacky humour.
But the cheapness in both budget and shots finally works against what is a marvellous idea - Death Race 2000 is a film better imagined from its plot than experienced by watching what ended up on screen..
"Death Race 2000" is a low budget genre melting pot from 1975 starring David Carradine and Sylvester Stallone as two of five feuding race car drivers competing in a futuristic sport that is won based on racking up points from killing pedestrians and others.
Based on a 1956 short story, it's a highly satiric sci-fi actioner that uses ironic and downright sadistic touches to examine America's abhorrent fascination with violence.The ridiculously contrived and outlandish futuristic setting was put into heavy rotation during the mid-70's in several other films ("Westworld"; "Soylent Green"; "Logan's Run") as a means to tell downbeat and cynical stories that allowed the audience to escape their own reality, but still experience a certain catharsis.In the case of "Death Race 2000" the results are a mixed bag, as the over the top material races from dark comedy to "Sleeper"-like sci-fi to undercooked romance and back again.
Low-budget black comedy from New World does occasionally look good (better than something like the original "Rollerball", anyway) and gets a terrific boost from Carradine, lean and no-nonsense both in and out of his black leather costume (his best moment comes when he dances gracefully with the blonde in his black Speedo).
I knew this rental was a winner the second the horrible warped soundtrack started playing and the amazing graphics with the Death Race 2000 logo appeared.As others have mentioned, the best part about this movie is its originality -- it's "Carmageddon" years ahead of its time.
Roger Corman-produced low-budget classic, directed by Paul Bartel, about a future where an annual race is held where the drivers score points by running over and killing pedestrians.
Finally after all these years watched the 1975 B movie cult classic "Death Race 2000" as I'm now watching and dissecting the films of independent and B movie king producer Roger Corman.
Overall "Death Race 2000" is one nice little cult picture a B movie gem that as you watch it's a fine feel good time it has it all sex, action, death, and the challenge of a corrupt political state, true not everything did come true in 2000 still much of it would as these themes shown in 1975 would ring true for the year 2000 and beyond.
As the five cold-blooded contestants battle it out on the open roads between New York and New Los Angeles, a group of political activists attempt to bring an end to the event by any means necessary.Don't be put off by the crappy opening title graphics that look like they've been rendered in colouring crayon by a ten year old: produced by movie legend Roger Corman and directed by Paul 'Eating Raoul' Bartel, Death Race 2000 is a thoroughly entertaining cult classic that no fan of drive-in/exploitation cinema should pass on.
A masterclass in how to make the absolute most of a minimal budget, this fast-paced film packs a surprising amount into its tight 80 minute runtime: outrageous graphic violence, imaginative design (the customised vehicles and crazy characters looking like something out of a seriously warped Wacky Racers cartoon), wanton sleaze and nudity, clever political satire, cruel black humour, and loads of bonkers high-speed race action (the likes of which would influence George Miller on his hugely successful Mad Max movies).The film also benefits from an excellent cast: David Carradine, the perfect choice to play surly race champion Frankenstein (I came face-to-face with the actor a couple of times and he was just as unapproachable in real life); a young Sly Stallone as Frankenstein's main rival, uncouth hoodlum Machine Gun Joe Viterbo; sexy Simone Griffeth, as Frank's navigator Annie, whose stunning looks and figure would make it hard for me to keep my eyes on the road; cult favourite Mary Woronov as sassy driver Calamity Jane; and Martin 'Karate Kid' Kove, as Nero the Hero, the terrorist's first victim.
Surely, this won't rate among the all time classics - but it certainly is a way better than most of the blockbusters coming out this days (maybe just because it is old and I love those oldie interpretations of the "not so distant future")...A truly spectacular, a bit nostalgic (young Stallone, mind you) and reasonably short movie for some easy-watching...
With its dark humor, the film seems to say that we, the human species, will never outgrow our penchant for blood (bloodsports here), no matter how we dress it up in government-sponsored murder or new games & rules (hm, aren't we having a problem these days with more bloody video games for the kids?).When the film begins, it comes across as almost silly, introducing the distinctive drivers in the race as little more than clowns, topped by Stallone bellowing like some modern wrestling star at his 'fans'(Stallone, just a year before he hit it big in "Rocky").
That Sadistic, Brutal Fantasy is the Premise for this Cult Film by Producer Roger Corman and Director Paul Bartel.Where the Black-Hearted "Dream" Originated in the Mind of the Species is Unknown but it is a Dark Side of Human Thought that has Taken Hold in Pop-Culture and this Film is Probably the Starting Point for the Video Games and Movies that Exploit for Profit the Underlying Abnormal Psychology (Or is it?).A Big Hit when Released to Drive-Ins and B-Movie Outlets across America, it has since become a Bono-Fide Cult Movie because of the Outrageous Concept, the Bizarre Characters, and the Colorful, Cheezy Comedy.David Carradine and Sylvester Stallone Star alongside Cartoon Inspired Volkswagen Mock-Ups with Wrestle-Mania Type Costumes.
It is also worth watching because of David Carradine in main role of enigmatic driver behind the mask "Frankenstein", great performance, also worth mentioning Sylvester Stallone as the main opponent of Frankenstein, and yes a lot of beautiful women in this one, just gorgeous natural looks, but the main reason to watch this movie is it's message, is the system guilt for raising violence and controlling our lives or we as human species love to be controlled and to do violence to others, think for yourself.
Death Race 2000The one thing to look forward to in a dystopian society is the live broadcast of the annual human blood sport.Thankfully, this post-apocalyptic action movie has full coverage.In the year 2000, a band of rebels plot to usurp the omnipotent Mr. President (Sandy McCallum) by sabotaging a state sanctioned death race across country in which racers garner points by running over pedestriansWhile their efforts work on lesser racers like Machine-Gun Joe (Sylvester Stallone), Nero the Hero (Martin Kove) and Matilda the Hun (Roberta Collins), it fails when it comes to the mysterious wheelman Frankenstein (David Carradine).Produced by B-Movie schlockmeister Roger Corman, this 1975 adaptation of an obscure fantasy novel was and is still ahead of its time in terms of apocalyptic parables - but not so much in the over-the-top acting or trashy special effects.Incidentally, if a points system were instated, hit-and-run drivers would come forward.Yellow Lightvidiotreviews.blogspot.ca.
David Carradine plays legendary driver "Frankenstein" who runs the annual cross-country race in the future year 2000(!) which is televised to a nation of oppressed citizens for their entertainment(very much like the Roman Empire) There are no rules, since the goal is for the racers to rack up points by hitting as many pedestrians as possible, some of whom willingly sacrifice themselves, and others who don't seem to have a clue what's going on...Violent but funny film has a carefully controlled performance by David Carradine, and many flamboyant ones from the others(including Martin Kove and Sylvester Stallone) Carradine must deal with treachery from his co-pilot, who is part of a resistance movement meant to overthrow the president, who no longer lives in the country.Effective satire offsets the graphic violence, and chase scenes are well staged, leading to a most satisfying(and ironic) end..
Fast and furious racing action without the use of computer enhanced special effects makes "Death Race 2000" fun to watch even though the race calls for the running down and killing of innocent civilians in order to score points, as well as finish first, to win it.
Not as corny and unbelievable as people thought at the time of its release back in 1975, the same year that the similar movie "Rollerball" came out, "Death Race 2000" shows how a dictatorial regime can come to America by using both entertainment as well as patriotism as, like a Trojan Horse, its cover.
The film's satirical take on dangerous sports is like eye-candy to the average sci-fi film goer, who doesn't mind the low-budget feel.David Carradine is an instant cult-classic as Frankenstein and while Sylvester Stallone isn't the normal dope he is in other films, his performance was easily forgettable.
Roger Corman's New World Pictures released this top-of-the-line low-budget cult film about a race where the drivers acquire points by running down pedestrians.
Everything that a good low-budget movie should have is included: non-stop action, skilled direction by trash master Paul Bartel, graphic violence, nudity, campy dialog & performances, & the presence of cult diva Mary Woronov.
By the 1970s Roger Corman had quit directing in order to become an highly successful producer and it's a sad comment on the changing nature of the movie market that junk like "Death Race 2000" did so well during its initial release.It marked a turning point and the beginning of a rapid nosedive from a creative viewpoint for a man who had previously turned out some excellent films.
The acting was beyond bad(I always thought the specialist was sly's worst film untill i saw this)the comedy was to forced in places and the special effects were as you would expect from a low budget roger corman pic,in other words a load of old crap,with some of the worst on screen titles ever.(they look like something from an old kids color in book) Too dull for a action movie,not funny enough to be a comedy.
Paul Bartel's "Death Race 2000" could very well be the Best B Film Ever.It has every exploitation feature necessary; everything a low-budget flick needs to be considered a classic of the genre: beautiful gals flashing a nifty amount of nudity/T&A, really fun violence, a fast-moving plot, zooming action & hilarious characters delivering their lines with great zest.Stallone's pre-"Rocky" Rocky is howl; Carridine plays it straight to perfection; B Queens Mary Woronov & Roberta Collins chew up the scenery & have a sexy blast; pre-Gopher on "Love Boat" & pre-Congressman Fred Grandy shows an unexpected side.And the three TV broadcasters, the legendary "Real" Don Steele, Joyce Jameson and little known-but-terrific Carle Bensen are a scream!
Blood & Fun. Death Race 2000 is one of those pulp movies that are somehow just superb and transcendent their badness into greatness - a total absurd and grotesque story targeting almost everything that we consider relevant for our societies, nations and cultures.The theme: a race across the States and the drivers (the new heroes - some pilots are even women!) get points and ovations for killing people with their cars - the more absurd the kill, the better, and all is broadcast on T.V. to entertain the Mr. President and the masses.
As I continue to work my way through the filmography of Sly Stallone in order, today I sat down to watch "Death Race 2000" To start, I would like to remind everyone that this is, in fact, a B movie.
Meanwhile, a diverse group of crazy drivers are vying to beat Frankenstein to the finish line: the hotheaded thug "Machine Gun" Joe Viterbo (pre-ROCKY Sylvester Stallone), icy cowgirl Calamity Jane (Mary Woronov), tough-as-nails Matilda the Hun (Roberta Collins) and flamboyant Nero the Hero (Martin Kove).Running at an unbelievably short 78 minutes, the film contains some awesomely nice racing cars, including Frankenstein's reptilian-inspired turbo charger, which is not a bad-looking car by the way.
This Paul Bartel black comedy from the Roger Corman stables is a classic cult picture, featuring Carradine as the grotesquely disfigured (!) Frankenstein, a rally car racing driver revered by the masses in the national sport of "death race", where competitors earn points for mowing down pedestrians.
I kinda fell asleep halfway through.Not long after, I saw the DVD going for a fiver in Fopp so I picked it up, thinking oh yeah, I never finished watching that.Although it is too dumb to be moral and too tacky to be cynical, I think "Death Race 2000" carries itself quite well as a 'cult classic' in the mould of "The Running Man" or Russ Meyer's silly '60s sex comedies.A thoughtless movie, probably knocked up in a matter of weeks, insignificant acting on display (particularly from Carradine and Stallone who would go on to bigger things) and a poor attempt at science fiction.You might as well check it out..
Death race 2000,a movie witch was not intended to be humorous, i don't think anyways.The acting is horrible and the action scenes are hilarious.This man be one of the best low budget sci fi films of all time.
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tt0236493
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The Mexican
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Brad Pitt has been working for a mobster who is in prison because Pitt accidentally ran a red light and hit the mobster's car. When the police arrived, they found a body in the mobster's trunk. The guy was alive but was obviously going to be murdered. The mobster was sentenced to 5 years in prison. Pitt has been forced to work for the mobster to pay for having caused him to go to prison.Julia Roberts is Pitt's girlfriend and they have been having difficulties with their relationship. Roberts now wants to go to Vegas but Pitt has to make one last trip for the mobster or he will be killed. Roberts throws Pitt out and heads to Vegas alone and Pitt heads to Mexico on his last mission.Pitt has been given orders by the 2nd in command (Bob Balaban) to pick up a gun called "The Mexican" and bring it back. Pitt gets to Mexico and picks up the gun but unfortunately, the man he gets it from is accidentally killed by a stray bullet fired during a Mexican celebration.Pitt calls Balaban and reports the problem and while he's on the phone, his car is stolen, gun and all. Pitt sets out after the car to try and retrieve the gun.Meanwhile, on the way to Vegas Roberts is in a restroom when a gunman grabs her and before anything happens, James Gandolfini saves her by shooting the man. Gandolfini claims that he is working for the mobster and that his name is Leroy. He is a very sensitive, gay psychotic killer who is there to protect Roberts.They get to Vegas and along the way Gandolfini picks up a gay postal worker who spends a romantic evening with Gandolfini. In the morning Roberts and Gandolfini go out for breakfast and while they're eating, the gunman goes to their hotel room and kills the postal worker by throwing him off the balcony. Roberts and Gandolfini get back and this time Gandolfini shoots the man in the head to kill him for good.Roberts and Gandolfini are told by Balaban to head to Mexico and meet Pitt because things have gone wrong.In Mexico, Pitt has recovered the gun and then lost it a second time. A man from the mob has come down to help him. Pitt knows the man had been sent to kill him so he tricks the man, gets the gun and drives to the airport to leave Mexico. Unfortunately, Pitt has the wrong passport and can't get on his flight. He goes back to the small town where he left the man handcuffed, but he's gone.Gandolfini and roberts meet up with Pitt and for some reason, Pitt does not tell him he has the gun but will take him to where it's hidden. Pitt has an argument with Roberts and nearly wrecks the car causing a blowout. While Pitt is changing the tire, Gandolfini pulls a gun on him. Roberts is furious with Pitt and has been walking away. Pitt hasn't seen Gandolfini's gun yet but Gandolfini sees Roberts walking away and puts his gun away. He knows that Roberts loves Pitt and he just can't kill him.Gandolfini helps Pitt change the tire and now Pitt pulls a gun on Gandolfini. Gandolfini sees the gun in the reflection on the hubcap and turns to fire but Pitt shoots first and kills Gandolfini.It seems that Pitt had once met Leroy and knew that Gandolfini was not who he claimed to be. He realized that he was there to kill him. Roberts is extremely upset but Pitt and her stay together trying to decide what to do now.In their hotel room, Pitt looks out the window and see someone trying to break into his car. the same person that stole it the first time. He goes down to stop him and is punched in the face (twice) and knocked out.He is driven to a very nice ranch house and there he meets the mob boss who has been let out of prison - Gene Hackman.In prison Hackman was befriended by the grandson of the ranchowner. the son was killed saving the life of Hackman in prison. The ranch owner is the grandson of the man who made "The Mexican."We are now told the true legend of The mexican. It was made by a gunsmith as a gift to a rich noble so the nobleman's son would marry his daughter. Unfortunately, the daughter was in love with the gunsmith's assistant. On the wedding day the nobleman's son is presented with the gun and it fails to work. He notices his future bride and the assistant staring at each other. He realizes they are in love and shoots and kills the assistant. The girl picks up the gun, puts it to her head and shoots herself. The gun contained two bullets, one of which has now been used.Hackman has been trying to get the gun to give it back to the rightful owner, the great grandson. Balaban has been trying to get it to sell for profit.Roberts is back in the hotel room and has the gun tied to her leg when Balaban appears on the balcony. Roberts hides between 2 mattresses.We next see Pitt and some Mexican employees of the ranchowner driving into town. Balaban is standing beside his car and asks Pitt where the gun is. Pitt says only Roberts knows and Balaban opens the trunk to reveal Roberts. Unfortunately for Balaban, when he opens the trunk, Roberts has the gun pointed right at him. She shoots the 2nd and last bullet, hitting him in the throat. We hardly know he's been shot until he opens his mouth and smoke comes out.The ranchhands take the gun back to the ranch and a brass ring that had fallen off the gun is picked up by Pitt. He uses it as a wedding band and places it on Roberts finger.The final scene shows the two of them driving off - arguing...
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comedy, boring, murder, flashback, revenge, storytelling
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train
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imdb
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Personally I had a very good time watching this movie, but it seems like I'm one of the few.
I know, it's not done to say that you liked to see Julia Roberts play a certain role and Brad Pitt can never be good as a comical actor...
A couple working on the give-and-take aspects of their relationship, an exquisitely crafted antique pistol with something of a diverse history and some questions concerning who is working for whom, all figure prominently in `The Mexican,' a black comedy directed by Gore Verbinski and starring Julia Roberts and Brad Pitt.
Director Verbinski lends a nice touch to the movie, eliciting noteworthy performances from his actors and establishing early on his method of using specific landmarks-- a traffic signal and a cross-roads in the middle of nowhere, for example-- that give context and definition to what is happening, sometimes off-screen (as in the opening scene, when you only `hear' a traffic accident that becomes a pivotal part of the story).
And there's a politically incorrect sensibility to the movie that is refreshing to see; in real life certain situations and cultures that are foreign to us are often viewed in stereotypical terms, so there is no reason to portray it otherwise in a film, especially when care has been taken to present it in an inoffensive manner, as it is here.
Credit goes to Pitt, as well, for making the most of what is actually a leading man/character role; Jerry isn't the sharpest tool in the shed and he may be easily distracted, but-- like Sam-- he's not without some natural charm that makes him quite personable and interesting.
I suspect the main criticisms of this film are mainly to do with high expectations: in having Pitt, Roberts and the Sopranos guy in.
Luckily, it was.Brad Pitt gives a sweet performance as Jerry, the accident prone hero, but the best part of the movie is the chemistry between Julia Roberts as Sam and James Gandolfini as Leroy - an unlikely relationship between a kidnapper and a kidnappee (is that a word?).
Take "All About Steve" (cute dysfunctional romcom), toss in "3 Days in the Valley" (gritty crime drama), a little bit of "Silver Streak" (roadcom) and a hint of "Deathtrap" or possibly "Fargo" (dark comedy), then whip them all mercilessly with an eggbeater until it's unrecognizable, bake at 425 degrees for 2 hrs 3 mins, and there you have "The Mexican".If you enjoyed all the films I mentioned above, you'll like this.
It's polished, as any Hollywood flick with Brad Pitt & Julia Roberts would be, but it's quirky and odd enough to set itself apart from the others.
The story is about a lovable loser (Brad Pitt) and his crazy therapy-inducing girlfriend (Julia Roberts) who end up trapped in a bloody battle to get a cursed gun known as "The Mexican".
Roberts Ruined It. GOOD - Story was interesting the first time around.....loved the cinematography; nice Mexican scenery....
liked Brad Pitt's dialog and his character was fun to watch.....enjoyed the few side-bits with the dog and was surprised when Gene Hackman showed up late in the film.BAD - Julia Roberts ruined this film, at least by the second viewing.
Well written (despite what others here have said), well directed (except for the pace which got slow), well acted (both Roberts and Pitt were believable and very funny, and Gandolfini was funny and touching).
Pitt and Roberts were a good match, and James Gandolfini really was the best part of this movie.
People, especially Roberts fan want to see her in specific movies playing certain roles to make themselves feel better.
The Mexican--Brad Pitt & Julia Roberts...hmmmm.
If the movie trailers had Brad Pitt in close-ups, shots of his pretty face, typical Hollywood fare to market, they should have gone this route to get people in the theater.
This is really a movie about relationships and that always sells IF lame suits knew what they were doing which is incredible--all that effort to make a movie and the suits don't even know what it really is about working in the business sector of the "biz"This move also has a great B class of actors; James Gandolfini, Gene Hackman, a new character actor J.K. Simmons, Bob Balaban (people would recognize from a Seinfeld episode)Good movie--see it!.
The trailers do this film no justice at all since they imply that it will be another 'Pulp Fiction' type movie with stylish characters, witty dialogue, dark humor and over the top violence played for sinful pleasures and shock value.
Being a huge movie buff, and a fan of Brad Pitt, I had incredible expectations for this flick, but they were all shot down, beginning with Julia Roberts' annoying scene where she tosses all of Brad Pitt's stuff out a window in a fit of rage.
Now, I am one of those people who enjoy most movies with over the top silly humor like Monty Python, Road Trip or Deuce Bigalow, and I love to laugh for the simple point of laughing, even if the material isn't exactly up to Python brilliance, but how can someone think that "I need a ride-o in your truck-o to the el town-o" is the least bit funny?
No such luck here.With a film with Brad Pitt and James Gandolfini (and though I don't like her, Julia Roberts) one would think that the movie would be good, if not great.
Julia Roberts made me want to take the television and throw it out the window, she played the most annoying character I have seen in quite some time.
On the surface this might appear to be a relatively entertaining film since it stars two big names , but stop to consider the careers of both Julia Roberts and Brad Pitt .
Roberts was unbelievably lucky to have won the Oscar for ERIN BROCKOVICH while Pitt is obviously a film star due to his sexy boy looks .
You're right i'm slightly jealous of Pitt's physique and his face and even more jealous still that he's made a massively successful career out of it and like everything else he's appeared in THE Mexican shows Pitt is not much of an actor The plot revolves around gangster Jerry Walbach being sent down to Mexico by the mob to collect an antique firearm called " The Mexican " and while he's away his girlfriend Samantha is kidnapped by a hit-man called Winston Baldry who also wants to get his hands on The Mexican .
This is a mistake because the comedy should come out of the situations the characters find themselves in not by Roberts and Pitt mugging for the camera , shouting or waving their arms about trying to convince the audience that this is a funny film .
Anything that prolongs the running time of this movie receives harsh judgement from me THE Mexican is a comedy that I found to be far from entertaining .
His colleague Julia Roberts is also working this movie off, so the only person who's actually acting is James Gandolfini.
Although we have here some universal messages about love, hit-man who's very emotional (strange for hit-man even though he's gay) and cameo role from great Gene Hackman; this is really movie that you can easily skip unless you're in love with Brad Pitt or you just want to watch a movie without innovative story..
Julie Roberts character seemed like she would be more at home on the set of Friends, no doubt to make Brad Pitt feel more at home.
An inept criminal(Brad Pitt)promises his girlfriend(Julia Roberts)that he will change his ways after one last job.
Meanwhile, Samantha finds herself taken hostage by a gay hit man with a heart named Leroy (James Gandolfini of "Get Shorty" and TV's "The Sopranos"), who -- by following all of the Hollywood cliches -- is an amiable, likable guy who wouldn't harm a fly.The advertising for "The Mexican" had it all wrong.
The movie is too wish-washy -- sometimes it wants to be the next gritty comedy ("Trainspotting") and sometimes it's aiming for cute gimmicks and completely silly characters.And then, even worse than trying jokes and failing, "The Mexican" never even strives to give us funny moments.
The most pathetic dialogue mixed with real bad performances from Roberts and Pitt in worst written and directed story this millenium.
The Mexican had potential, i've have no doubt about that; Brad Pitt, Julia Roberts and James Gandolfini are all more than capable performers, and have proved it over time.
She gives him the old heave ho as he leaves for Mexico.But just to make sure Pitt follows through, Roberts is kidnapped and held hostage by James Gandolfini, a gay hit man with whom she bonds rather strangely with.
The Mexican is a film that was made more than likely for no other reason than let's team Brad Pitt and Julia Roberts and get some real box office out of it.
James Gandolfini comes out best in this film.Still fans of Pitt, Roberts, and the Sopranos might like it.
But it's been ruined in production - Pitt in particular is awful with his wooden delivery and crude attempts at slapstick sitting unhappily with the rest of the film and decent acting in parts from Roberts and, particularly, Gandolfini.
Brad Pitt was about a 2 out of 10 and Julia Roberts - though I think the script can be blamed more than she can - was somewhere in negative numbers on that scale.
James Gandolfini walksaway with the film, Brad and Julia are pretty (big surprise) andbarely earn their TWENTY MILLION DOLLARS!!!
Brad Pitt and Julia Roberts should really be ashamed to collect any money for "working" in it.
The Mexican is one of those movies which are only worried in showing two Hollywood stars working together.These actors are Brad Pitt and Julia Roberts.Brad Pitt is an extraordinary actor when he has great material to work with,like he showed in Kalifornia,Interview with the vampire,12 monkeys and Fight club.But,when he has such a poor material like in this movie,he does not bring a good performance.Julia Roberts is an extremely overrated actress.It seems that she's always acting the same character.The movie is too long and it really bored me.If you wanna see two Hollywood stars working together and nothing else,watch this movie.But if you wanna see a good comedy,watch another movie..
The only good thing about this movie was seeing Brad Pitt..
One to watch if you are a Brad Pitt or Julia Roberts fan only I would say, or perhaps you are suffering from insomnia !.
After an atrocious opening--Julia Roberts squabbling with boyfriend Brad Pitt over a balcony in a parking lot--"The Mexican" improves, even comes up with some clever and funny bits of throwaway comedy.
Although her performance is uneven, Roberts really shines in her scenes with gay hit-man James Gandolfini--so much so that when she's paired up again with Pitt, we miss her happy spark.
Great if you don't expect a Pitt/Roberts romantic film.
This is a great film which was largely victimized by having Brad Pitt and Julia Roberts cast as leads.
One part consists of Pitt's character looking for a gun called "The Mexican." This portion contains the majority of the comedic aspects of the film.
This portion contains the sensitive aspects of the film where Roberts and Gandolfini struggle to understand love and their own personal relationships.This film is funny and serious at the same time, and the acting is very good.
I enjoyed this movie a lot, it was fast-paced, intriguing, well acted, good plot, ample humor, and lots of chemistry between Julia Roberts and both Brad Pitt and James Gandolfini.
Julia Roberts (Samantha Barzel) plays the 'I-want-my-relationship-to-work', desperately seeking solace girlfriend, with her can't-live-with-can't-live-without half-witted hard-luck can't-do-anything-right-boyfriend Jerry Welbach (Brad Pitt), and finds comfort and understanding with the help of a relation-trouble-gay-hit-man, Winston Baldry (James Gandolfini), who is, in fact, supposed to kill her.Sounds confusing?Well then sit down and enjoy the 'ride', brilliantly directed by Gore Verbinski, with this sometimes clumsy, yet intricate romance-comedy.
The two stars lead different sides of the plot line through most of the movie showing they are two different people seeing the situation in their own way, and then they come together and tumble into each other as they try to express their love.
The fact that Julia Roberts and Brad Pitt have hardly any screen time together is a good thing as they have no chemistry whatsoever and give better performances when they are seperated.
All in all, i would have to say i liked Jerry's storyline better than Sams, it was a lot more fun and served the film a lot better, i felt myself getting bored by sams side of the story which wasn't good because i am a fan of Julia Roberts.
Brad pitt and Julia Roberts are good as the fighting couple who come of their relationship as they try to get together.
Many complain that Julia Roberts and Brad Pitt share little screen time together, but this is a plus.
Julia Roberts has much more chemistry with James Gandolfini then she does with Brad Pitt.
It was a completely entertaining film that showed great chemistry between Julia, Brad and Jim Gandolfini.
Go see 'The Mexican' It's a fun mix of romance, drama, comedy, and violence that houses stellar performances by all those involved -- particularly Brad Pitt.
The characters played by Pitt and Roberts spend most of the film separated -- probably a good thing, since they would likely run out of things to do fairly quickly -- and the story has more violence and stunning plot twists than anticipated.Pitt plays a young tough in thrall to a crime boss sent on one last job into Mexico to fetch a beautiful historic pistol with a curse on it.
Pitt gets stuck in Mexico with big problems trying to find, and then hold onto, the gun.The real center of the movie is the growing relationship between Roberts and her primary captor, "Leroy," played with much depth as well as humor by James Gandolfini.The soundtrack is perky and amusing, and there's a lovely running visual gag with traffic stoplights.
When I saw the previews for this movie, I just couldn't believe that Brad Pitt had stooped to the usually-low depths of a Romantic comedy, especially after his AMAZING roles in quirky movies like "Fight Club" and "Snatch." However, "the Mexican" is FAR from any ordinary Romantic comedy...it's Romance meets a bit of black comedy meets Tarantino (with a bit more feeling) meets a great tale.
I usually expect more from Brad Pitt since he seems to have good sense about what movies he does.
What follows is a mixture of comedy, caper movie and a vicious satire on relationship therapy culture.Brad Pitt and Julia Roberts are excellent in their roles, particularly Pitt, who manages to give his character no cool or clue.
I am a huge Brad Pitt fan and have been looking forward to this movie for a long time!
I thought it was great...Brad and Julia Roberts have a lot of chemistry, even though they weren't together in the movie for very long.
I accepted them, I watched the movie and I had a great time.By the way, James Gandolfini is just great.
James Gandolfini as a gay hitman, Julia Roberts as her perennial self, and Brad Pitt as an emasculated dimwitted bumbling gangster!?!
It's great and it's lame compared to what it could have been.Brad Pitt makes it work most of all, and his half of the movie playing off of clichés of Mexican life, especially as seen through the movies, is funny and whacked.
Julia Roberts disgusting, Brad Pitt horrible.
what a waste of time o my god, how stupid can a movie be and the plot was horrible, god, brad pitt and julia roberts are a bad match, especially for this movie, NOBODY and i mean nobody waste 2 hours on seein this, it was 100% awful.
Now, in conclusion, if you like Brad Pitt or Julia Roberts, I highly recommend this excellent crime caper flick which will have you smiling from start to finish..
This is a popcorn movie with aspirations to quality, but it fails on either level.The romance doesn't work, because we're not made to care about the characters played by Julia Roberts and Brad Pitt; the humour doesn't work, because the movie's trying way too hard to be "hip"; and the attempts at serious moments don't work, because almost nothing in the movie has anything to do with reality.The only thing this has going for it is James Gandolfini, and I'm not just saying that because he's gorgeous.
Brad Pitt and Julia Roberts who play the lovers Jerry and Samantha have absolutely no chemistry together.
However even though Roberts have better chemistry with James Gandolfini her character Samantha is so annoying and boring that I never stand watching their scenes together.
The movie had good actors in it such as Brad Pitt,Julia Roberts, and James Gandolfini.
Brad Pitt was pretty funny in this movie and James Gandolfini was really good as the bad gay guy with a pretty good heart.
It's a shame because, like it or not, Julia Roberts and Brad Pitt are great actors.But a movie is only as good as its screenplay, even if studios honestly believe that its the cart that leads the horse to the box office.
How could two great stars like Julia Roberts and Brad Pitt consent to star in this loser of a movie?
Brad Pitt stars as an accidental bumbling low-level criminal along with Julia Roberts, his love interest in this serio-comical, slow-moving action adventure movie.
Its a good movie with Brad Pitt in it.
And the hilarious and brilliant comedic acting of Brad Pitt and Julia Roberts make this flick really a treat.
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tt0081383
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Prom Night
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Inside an old abandoned building, four children are playing a game in which they all hide while one of them looks for the others, calling out "the killer is coming!" Young Kim and her two twin siblings, Alex and Robin, walk by and see the children playing. Kim and Alex leave, but Robin lingers, hoping to join the game. But upon entering the building, the four kids gang up on her, chanting "kill!" until Robin has nowhere to go. Backing up into a window, Robin crashes through and falls out of a second floor to her death below. One of the kids, Nick, wants to get help, but Wendy convinces all of them that the best thing to do is tell no one and never tell anyone about what happened. Wendy, Nick, Jude, and Kelly swear to keep quiet. As they leave the building and ride away on their bicycles, an unseen person sees them ride off. Later that evening, Robin's father, Mr. Hammond (Leslie Nielsen) and the police are at the scene. They have surmised that Robin was the victim of a sexual attack by a homicidal maniac. They think they know who is responsible and the cops go off to question a suspect.Six years later. The now grown-up Kim (Jamie Lee Curtis) and Alex (Michael Tough) are visiting their sister's grave with their parents. A little later, an unseen person with a creaky voice is telephoning each member of the guilty party one by one telling them, "I'll see you at the prom!" The timid Kelly is upset, while Jude and Wendy think that it's a prank.Meanwhile, police detective McBride (George Touliatos) is unsettled because a psycho killer named Leonard Murch has escaped from a local clinic hospital. Murch was a known sex offender who the police suspected was responsible for Robin's death. That night when McBride and his men approached Murch for questioning, he fled and after a car cash, wrecked his car and suffered horrible burns all over his body. Murch has been residing in the asylum for the criminal insane and he just escaped and may be heading back to the town where it happened to look for more victims. When the police discover the dead body of a nurse that Murch took as a hostage during his escape from the hospital, McBride and the asylum psychiatrist Dr. Fairchild believe that Murch may have returned to the town for revenge against everyone.In town, it is revealed that Nick is Kim's latest boyfriend. Wendy is Nick's ex-girlfriend, and she is certainly not happy that the new couple are going to their senior prom together. Wendy tries to assure Kim that the relationship will not last by telling her "It's not who you go with. It's who takes you home". Later, the school bully and misfit Lou (David Mucci), is messing with Kim in the cafeteria wearing a mouthless ski mask. Alex steps in to defend his sister, and he holds his own against Lou's two pals until Lou sucker punches him in the back. Brought before the principal, whom is Mr. Hammond, he suspends Lou for fighting. As Lou leaves the school grounds, Wendy tries to talk to him. When Nick and Kim are walking around, Nick tries to tell her about that fateful day, but is he not able to.Meanwhile, Wendy makes devious plans to break up Kim and Nick, and she tells Lou that she doesn't want anyone hurt. Lou tells her that he will take care of it. Nearby, Jude is picked up for a ride home by Slick, an outcast student who drives a Chevy van, whom he asks her to the prom and she accepts. In the girls locker room after tennis practice, Wendy finds her school photograph torn from the yearbook and hanging on the front of her locker. When Kim and her friend, Kelly, are alone, they hear a loud noise in the locker room and they see that a mirror has been smashed. After checking around the locker room, the return to see that a fragment of the mirror is gone. Jude and Kelly both find their yearbook photographs inside their lockers, as does Nick.That night, Lou picks up Wendy to take her to the prom. Mr. Hammond is the chaperone and Alex is the DJ for the disco music. Everyone is having a good time dancing and listening to the music and watch Kim and Nick do their well-choreographed dance on the dance floor before everyone. McBride secretly arrives at the dance to oversee it and to make sure that nothing bad happens.Kelly and her boyfriend, Drew, leave the gymnasium for a part of the school where they begin to make out. Kelly decides that she cannot go any further, and an irate Drew goes elsewhere telling Kelly that he knows "plenty who will". After Drew walks out on Kelly, an unidentified figure donning the ski mask and wearing all-black clothing stealthily approaches the tearful Kelly and kills her by slitting her throat with a mirror shard.Jude and Slick decide to sneak out of the festivities in the gym for some intimate time as well. Outside, Jude and Slick are in the back of his van enjoying the privacy. After spending a bit of time outside the van, they hear noises and thinking that someone is nearby spying on them, go back inside the vehicle to smoke some marijuana. After a minute, the back doors open and the masked killer stabs Jude's neck with the mirror shard. The murderer then leaps in after Slick who fights back and pushes the killer out of his van and starts it up to run the killer over. The killer leaps out of the way and grabs onto Slick as he is trying to drive away. After wildly spinning around, the killer jumps free and the van with Slick inside goes over a cliff and explodes.The killer returns to the school, now wielding a felling axe and follows Wendy out of the gym to the ladies room where she is putting on makeup. The lights are turned off and the killer attacks her. Wendy gets away and a long chase through the school begins as Wendy tries to outrun her axe-wielding pursuer. The chase leads through the darkened halls, classrooms, and the workshop area. Wendy almost gets away, but in due time the killer finds her when she screams to the discovery of Kelly's body in a linen closet and she is axed to her death.Back inside the prom, McBride is told by another police officer that Murch has been caught and was several miles away from the town. When McBride leaves, Kim begins looking for her father, but cannot find him as he is to announce the new prom king and queen. So, a teacher decides to announce the winners himself. Backstage, Nick and Kim ready themselves for the announcement of prom king and queen when Nick is accosted by Lou's thugs and Lou takes his place backstage with the crown. The killer, believing Lou to be Nick-in-waiting, approaches from behind and decapitates Lou, with his head landing on the catwalk and causing the students to scream and flee from the gymnasium. The killer is knocked out when he accidentally hits a fuse box. Kim finds Nick and frees him and tries to help him get out of the building. The killer revives and, quickly realizing his mistake, blocks the exit and attacks Nick and Kim. The killer only wanting to kill Nick and cares little about Kim whom is trying to stop him. After a struggle between Nick and the killer, Kim bluntly hits the killer's head with his own axe where Kim pauses for a moment and recognizes the killer's identity from the eyes.The killer stumbles away and outside where McBride returns with the police who have surrounded the place. As they take aim, Kim runs outside and yells at the officers not to shoot. Kim runs to the collapsed killer's side, who is revealed to be Alex, the twin of Robin. Kim holds Alex who tells her that Nick and his friends were responsible for killing Robin. As Alex dies from his wound, Nick walks outside and stares at a tearful Kim as she continues holding her deceased brother in her arms.
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grindhouse film, cruelty, murder, cult, horror, violence, revenge, sadist
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train
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imdb
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tt0109550
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Temnye vody
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At the beginning of the film a priest is shown in a church studying a strange ancient book. Outside there a violent storm is raging. The church begins to collapse and the priest is impaled by the spike on top of a fallen crucifix. Later a nun is shown bearing a strange pagan amulet to the edge of the sea. As she stands on the cliff she is approached from behind by someone or something that frightens her so much that she falls to her death. The amulet she was carrying is smashed on the rocks but it's pieces are shown being recovered by someone who is not identified.20 years later a young heiress from London, Elizabeth, is traveling to a remote convent to visit her friend. She is shown on a rustic country bus that is full of strange characters.Meanwhile, a young girl in a novice nun's cassock is shown entering an underground catacomb through a crack in a wall. She watches a sinister ritual where nun's beat themselves with whips and lay face down on the ground in some sort of pattern. The girl is then attacked from behind by someone with a knife. While the ritual continues below the girl is repeatedly stabbed. Her blood flows into a stream which pours out over a large crucifix.Elizabeth arrives at her destination during a heavy rainstorm (which continues through much of the movie) and has to deal with various creepy or insane locals before she finds someone willing to take her on a boat to the island where the convent is located. Elizabeth is greeted by the nuns and taken to the ancient Mother Superior who is blind and communicates through an assistant. She tells the Mother Superior that she is there to see why her father donated money to the convent and if she is willing to continue the charity.She is provided with a room but all her possessions are confiscated until she decides to leave.
Shortly after she is befriended by a seemingly innocent novice, Sarah, who is appointed to act as her guide during her stay. Sarah tells her that the friend she came to visit has left the convent and returned to London.
Elizabeth reveals to Sarah that she was actually born on the island and lived there until she was seven.Elizabeth and Sarah visit the decaying library of the convent. There they discover an ancient book with sinister images of a demonic creature. They also find a strange painting that features a pair of young girls and a pagan amulet. While Sarah is out of the room looking for more light Elizabeth is attacked by one of the nuns. Elizabeth narrowly escapes when the nun accidentally falls to her death out of an open window.Elizabeth then discovers an entrance into a labyrinth of catacombs beneath the convent. There she spies on a strange procession of nuns carrying burning crosses and a bloody corpse wrapped in a sheet. While following this procession Elizabeth gets lost and wanders into a pit-like room where a blind painter has covered the walls and canvases with enigmatic images. She recognizes one of the faces on the wall as that of her missing friend and realizes that the body the nuns were carrying might well have been hers.The next day she sees a boat leaving the island despite Sarah having told her that there would be way to reach the mainland for several days.Elizabeth begins to suspect that Sarah might not be as friendly as she appears. She also starts having strange dreams/visions. One involves seeing a crucified nun accompanied by two small girls. Later, she finds the beach covered by thousands of dead fish... she begins eating one before coming to her senses and vomiting.
While wandering on the beach one of the villagers shows Elizabeth some photos of her childhood on the island which include another little girl and what seems to be Elizabeth's mother, who had supposedly died in childbirth. Elizabeth goes to her childhood home and questions the old woman who cared for her as a child. Their meeting is interrupted by the nuns when they set fire to the house. Elizabeth escapes but the old woman is hideously burned.
Meanwhile Sarah is shown uncovering a piece of the shattered pagan amulet shown in the painting. A nun comes up to stab her but is later shown cut to ribbons and nailed to a chair. The blind painter gives a painting of Elizabeth to the Mother Superior. The old blind woman begins to smudge off the wet paint and reveals a demonic face underneath.Elizabeth makes her way back to the convent. There are dead and dying nuns everywhere. She is attacked by a nun wielding a huge knife but she manages to kill her by bashing her head on the stone floor. Elizabeth descends into the catacombs where she finds more dead nuns. The blind painter is shown using the Mother Superior's blood to paint more strange images on the wall. Elizabeth is then approached by Sarah, who removes the top of her cassock to reveal that much of her body is not human at all. She is not entirely human.It is revealed that Sarah is Elizabeth's sister but that she more closely resembles their mother. Their mother is actually the demon depicted in the book and on the pagan amulet. The nuns were trying to prevent Elizabeth from realizing her heritage and attempting to free her demon-mother from the walled up crypt she is trapped in. The two women had previously tried to free their demon-mother when they were children but Elizabeth had gotten scared and ran away. She and her father fled the island but it is presumed Sarah has been there ever since, waiting for her to return and complete the ceremony.Now the grown-up Sarah and Elizabeth begin the ritual again. The pieces of the shattered amulet are placed on the ground by a captured nun. Elizabeth eviscerates the nun and the falling blood causes the broken amulet to become whole again. The women raise the blood-soaked amulet and their demon-mother begins to break free of her prison.Just like before Elizabeth becomes terrified and throws the amulet... shattering it into pieces again. Sarah goes to the demon-mother while Elizabeth runs away.At the end of the movie Elizabeth is shown on the beach of the island. She is now in a nun's habit and putting on a necklace made of the center fragment of the shattered amulet. Her white eyes now look like those of the blind Mother Superior's.
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violence, cult, psychedelic, murder, gothic
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train
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imdb
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tt1185834
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Star Wars: The Clone Wars
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The film begins with a narrator explaining the state of the Clone Wars instead of an opening crawl like its predecessors. The Separatists control the majority of the hyperlanes, leaving Republic forces stranded in different parts of the Outer Rim. Jabba the Hutt's son Rotta is kidnapped as part of a plan to make the Hutts join the Separatists. Meanwhile, a fierce battle is taking place on the crystalline planet of Christophsis between the Republic's very limited clone army and the Retail Clan forces.With the help of Obi-Wan Kenobi and Anakin Skywalker, the clones steadily advance on the Separatists' forces, gaining the Republic an early victory. It doesn't last long, though, as the droid army soon returns. With no communications or the ability to fly in reinforcements, the fate of the few remaining clone soldiers are in the hands of Obi-Wan and Anakin. A shuttle arrives, but without the needed reinforcementsinstead, it is a young Padawan named Ahsoka Tano, who insists that she has been sent by Master Yoda to serve under Anakin. The battle soon commences yet again, with the Separatist forces advancing behind an expanding shield that artillery can't penetrate. Anakin and Ahsoka succeed in penetrating the enemy lines while Obi-Wan stalls for time by holding a fake surrender negotiation with the droid army commander.Soon after the final victory for the Republic on Christophsis, Yoda arrives and brings the Jedi up to date on the situation concerning Jabba's son. The Republic needs Jabba on their side to ensure unfettered travel through Jabba's trade routes. Anakin and Ahsoka are tasked with retrieving the child, while Obi-Wan flies to Tatooine to assure Jabba that Rotta will be retrieved.On the planet Teth, Anakin, Ahsoka and their clones assault a monastery that sits atop a high stone pillar. They find Rotta, but discover that he is ill, requiring them to get him help immediately. But they have been caught in a trap by Count Dooku, who hopes to frame the Jedi for Rotta's disappearance (and possible death), thereby ending any chance of the Republic striking a deal with Jabba. He has sent his minion, Asajj Ventress, to secure fake evidence of the Jedi's supposed double dealing, then to recapture the young Hutt and return it to Jabba, putting the crime lord in the Separatists' debt.Anakin and Ahsoka manage to escape the trap along with R2-D2 and hijack a derelict transport which they use to travel to Tatooine. Obi-Wan, alerted by Anakin, arrives just in time to relieve the clone forces and engages Ventress in a lightsaber duel where he manages to defeat her, though Ventress flees in the face of capture. On board the derelict ship, Ahsoka manages to cure Rotta by the use of medical supplies on board.In the meantime, Senator Padmé Amidala learns of Anakin's mission and fears for his safety. She decides to contact Jabba's uncle, Ziro, who lives in a shady part of Coruscant. The Hutt refuses to cooperate, apparently believing that it is the Jedi who are responsible for the situation. Padmé, however, soon discovers that Ziro has actually conspired with Dooku to engineer the downfall of his nephew in order to seize power over the Hutt clans. Padmé is discovered and detained, but a chance call by C-3PO enables her to summon help, and Ziro is arrested.Upon their arrival on Tatooine, Anakin and Ahsoka are attacked and shot down. Faced with a long trek across desert sands and relentless opponents, Anakin devises a ruse: he confronts Dooku while carrying a decoy Rotta, leaving Ahsoka and R2-D2 to take the real Rotta to Jabba's palace. While Anakin fights Dooku, Ahsoka is ambushed by three Magnaguards, whom she narrowly defeats. Anakin and Ahsoka enter the palace one after another and Rotta is returned to his father. Jabba, deceived by the lies of Count Dooku, orders for them to be executed. Just in time, Padmé calls and convinces Jabba of his uncle's duplicity. Jabba agrees to allow the Republic safe passage through the Outer Rim territories, but only if the Jedi promise to make Dooku pay for his crimes against the Hutts. With their mission accomplished, Anakin and Ahsoka are triumphantly retrieved by Obi-Wan and Yoda.
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good versus evil, violence, fantasy, action
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train
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imdb
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The rest of you, like me will have a blast watching this thing.This movie is basically an extended pilot for a soon to premiere animated series and it plays as such.
The heart of the Star Wars franchise has always been its fun, and this is a cartoon...they're taking advantage of the opportunity to take the explosive larger than life elements of the films and skew them to an altered animated reality...which is what makes cartoons worth watching.I loved the design of the whole thing too.
But even the venerable and generally even-handed Roger Ebert didn't have much good to say about it.After the strange feeling of seeing the "Warner Bros" logo and hearing "As Time Goes By" in place of the Fox logo and fanfare, the film gets off to an inauspicious start - a rendition of John Williams' Star Wars Main Theme played by The London Philharmonic's cheapest non-union Mexican equivalent.
This is not a movie that I think many old Star Wars fans will enjoy, but it may be a movie that helps introduce new people to the franchise, which is always a good thing.
I don't know if it's even necessary at this point to say something as redundant as "this movie has a horrible script and stiff acting;" that's just something we've come to expect with Star Wars in the last decade.
The result is much more astounding than I could have imagined, and almost made me forget they were not the real thing.In the end, Star Wars: The Clone Wars is a kids movie, or at least, can be appreciated by children.
It has the whiz-bang battles of a Star Wars movie, but the humour and ADD-infused dialogue that they can appreciate from the cartoons they watch on Saturday morning.
In my book, if the writers/directors/producers etcetera intentionally changed something, and it turned out badly, it's still bad.It got worse, the opening battle could have potentially been something good and enjoyable to watch, instead it was as if it had been played in fast forward, I could almost imagine the 'Benny Hill' theme being played in the background.Admittedly, I was a bit biased towards the 'art style' before hand so I thought, if I'm going to write a review on it, I'll avoid mentioning it as it would be rather unfair and not truly neutral.
In my opinion, the plot was too simplistic for a Star Wars film because the whole entire movie is about Anakin and his new padawan, I forget her name, trying to rescue Jabba the Hutt's son.
Great movie for the little kids and people that are going to watch the TV series but you need to be a true Star Wars fan to love this movie..
For a theatrically released film there is nothing cinematic about it and feels like a feature length pilot for the animated series.As a spin off from the Star Wars franchise, it's OK but purely for kids only..
(The voice over did make me cringe..ugh!) Yes, the human characters looked freakin bizarre (Kenobi's beard looked like a wood carving) and they should have gone with a more realistic look instead of the pointless style they used.And yes, the story was pretty childish for a feature film aimed at adults...But that's the thing.
I have seen Clone Wars twice at the cinema now and I am at a complete loss to explain why there is so much disdain for it.If this is what we can expect from the upcoming TV series I for one am very excited.This movie kept me extremely entertained for 100 minutes.
Now we have Star Wars: The Clone Wars, I remember the first time I saw the original Star Wars, I was a little girl, I watched it with my dad, now this was back in 1989 when I was 4 years old, but there was something so magical about that movie that I still enjoy watching it from time to time, and it wasn't animated.
But in my opinion, I will always love to watch the three original Star Wars movies, the prequels, I did like the Syth, but like I said, the first three have that special touch that will never be matched up with any of these recent Star Wars movies, but of course if you are a die hard fan, I know you will see this, otherwise I'll say stick with a matinée or go for the rental, this was a flop compared to what it should have been, nice try, George, we didn't buy it this time.5/10.
There were some great action sequences, and the storyline had a few concurrent branches to it, in true Star Wars fashion.Dare I say it, the characters almost had more depth in this cartoon than they did in the movies.
My only complaint animation-wise is that the mouth movements of the characters didn't look quite natural, and at times I noticed that it didn't even appear to match the dialog.As a fan, I didn't have that "what were they thinking?" feeling throughout the movie.
Being a fan of the Star Wars franchise since childhood, I wondered what was the real need for a movie like this, set between Episodes II and III, and telling the story of a very unimportant event in the Star Wars universe.
I still liked the overall design of the movie and characters though.Overall the movie wasn't a bad a start, and I will definitely watch the coming episodes with great interest..
After the prequels I had very low hopes for this new animated star wars film but I must say it beat my expectations by being okay and much more watchable then the phantom menace and attack of the clones.
The fact that Hayden Christensen and Ewan McGregor don't voice could have been a problem but I think both the voice actors did a good job and they encapsulated what the characters are like in the prequels so I thought they led this film pretty well.
Jabba the hut's son is kidnapped by Count Dooku's (Christopher Lee) assassin Asajj Ventress (Nika Futterman) and its up to Anakin (Matt Lanter) and his new apprentice Ahsoka (Ashley Eckstein) to save the little slug.The action is stunning, warfare between the clones and the droids is at its best with huge epic battles even better than the one on Geonosis in Episode II.
One thing that this movie has over the main star wars films is that there are few slow points and it moves from scene nicely.The animation style for this movie i didn't like at first but after seeing the movie wouldn't want it any other way.
She's just a tad bit annoying and by that i mean shes fifty times worse than Jar Jar. My advice when seeing this movie is too cover your ears when ever she starts to talk (trust me she doesn't say anything important).Aside from that this was great movie and if your looking for a over the top action flick or your a true star wars, you should see this movie..
{with a character so bad in it you will start to LOVE Jar Jar Binks} {I am of course talking about Jabba The Hutt's Drag Queen uncle} This movie is NOT a true SW film and to boot there is no true star wars opening and there are key characters of the clone wars missing {like Bail Organa & Captain Antillies} there is NO story arc {except maybe one or two thrown in lines} that even connect Clone Wars to Episodes II & III and the other trilogy NONE!!!!
Ahsoka is not a bad character to be honest, and her banter with Anakin, well some of it (more on the bad stuff later) has the sense of fun from the original Star Wars movies.
Oh and the new voice of Yoda, Tom Kane, deserves to be repeatedly punched in the face, he was god-awful.But the really big problem with the Clone Wars is that it constantly feels like a television episode.
At best its a good episode of the past Clone Wars series, at worst its a shoddy Saturday morning cartoon with big bangs to catch the kids attentions.
Have to say that I agree and disagree with some of the other comments on here though..being a long time Star Wars fan I take every opportunity to catch any SW's film upon its release on the big screen, be it live action or animated.Having loved the original trilogy of the 70's and 80's, there was no way on earth that I was going to miss out on this new episode of the saga.
Star Wars has long been my favorite film series, a series so great in my opinion that I posted on this site while watching the original trilogy - with other posters who were also watching the movies.
Ashley Eckstein(Thats So Raven) as Ashoka Tano , Dee Bradley Baker(Halo) as Captain Rex/Commander Cody/ Various Clones,Catherine Taber(Knights Of The Old Republic) as Padme Amidala,,Tom Kane(Wolverine And The X-Men) as Master Yoda/Narrator , Ian Abercrombie(Green Lantern:The Animated Series) as Chancellor Palpatine/Darth Sidious ,Sir Christopher Lee(Lord Of The Rings) as Count Dooku, Corey Burton(Superman:The Animated Series) as Ziro The Hutt, Samuel L.Jackson(Iron Man ) as Mace Windu ,Nika Futterman(Batman:The Brave and The Bold) as Asajj Ventress, the Series was Fantastic Each Episode Was very different from The Rest as The film was fun also really established what The Clone Wars was going to be about also enjoyed The voice work from all the cast .well Amazing Score By Kevin Kiner(CSI:Miami),Amazing Direction By Dave Filoni(The Last Airbender) A Fantastic Film to Lead Into a Great Series 10/10.
I would have loved a "real" clone wars movie, but this didn't even feel like anything star wars nor were the characters anything like their "real series" counterparts...and come on..
First of all this is not a full blown Star Wars movie, more of a sub-story, so anyone expecting to see jaw dropping, galaxy changing moments like in Revenge of the Sith, or the Empire Strikes back, should think otherwise.
I found myself traveling to the cinema to go and watch Star Wars: The Clone Wars expecting an average film at best, and surprised, I was, to find it a very good CGI action/SCI-FI movie.First and foremost; The PG rating the film carries is likely to put off many older viewers; don't let it.
The script is both serious and funny at the same time, characters often sniping at each other in tense situations, and the clones and droids having eccentric one-liners.All in all, it's a return to form for the Star Wars Saga, after relatively disappointing outings with Episodes I-III.
If George Lucas had spent several years and many more millions of dollars to get this movie on par with a Pixar flick, how was he supposed to keep up this level of animation quality when the Clone Wars television cartoon started?!
If you or your kids like Star Wars, and want to see something fun and silly, go see this movie.
For any adult who likes Star Wars (but isn't a critical freak) This movie is awesome with its references to other SW droids, characters, lines, etc....
If you're an eight year old boy, with a ton of popcorn and sweets to distract you and a bunch of your mates who like you have all got the light sabre toy to swing around, then you're gonna love this movie.Otherwise i'm guessing that you'll struggle wading through this very poorly executed 138 minutes of digital sewage.HOW CAN A PROJECT WITH THIS BUDGET, POTENTIAL AND FREEDOM BE WORSE THAN THE 80's CARTOON: DROIDS?I really think that the TV show is going to create a massive fanbase amongst younger viewers and of course create a brand new line of merchendising for Mr. Lucas et Al. Did this project deserve to be on the big screen?.
Being a big Star Wars fan myself, however wishing Lucas would of made a movie in between III and IV (The Empires rise to power, Vaders mixed feelings towards the Empire(perhaps explored in The Force Unleased) and the fall of the Jedi Council) as we've already seen the animated TV series and I believe the clone wars to be rather boring.As the movie starts, instead of having the scrolling text to keep you up to date, it is narrated...
Master and Apprentice (along with trusty Swiss army pedal bin R2-D2) are sent on a mission to rescue the son of Jabba the Hutt where they encounter stiff resistance from Count Dooku's Droid army and an all new dual-sabered Sith Lord.The most striking thing about the Clone Wars are the visuals the scenery, ships and machinery are all superbly realised and gel perfectly with the look of Lucasfilm's previous masterpieces, whilst the textures and character designs have a hand-painted finish that gives it a distinctive charm of its own.
Well it seems we have taken a CARTOON INSTALLMENT for a television series and use it's inherently and understandably lower production standards as an excuse to exercise our intellectual snobbery and movie critique.Sure, it was a shame that people had to pay standard rates to see it in theaters, but it is a promotion for a series that is going to be free on TV for the rest of the season.That's actual Star Wars brought to us FREE on TV every week in the comfort of our homes."Oh, no, the productions values aren't up to my standards, and why is so and so not using a GREEN lightsaber?!?" Well, my geekiness may not be on par with the rest of the Star Wars community, but I think the visual and audio are great for a TV show and that we've really come a long way, and appreciate being able to follow stories from the great franchise every week from the comfort of our own home.Ahsoka Tano is awesome, the coolest character since Anakin himself (Luke was always a bit too cheesy for me), and her character adds an interesting new dimension to the Star Wars universe.Anyone who speaks ill of this movie should be executed as an enemy of the Republic!http://nickysworld.net.
So I'm glad to see them detailing some of that.No great revelations (Hey, we all know how every major character in this is going to die, pretty much.) Still, the battle scenes looked as impressive as anything in the movies, some of the action was pretty good and the characterizations are just fine.
It does its job as a story for a television series, but I did not expect it would be of the same level as the previous Star Wars movies.
I'm 20 and love the original 3 and the newer ones r pretty good too and i think i would have liked this movie a lot more if it was done live action or at least in the original animation instead of the blocky 3-D art(see the clone wars TV series to know what i mean).
The voice acting is horrible (though Sam Jackson and Christopher Lee are given fat enough paychecks to crawl back for bit parts), the visual FX looks like a condemned building in a Detroit ghetto when compared to recent Star Wars video-games- where, at the least, you can pass whatever lackluster story and play the frigging game- and whatever passes at any kind of artistry are undermined by everything going against it.How much Lucas had to do with the overall product may be ultimately hard to say- at the time this was being done he was also producing Indiana Jones 4 (which, say what you will, is at least superior to this and at best is everything this movie is not)- but his name is on it, and the mark of the beast suddenly becomes all the more clear.
I love this movie, and the series that follows this film, are also very well made, both the animation, voices, story lines.
There were not very many good things about this movie at all.The Pros: It describes a little more about the Clone Wars, (but very little), The fights were okay to say the best, and we find out that Anakin gets a new apprentice.
Character's sometimes don't act like they do, in the rest of the movies (When did Obi-Wan become so arrogant?)Overall: Worth seeing if you have to see something Star Wars that's new.
Her character is like a little kid running around through a story that is attempting to be a Star Wars movie, but it can't because she keeps re-naming things and people (Skyguy??), and (barring the occasional bout of astonishing light saber moves and tricks with using 'The Force') generally behaving as if she's still acting in a show made for girls under age 10.For example, most of her role in the movie is not as a Jedi apprentice, but a babysitter of Jabba's offspring, the "Huttlet," as he is affectionately called throughout the movie.
I mean an animated Star Wars movie, based on a animated cartoon series that I never followed...why would I watch a thing like that?
But I watched this along with the clone wars (2008) series, which are additional installments, following other characters and better stories as well, such as Yoda and other Jedi Masters.
A few of the original cast members does their voices of their respective characters in this film and he does an amazing job.Overall, while some people hate the STAR WARS: THE CLONE WARS movie, a lot of people liked the show.
Overall, while some people hate the STAR WARS: THE CLONE WARS movie, a lot of people liked the show.
This is a CG cartoon movie related to the series that spans between episodes II and III.For what I've seen, it's quite enough good to be part of the star wars universe.
I was not expecting it to be like the six previous Star War films and that is probably why.
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tt4196450
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The Birth of a Nation
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=== Part 1: Civil War of United States ===
The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron is married to his wife, Mrs. Cameron. The couple also has three sons and two daughters.
Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron idolizes a picture of Elsie Stoneman.
During the Civil War, the young men from both families enlist in their respective armies for the war. The younger Stoneman and two of the Cameron brothers are killed in the war. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a Black militia, after an attack on the Cameron home. Ben Cameron leads a heroic charge at the Siege of Petersburg, earning the nickname of "the Little Colonel". But he is also wounded and captured. He is then taken to a Union hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben.
When Lincoln is assassinated at Ford's Theater, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction era.
=== Part 2: Reconstruction ===
Stoneman and his protégé Silas Lynch, a mulatto exhibiting psychopathic tendencies, head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many Whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying inappropriate behavior, such as one member taking off his shoe and putting his feet up on his desk, and others drinking liquor and feasting on stereotypically African American fare such as fried chicken.
Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie, out of loyalty to her father, breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him.
Lynch then orders a crackdown on the Klan after discovering Gus' murder. He also secures the passing of legislature allowing mixed-race marriages. Dr. Cameron, Ben's father, is arrested for possessing Ben's Klan regalia, now considered a crime punishable by death. He is, however, rescued by Phil Stoneman and a few of his black servants. Together they flee, along with Margaret Cameron. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. As an intertitle states, "The former enemies of North and South are united again in defense of their Aryan birthright."
Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first, Stoneman is happy when Lynch tells him he wants to marry a white woman, but is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansmen spies discover Elsie's plight when she breaks a window and cries out for help, and the Klansmen go to get help. Elsie falls unconscious again, and revives while gagged and being bound. The Klan, gathered together at full strength and with Ben leading them, rides in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes, and are intimidated into not voting.
The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead — the gentle Prince in the Hall of Brotherly Love in the City of Peace."
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Nate Parker's film sheds no new light on the brutality of slavery and does his absolute best to make sure you despise the white villains in this as anyone should as they are portrayed with much relish from the actors especially Jackie Earle Haley's menacing slave owner that serves as the main villain of the film.
The Birth of a Nation tells the story of Nat Turner, a preacher turned rebellion leader as he fights racism in the south with a violent and brutal fist.
The Birth of Nation tells the story of Nat Turner as he treks through his life of brutality and slavery at the hands of brutal plantation owners in 19th century Southern America only to lead a slave rebellion to exact revenge on his oppressors.
While many people are not privy to Nat Turner's rebellion, it still does not excuse the poorly constructed storyline based around the idea of a rape and religious visions in order to fuel the Nat Turner character's motives as if Parker was not confident enough in telling the true life story and the real reasons behind why Turner rebelled.
Nat Turner's Rebellion , also known as the Southampton Insurrection , is set against the antebellum South , it follows Nat Turner (Nate Parker), a literate slave and preacher , he was highly intelligent and learned how to read and write at a young age and he grew up deeply religious and was often seen fasting , praying or immersed in reading the stories of the Bible .
Nat has filmed with all of the power and realism at its command but some scenes in exploitation style , including strong tortures , lashing , rape , grisly killings and many other things .This ¨The birth of a nation¨ is correctly based on true events , these are the followings : Turner rebellion was, according to his own writings, based on spiritual visions .
The film also ignores the darker side of the slave rebellion, in which women and children became innocent victims, along with the plantation owners.Birth of a Nation basically paints Nat Turner has an unquestionable hero, yet the real Nat Turner - if you've ever read any history - probably wouldn't be considered as a hero by the vast majority of modern people, considering some of his questionable actions during the rebellion that left women and children slaughtered.There wasn't really much of an impact on me by the end of the film, and I think the film mostly fails to give the viewer a clear or unique message.
The simple fact of the matter, amidst a film festival circuit buzzing about Oscars for this little film, is that it is not that good.This is described as being a passion project for first-time director Nate Parker (who also stars in the lead role of a slave named Nat Turner), who financed much of the film with his own money and worked tirelessly to bring the forgotten story of a rebellion to the big screen.
Watching the film, I think Mr Parker simply paid one too many homages to similar films that have come before.Nat Turner is a slave who is raised to read and write by the wife of his master.
Even the final fight and coup amounts to little more than 20 minutes of the film and features the standard villain who eventually faces his death in a moment meant to illicit cheers from the audience (in fact, this scene felt like something straight out of "The Patriot," another Mel Gibson film about revolution and war).As an actor, I can attest to the strength of Nate Parker's performance as a man who comes to term with his own destiny.
I've read a few of the comments here - and for those of you who understood context and the severity of the human condition for blacks during this time - it goes without saying that Nat Turner was well within his right to fight for his life (and therefore, the following paragraphs are not for you).For those of you who regard this film as "propaganda" or "racist crap", I am not surprised.
Nobody now alive was ever guilty of owning or whipping a slave, yet the anger has followed generations through the movement of time.I'm thinking of seeing a film, "Glory", in a black neighborhood theater and listening the audience's deafening cheers as the Union's black soldiers attacked and killed Confederates -- not an isolated incident because the same screams of joy erupted during a screening of a dismissable movie, "Grasshopper," in which a furious Jim Brown beat the hell out of a villainous white man.
But the director has us believe otherwise; that Nat was more like a hero whose actions influenced a far bloodier war 30 years later in the emancipation of slavery, and hence the title.Yet at its core, this film is a penetrating enquiry into the ongoing struggles for justice and equality, the fine line between the use and abuse of authority, and also whether the history taught today is factual, or eroded, or sanitised.
But you can now relive that excruciating experience from the religious and moral perspective of a slave, Nat Turner (Nate Parker), in Nate Parker's realistic and dramatic The Birth of a Nation.While both men are mercilessly whipped in the two films, 12 Years remains superior in its scope and complexity.
The film graphically depicts the violence and is equally indulgent showing the growing love between Nate and her.As in 12 Years, Birth takes care to show the close relationship between slave and master, Samuel (Armie Hammer).
Nate Parker does deliver a great performance of Nat Turner, and the scenes of him delivering his sermons are some of the best of the movie.
The beloved darling of last year's Sundance Film Festival is a competently crafted biographical drama that brings the story of Nat Turner to life in splendid detail and exhibits expert workmanship in all aspects of filmmaking but it still fails to bring anything new to the table and feels like something that we have seen many times before.Set in 19th century America, The Birth of a Nation tells the story of Nat Turner, an enslaved man & a preacher who's taken to different plantations by his financially strained owner to preach to other negro slaves and, after witnessing countless acts of barbarity inflicted upon them by their owners, orchestrates an uprising to lead his people to freedom.Co-written, co-produced & directed by Nate Parker who also stars in the leading role, The Birth of a Nation takes its time to set up its premise and is quite violent & disturbing when it's meant to be but there are also times when it needlessly indulges in some petty allegorical bullshit & unneeded flashbacks which hamper its steady narration by an extent.While it's evident that the film is a product of extensive research, no real effort is made to separate its look n feel from other examples that deal with the subject of slavery.
Had a while The Birth of a Nation was the movie to be hit in the Oscar, the big favorite, but that changed when the Actor and director Nate Parker suffered accusations of rape, and the film was forgotten, well I will not speak of these controversies , Just the movie, well I consider The Birth of a Nation the Braveheart (1995) with slaves, I know that the story of The Birth of a Nation really happened, plus Nate Parker makes the film very much like the work of Mel Gibson Which won 5 Oscar in many moments, the scenes that if you put one next to the other, you will see the great similarity, well The Birth of a Nation is very good, I think it could have been indicated pro Oscar of best film, The direction of Nate Parker is great, but he is very good at acting, he is the best of the film, he is great, he transmits through the look of suffering and hatred, the film a good battle scene, even though it is very short, the rest Of the cast is competent, the soundtrack is great, the costumes are great, the photograph is beautiful, the final scene is good too, the film is heavy, it has very violent scenes, but this should always be expected in a film that has slavery Nate Parker uses the title The Birth of a Nation as an allusion to the 1915 film which, while being an important film, is one of the most racist films in the cinema, The Birth of a Nation is very good, it's a Of the best film of 2016.
Like films that have come before it, "Boss Ni@@er" (1975), "Shaft" (1970); lately, "Django Unchained" (2012), and "The Magnificent 7" (2016)-- the lead actor is a strong-in thought and deed-hero, whom everyone, no matter what race he or she is, can relate to.We need more heroes on the big screen representing the Black experience, which is anyone's experience who loves movies about the underdog triumph.
The true story of An American hero Nat Turner who was a slave who became a preacher soon realizes words can do only so much and there will come a time for physical action..
Yet when his master Samuel (Hammer) loans him out to other slaveholders so he can preach the gospel to keep other slaves inspired (and happy in bondage), Nat begins to see the scope of slavery and its inherent evil.Birth of a Nation builds itself as an important film and due in large part by its radicalism, it largely succeeds.
Let me begin by saying the film, Birth of a Nation, is a fictional story based on the events of Nat Turner's attempt at leading a slave rebellion in August 21, 1831, in Southampton County, Virginia.
This cinematic masterpiece tells the story from the victim's point of view, and never has a film captured the profound history of American slave rebellions as powerfully and artistically as Nate Parker's The Birth of a Nation.
The story of freedom fighter Nat Turner and his 1831 revolt in Virginia has taken on deeper meaning and understanding due to the diligence and amazing artistic skills of actor Nate Parker (The Great Debaters).
In this film Nat Turner, until now a name usually associated with a fanatic religious preacher, has become a human being with a loving wife and family, a literate slave preacher who as a victim of violent oppression incomprehensibly gains an intense desire to risk his life to free his people from bondage.
Using the same title, Confessions of Nat Turner, he embellished the story and his summations were challenged by Turner advocates in a book entitled, William Styron's Nat Turner: Ten Black Writers Respond.There has never been a feature film on Turner and slave rebellions of this scope, although in 2003 the revered African American director Charles Burnett produced a stylized documentary called Nat Turner: A Troublesome Property, which addresses the complex interpretations of Turner's life and actions.
A Powerful and Profound History Lesson for All. The Birth of a Nation is the committed directorial debut of Nate Parker (The Great Debaters, Non-Stop) who is also the writer and the lead actor playing Nat Turner.
Unlike Quentin Tarantino who came up with the fictional character of Django in Django Unchained, Nat Turner was a real person whose life events became that of folk lore, similar to what Tarantino was doing with DjangoWriter, director, producer and star Nate Parker attempts to turn the folk lore made of rumors and speculation into a story that tries to tells us what actually happen to the best of his abilities.Some of the things in the movie I herd about, some of the things I did not, some things try to put a real perspective on what maybe an over exaggeration.
No matter how many times you see the truth on slavery, I can't help but be disturb by it, and I'm indifferent about learning something new about how slavery works (Movie talks about slaves needing to carry a piece of paper whenever they are away form their master or his property and present to any white man who ask in order to prove ownership)Unlike 12 Years A Slave the story of Nat Turner is a lot more powerful, compelling as it creates this tale of a man completely devoted to the word of God that it compels him to take down those who are not, even if it goes against the American dream at the time.Some people have already posted that the story is inaccurate.
I will admit that I only know bits and pieces of this man's story (like I said to me it's only a folk lore), and a lot of those bits and pieces don't add up to what the movie is telling, but considering my classes in American History never bothered to tell me anything about this man, I feel that this is a decent start, and like the Tuskegee Airmen hopefully more films will come along and be more accurate for everyone's standards.This was an exceptional job for fist time director, Nate Parker, who I knew as an actor and had no idea he trying to be the full package.
Unfortunately, all the controversy surrounding 2016's "The Birth of a Nation" keeps some Movie Fans from fairly evaluating the film's quality, which is the main purpose of this review.Parker plays Nat Turner, the literate and very religious slave who led an 1831 Virginia slave revolt which killed approximately 60 white men, women and children and resulted in the legal executions and retaliatory murders of about 200 blacks, both slave and free.
Eventually, everything he observes and terrible things that happen to him and his family at the hands of their white oppressors convince Nat that God is calling him to fight for freedom in the most literal sense."The Birth of a Nation" represents an impressive step forward in the career of Nate Parker.
First time director Nate Parker (personal controversy aside), faces film scrutiny as he presents yet another story of slavery uprising, this time led by southern slave preacher Nat Turner (Parker).
The film takes on a major event in American history, the sudden rebellion by slaves led by Nat Turner.
The Birth of a NationIf it weren't for slavery, America would have been just another Upper Canada.However, this historical drama contends that without slavery there would be no United States at all.In order to assist his impoverished master Samuel Turner (Armie Hammer), well-educated slave Nat Turner (Nate Parker) agrees to preach the good word at neighbouring plantations.
The 2016 film is based on the legendary but true tale of black slave Nat Turner who led America's first revolt against white owners in 1831.
His oratory inspired others to join in a brutal rampage of white killings before he and his small army were all hanged.This is a cinematically important film, despite the ambivalence some may have over the messianic depiction of Nat Turner (played by director Nate Parker).
The movie "Birth of a Nation" is truly a great film, especially for young black Americans who will not learn about Nat Turner because our education system purposely leaves this piece out.
It was a movie written, directed and starring an African-American about the Nat Turner slave rebellion in 1831.
Early word is that this film would be a shoo-in for Oscar nominations.And then, the movie came out...THE BIRTH OF A NATION is a very serious, slow and deliberate film that shows the evils of slavery from Nat Turner's point of view, pushing a good man over and over again until he reaches his boiling point and starts a rebellion against his white oppressors.
The Birth of a Nation (2016)*** 1/2 (out of 4)True story based on the life of Nat Turner (Nate Parker), a slave who learned to read and became a preacher.
This review of The Birth of a Nation is spoiler free **** (4/5) THE YEAR 1831, in Virginia real life slave Nat Turner saw the brutality of slavery as he witnessed his fellow slaves being constantly beaten up, whipped an forced to work for hours on end until their backs gave out, so he decided to form a rebellion of men, women, children as they fought for freedom killing a lot of slavers.
Every single person in the world needs to see Birth of A Nation not because of Nate Parker but because of Nat Turner, his story encapsulates the narrative of oppression that has engulfed the world since the phenomenon of White Supremacy arose 500 years ago.
If I were African American, I would approach Nate Parker's Birth of a Nation, about Nat Turner's brief but powerful 1831 slave rebellion in Virginia, with awe and reverence and with trepidation, willing it to be as important and powerful and richly constructed as Steve McQueen's 12 Years a Slave.
Some frankly wont, and this is also by design by Nate Parker Im sure: taking as the story of Nat Turner, preacher turned avenger for slaves by leading a slaughter of 60 whites, this was the start of a country, drenched in blood and pain while seemingly to be a place where "all men are created equal" (hell, Jefferson is quoted in the very beginning).
His ability to influence other slaves is used by the slave-owners to their own ends, and ultimately by Nat to fight back.Based on a true story, and produced by, directed by, written by and starring Nate Parker, this movie had the potential to be a powerful examination of the inhumanity of slavery.
Now that the controversy has died down and Nate Parker the film maker has been denounced and banished by the political elite, it's time to take a closer look at THE BIRTH OF A NATION as film entertainment.The story of slave hero Nat Turner should be feverish, explosive, and suspenseful.
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The Chinese Ring
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Charlie Chan (Roland Winters) is a private investigator living in San Francisco. One day a Chinese princess comes to visit him in his home. She has just arrived from the East by boat. The princess manages to give Chan’s butler Birmingham Brown (Mantan Moreland) an artifact - an ancient heirloom ring - before she is shot an killed by a poisoned arrow through the window. She leaves a note behind, with the name ”Captain K”. Chan calls for the police to investigate this murder. Bill Davidson (Warren Douglas) with the SFPD comes to Chan, but his friend, the reporter Peggy Cartwright (Louise Currie), also arrives uninvited to the scene.
By examining the ring, it turns out the princess’ name was Mei Ling (Barbara Jean Wong). She arrived in San Francisco weeks earlier with two men, Captain Kong (Philip Ahn) and Captain Kelso (Thayer Roberts), to try and acquire fighter planes to fight off an enemy back home. For this purpose she had brought a substantial amount of money, $1,000,000, with her on the journey. A search for the money ensues, but it soon turns out there are more people looking for the lost money. Peggy helps out in the hunt, and she meets the princess’ maid, Lillie Mae (Chabing), and a deaf-mute boy living in the princess apartment. When Chan comes to talk to the maid, he finds her murdered in the apartment, and the deaf-mute boy manages to tell him that a man came to visit the apartment shortly before the maid was found dead.
Chan continues his search for the money, visiting the banker in charge of handling the princess’ assets abroad, Armstrong (Byron Foulger). While they are talking, Kong and Kelso, eager to get their share of the money, break in and kidnap both men and hold them for ransom. They are taken to the Chinese cargo vessel, but Birmingham manages to track them to the ship. Together with Chan’s son Tommy (Victor Sen Yung), they manage to free Chan and Armstrong, and when Bill and Peggy arrive to the ship with the police, Kong and Kelso are captured and arrested. Chan discovers that Armstrong is guilty of the princess’ murder, and of stealing her money. Armstrong also killed the maid to cover his tracks.
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Okay entry for Winters in his debut as Chan, following Sidney Toler's death.
Roland Winters is a perfectly good Chan - the role was defined by the time this episode in the series was made, so he basically just had to show up and recite the lines to get the job done.
Although Victor Sen Young shows up as Tommy, he plays a very small part in the film - a good thing in my opinion.
Sargent Bill Davidson and plucky girl reporter Peggy Cartwright play the clichéd role of battling couple with unfortunate results.
Blow darts and air rifles seem to abound in the Charlie Chan series.
In this one, a Chinese princess has come to see Charlie with what appears to be important information.
Birmingham goes to get Charlie and while they are putzing around, the unfortunate lady gets shot with a dart.
As usual, Mantan Moreland and Tommy Chan get in the way for the most part.
Roland Winters has replaced the late Sidney Toler and doesn't seem to have any chemistry with the secondary characters.
I cannot say that "The Chinese Ring" is a bad mystery movie, because it isn't.
Although the story and some of the dialog is literally a remake of an older Monogram "Mr. Wong" film, the producers seem to be trying to put forth a dignified continuation of the established Chan series; I do not believe that this is a "take the money and run" fast-buck ripoff (like say Jaws 4,5, 9 etc).
It is a legit effort and William Beaudine was probably as fine and established a director as Monogram could afford to hire.Roland Winters was a good actor who had a long and distinguished career.
He was the studio's choice to continue the Chan character and probably wasn't the best choice but I guess he is adequate.
Winters seems tentative here but has the thankless task of following up his two beloved and deceased predecessors in the ongoing role of Charlie Chan.
He does become a little more forceful and lively in his subsequent Chan films.Moreland and Sen Yung are capable in support and manage to avoid the outright buffoonery that was required of them in previous Chan outings.
He does a good job and he is another example of the studio's commitment to the Chan project, since they could have used a much cheaper unknown actor if so inclined.This is an OK mystery story (after all, its a tried-and-true story from a good prior film).
Winter's first Chan is okay as Monogram Chan films go..
This was the first Chan film with Roland Winters in the title role.
A mysterious princess arrives at the Chan home, where she is shot.
In this case, most complicated reckoning," states philosophical Charlie, lifting a line from Biggers' Behind That Curtain.This one, Number 42 in the series and the first with Roland Winters in the title role, does not augur well for the remainder of the Monogram efforts in this inept re-make of Mr Wong in Chinatown.
A less inspired actor to play the part of Chan could not possibly be imagined, although I should mention that Winters was to improve considerably in his later Chan characterizations.Scott Darling has done very little to update his Wong script and changing the dwarf to a small boy is just about the last straw.
I love the Charlie Chan (Sidney Toler) series with Mantan Moreland.
But was really disappointed to find that this film (1947) was a Charlie Chan version of "Mr Wong Chinatown" (1939)..
She gives no name but hands an ornate ring to the butler and says, "Take this to him." While waiting for Chan in his study, she is shot through the window with a poison dart.
Also on the case is perky newspaper reporter Louise Curry, who climbs in Chan's study window looking for clues.
Roland Winters makes his debut as Charlie Chan and he is not bad, though he takes some getting used to.
He moves more quickly than poor Sidney Toler did in his last few pictures; this Chan is more vigorous, less grandfatherly, and ultimately less interesting, too, since unfortunately his stock of wise old sayings in this picture is practically nil.
Sen Yung helps out as number two son Tommy Chan--he's energetic as always but for some reason he is absent (and missed) during a long middle section.
Princess Mei Ling visits Charlie Chan's house with need of the great detective's help.
Captain Kong, who was captain of the ship that the princess traveled on, and Captain Kelso, who was the supplier of the planes for the princess, are both determined to see that Chan and Davidson make no further progress on the murder case, which has also added the princess' maid and a mute Chinese boy who may have seen the killer.
Obviously by the time the Monogram Chan films were at this stage they were pretty routine and boring and this film is no exception, despite being Roland Winters debut as Chan.
The film really lacks a mystery aura as seen in any other Chan film with a storyline that does little in the way of entertain.
Victor Sen-Yung last the least to do of any son in any Chan film and Moreland lacks much of the humor he usually does, but does seem more involved with solving the case.
The original Fox Charlie Chan movies with Warner Oland were the best but the Sidney Toler Fox movies were pretty good, too.
When the series (and Toler) moved to Monogram in 1944, it resulted in a sharp drop in quality.
After Toler died, Roland Winters took over for the remainder of the series.
This is the first of the Roland Winters Chans and, yes, it is terrible.
All of the Winters films are garbage and the worst of the entire Charlie Chan series from Fox to Monogram.
It's truly sad that several early Warner Oland Chan films have been lost to time but these have survived.The plot here is a remake of Mr. Wong in Chinatown with few changes.
Roland Winters is a dull, lifeless Charlie Chan.
Mantan Moreland is still in the series as comic relief Birmingham Brown.
Victor Sen Yung returns but, for some bizarre reason, he's now Tommy Chan instead of Jimmy!
Tommy, for those who know the series, was the terribly dull son played by Benson Fong in most of the Toler Monogram films.The writing had been crap for the entirety of the Monogram years but here it's at an all-time low.
During all the time I was watching The Chinese Ring I kept thinking I saw it before and then I learn that this was indeed the plot of an old Mr. Wong film also put out by Monogram.
As the Wong series was before World War II started in Europe only the politics were changed and they got a little vague in this one.Barbara Jean Wong, a Chinese princess who is in America to purchase war airplanes for what I presume is the Kuomintang air force against the Communists is shot and killed by a dart fired from an air rifle almost immediately after entering Charlie Chan's home.
With a murder right in his own home Roland Winters in his first film as Charlie Chan is kind of forced to help the authorities who in this case are represented by homicide detective Warren Douglas.
But one of them is scurvier than the rest that one murders the princes, her maid and a small mute Chinese boy who's only crime was that he was a witness.The story did not translate that good to a post World War II political situation.
Still the players do their best with it and Roland Winters slips nicely into the tradition of Warner Oland and Sidney Toler as our fortune cookie aphorism speaking Charlie Chan..
Winters' debut as Chan is okay, but film is a near line-by-line remake of MR.
Foulger has meaty part as nervous banker, Ahn looks inscrutable, Moreland rolls his eyes, and Louise Currie is gorgeous, but pedestrian direction and cheapo production sink this for all but Chan fans..
Roland Winters steps into the role of Charlie Chan for the last of the great detective's final six outings.
Where are all those little kids we used to see?) then the familiar Birmingham Brown who then goes to the new Charlie and tells him he has a mysterious visitor.
This film is a lot more atmospheric than Toler's last outing in "The Trap" and the script makes a bit more sense but there's a sense that the party is over and they're just playing out the string here.
Roland Winters doesn't contribute much as Chan and fails to make any impression other than that of a road show Charlie Chan.
"A murder in the house of Charlie Chan, now I've seen everything.".
"The Chinese Ring" is a passable entry in the Monogram series of Charlie Chan films, notable for Roland Winters' first time portrayal of the Oriental Detective.
In a strange departure from the usual strong continuity between films, Victor Sen Yung is presented as Number #2 Son named Tommy; he was Jimmy in all of his prior Chan films with Sidney Toler.
The intrigue involves the murder of Chinese Princess Mei Ling (Barbara Jean Wong) and her servant; the ring she uses to introduce herself to Charlie Chan is inscribed in Chinese - "Long life and happiness".
The clue leads Chan and Sergeant Bill Davidson (Warren Douglas) of the San Francisco PD in two directions.
This is a reasonably paced entry in the Chan series, particularly for Winters' first turn as the Oriental Detective.
Louise Currie provides great support as reporter Peggy Cartwright, although she's embarrassingly pushed around by romantic interest Sergeant Davidson.
The mystery is a lot easier to follow than prior Chan films, many of which had up to dozen characters to keep track of; here it's all wrapped up pretty neatly by film's end.***Added on 11/12/08 - Monogram Pictures originally made this film in 1939 as "Mr. Wong in Chinatown", with Boris Karloff in the role of the title detective.
So this is the first Charlie Chan movie after Sidney Toler's death (if you've watched all the Charlie Chan films in chronological order, you can REALLY feel the grief the series' fans felt back then when that great actor whom they'd seen in so many wonderful adventures as the Chinese detective had passed away)- but the show must go on; and we mustn't be in ANY way prejudiced against Roland Winters, who took over the role.
He wasn't copying Sidney Toler; he was just the humble, polite, sometimes tough, sometimes humorous Chinese master detective he was supposed to be.Perhaps in order to give a 'new' appearance to the 'old' cast that had worked with Toler for years, Sen Yung, Charlie's former 'number two son' Jimmy, now becomes 'number three son' Tommy, and 'Birmingham' Mantan Moreland is now acting not only as chauffeur, but also as butler.
And the movie begins right in Charlie's own home: a mysterious Chinese lady comes to visit him; she doesn't give any name, she just hands a ring over to Birmingham to give to Charlie.
And when Charlie sees it, he understands immediately from the inscription that the lady must be something like a princess - only, in the meantime, she's shot next door from outside the window by a poisoned dart from a noiseless air rifle; the last thing she manages to do is to write on a piece of paper: 'Captain K'...And very soon we get to know TWO 'Captain Ks': one is Captain Kong, governor of the cargo ship 'Shanghai Maid', which allegedly ships valuable goods to China (but as we find out, they're airplanes intended for princess Mei Ling's brother, a Field Marshall), and the other one's Captain Kelso, manager of the aviation company that builds the planes for Mei Ling.
We also learn from Armstrong, the director of the bank through which Mei Ling had made her transactions, that on her arrival, she'd put a million dollars on her account, and the money had slowly been withdrawn by Kelso...Then Mei Ling's maid is killed, too, in the same way as her mistress, and a little Chinese boy whom the princess had befriended disappears - and all the time, Charlie is being assisted not only by Sgt. Davidson, but also by cheeky reporter Peggy Cartwright (Louise Curry), Davidson's girlfriend (during the few moments they're not quarreling...) - a fabulous specimen of that so popular character of the nosy, snippy 40s girl reporter!
But then, the two 'Captain Ks' force their way into Armstrong's house, presenting him with the fact that the princess' signature on the checks was forged, and asking them what became of the money; and they drag Armstrong and Charlie on board the 'Shanghai Maid' - but both Davidson and Peggy and Birmingham and Tommy are on their trail, and so we can prepare for a big clash as the final highlight!
As we said before, Roland Winters REALLY does his best to do justice to the heavy burden of his first portrayal of Charlie Chan; and the movie itself is in NO way of a lesser quality than the previous ones - in fact, in style it moves away somewhat from the hilarious comedy and returns to the 'Noir' style of the first Monogram Charlie Chans: hard-boiled characters, bleak, dark settings, and a PRETTY tough, not to say at some points cruel plot.
But there's always room for some comedy, at which the first and best is this time the reporter girl - but also Roland Winters, the new Charlie Chan, displays some wise humor with a mild smile; so he DOES find a place in the fans' hearts right from the beginning....
Not bad considering it's Roland Winters.....
To most fans, Warner Oland is THE Charlie Chan.
However, when he died, the series picked up pretty well with Sidney Toler.
Roland Winters, to put it bluntly, just wasn't very good as Chan.
His characterization wasn't as good as either of his predecessors and the films were getting a bit tired.
Fortunately, while this film IS one of these lesser ones, it is the best of the three I've so far seen--and may see, as I don't think any more are available at this time on DVD, video or on television.The film begins with Birmingham (Mantan Moreland) working at the Chan residence.
When Chan sees the ring, he's able to read its Chinese writing and sees the woman is a princess.
But, when Birmingham and Chan return to the room to see the princess, she is dead--killed by some sort of poison dart!
Leave it to a Charlie Chan movie to come up with completely atypical ways of killing people!
Just once, I want someone to be shot--something that actually doesn't happen all that often in one of these films.The rest of the film involves Chan and a really, really, really stupid local detective trying to solve the murders.
However, in spite of these less than stellar characters, the film had a reasonably involved plot and the end kept you guessing.
This remake is very good, much better than the 1st movie; it has Winters, Moreland, Louise Currie, Ahn, W.
It also has the good look of many others made in the 2nd half of the '40s.Louise Currie and W.
Douglas are better than their precursors in these roles, but by the late '40s the roughness of her treating by the disrespectful sergeant had already become indigestible; she punches him, yet it doesn't become her, as the coarseness doesn't become the mild sergeant.Ahn and Roberts are the two Ks.Barbara Jean Wong has a bit part as the princess.The dumb dwarf from the 1st movie is replaced by a dumb boy, which enhances the drama.Winters is great in the scene of the denouement.
This was his 1st time as Chan, he doesn't overplay his part, and has a dependable idea of the character, the player isn't as much cautious, as assured and confident.This whodunit is one of the director's best..
A Princess dies in Charlie Chan's den..
Princess Mei Ling(Jean Wong)goes to the San Francisco apartment of Charlie Chan(Roland Winters).
After she is led to the den by manservant Birmingham(Mantan Moreland), she is murdered via poison dart gun.
She manages to leave a written clue on a note pad that leads to Captain Kong(Philip Ahn), whom she has made a million American dollar deal to ship airplanes to Chinese freedom fighters.
Chan is aided by police Sergeant Davidson(Warren Douglas)in spite of the pest of a newspaper reporter Peggy Carpenter(Louise Currie), who wants the exclusive story of the murder of the princess.
Not real fond of Winters playing the lead role.
He is the palest Chinese/Hawaiian detective Chan ever.
And not understandable to Chan fans is that Victor Sen Young in this flick has changed his name from Jimmy to Tommy(who used to be #3 Son played by Benson Fong).
But a Charlie Chan mystery seems always to be worthwhile..
THE CHINESE RING is another acceptable Charlie Chan outing from Monogram.
It's a cheap and cheerful kind of misadventure, getting off to an arresting opening when a Chinese heiress arrives at Chan's place, looking for help but dead before it arrives.
Roland Winters makes an unenthusiastic debut as the inscrutable Chinese detective in this acceptable but uninspired Charlie Chan outing.
It begins fairly well, with the murder happening almost immediately and inside Chan's apartment no less, and has a good if typically out-of-the-blue twist at the end, but the rest is business as usual.
Number Two Son's role is significantly reduced in this, in favor of a Torchy Blane-like female reporter and her detective boyfriend (who, in true 1947 fashion, even cuffs her to a chair at one point to keep her out of his way).
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tt0493430
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Jackass Number Two
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Jackass Number Two is a compilation of various stunts, pranks and skits, and essentially has no plot. The film opens with an introduction of the nine cast members while they're being chased by bulls in a neighborhood. One by one, the cast members are taken down by the stampede, until only Johnny Knoxville and Bam Margera are left, and are chased through a house. Bam jumps through a window, and Johnny stops in his tracks to deliver his signature line, "Hi, I'm Johnny Knoxville, welcome to Jackass!", and is pushed through a window by several bulls, and the title comes to screen, "Jackass Number Two".Leading up to the production number at the end, the following sequences and scenes are performed.1. Puppet Show: Knoxville puts on a puppet show using a snake and Chris Pontius' penis.2. The Valentine: A construction paper heart with a note on it is hung in a hotel room hallway, with smaller and smaller letters as the note continues.3. Firehose Rodeo: Dave England rides an out of control fire hose.4. Chubby Chaser India: Preston Lacy chases Wee Man through the streets of an Indian town and deals with a bunch of little problems.5. Bicentennial BMXing: Knoxville and Ryan Dunn attempt to perform stunts on 18th century style high-wheeled bicycles.6. The Strongman: Bam sits on top of a strength tester machine while Pontius sends a golden dildo rocketing towards his rear. (The original scene was supposed to feature Bam sitting on top of the machine while the weight would come up and hit him in his testicles, but Bam convinced them to use the dildo instead; the dildo scene was redone with Bam getting hit in his crotch, but failed to make the final cut.)7. Gloria: Spike Jonze plays a 90-year old prostitute named Gloria who loses her top out on the street.8. The Mini-Loop: Danger Ehren McGhehey and Thor Drake try to ride a miniature motorbike through a wooden loop.9. The Brand: Dunn brands Bam with a penis-shaped branding iron.10. Lake Jump: The guys, along with paralyzed rugby star Mark Zupan and pro BMX rider Mat Hoffman, use rocket-propelled vehicles to try and jump a lake.11. The Fish Hook: Pontius fishes for sharks in the Gulf of Mexico using Steve-O as his bait.12. Bam Velcro Truck: Bam tries to stick himself to a truck while wearing a velcro suit.13. The Electric Stool: Professional card thrower Jim Karol and Steve-O trick Wee Man into thinking he's getting cards thrown into his rectum while he sits bare-assed on an electrically-rigged chair.14. Yak Charge: Knoxville is gored by a yak.15. The Bungee Jump: Wee Man bungee jumps off a bridge in Miami using Preston as his support weight.16. Bad Grandpa: Knoxville dresses up as an old man named Irving Zisman, who gives a kid cigarettes and booze.17. Indoor Ski Slope: April and Phil Margera's hallway stairs are turned into a ski slope by the guys.18. Beehive Limo: Knoxville and Bam trick Wee Man, Dave, Steve-O, Dunn, and cameraman Rick Kosick by hiring a limo to come to a fake photo shoot. Once the limo arrives Bam pours a garbage bag full of bees through the sun roof on the guys, who are locked in the limo because the child safety locks were activated. Dave pees himself.19. Rake Jump: Steve-O jumps on a rake for no apparent reason.20. Dave Eats Shit: The Three 6 Mafia pays Dave $200 to eat horse feces. (An additional scene sees Bam offered $1,000 to eat a larger piece of fecal matter.)21. Naked Wee Man: Wee Man walks through a production meeting in the buff.22. Riot Control Test: Knoxville returns to ALS Technologies and convinces Bam and Dunn to join him as test subjects for a Stingmore mine.23. Gloria and the Artist: Gloria tries to buy a painting from a streetcorner art salesman, but can't keep her saggy breasts from popping out.24. Medicine Ball Dodgeball: The guys play a game of dodgeball in the dark using medicine balls.25. Mushroom Launch: Dunn is about to ride his shopping cart out of a loading dock and into a dumpster, but Bam has other ideas.26. The Magic Trick: John Waters makes Wee Man disappear.27. The Gauntlet: Mat Hoffman, Tony Hawk, and the guys try to negotiate a skate park ramp while dodging swinging sandbags.28. Tiny Toilet: Dave takes a dump in a dollhouse-sized bathroom.29. Toro Totter: Knoxville, Bam, Pontius, and Dunn ride a teeter-totter while a bull charges.30. Keep God out of California: Pontius dresses as the devil and shoots out from below the ground to protest God.31. Butt Chug: Steve-O shotguns a beer in his anus.32. Bam Roof Slam: Bam hurts himself skateboarding off a roof.33. Rocket Cart: Dunn tries to jump the lake in his cart, which is now rocket propelled.34. Anaconda Ball Pit: Knoxville, Dunn, and Wee Man try to fish an anaconda out of a children's ball pit.35. Bam Drop In: Bam drops in and hits the camera.36. The Ice Horse: Knoxville and CKY's Brandon DiCammillo dare Dunn to sit on a horse-shaped ice sculpture with his scrotum hanging out.37. The Swamp Chute: Wee Man is thrown across a swamp by high powered fans while attempting to achieve flight.38. How to Milk a Horse: A segment originally show for the TV show "Wildboyz", with Knoxville, Steve-O, and Pontius obtaining a sperm sample from a studded horse.39. Karate Chop: Dunn holds wooden boards while Pontius and Bam "try" to break them.40. The Big Tire Race: Danger Ehren and Dave race each other down a hill while riding inside monster truck tires.41. The Leech Healer: The boys find a leech healer in India and Dave and Steve-O need healing. (Note: Dave's scene is only available in the unrated DVD version as the scene involves the leech biting one of his testicles.)42. Gloria Goes Shopping: Gloria again has trouble keeping her breasts in her top, this time while shopping for fruit.43. The Wind Tunnel: Bam hangs from the edge of a horse trailer while high-powered fans blow directly in front of him. After he falls, Pontius locks him in the back of the trailer with a devenomized king cobra.44. Roller Leapfrog: Costumed mascots try to play leapfrog in a roller rink.45. The Fart Mask: Preston farts and defecates into a beer helmet worn by Steve-O.46. Big Green Ball: Dave jumps off a roof while riding a bouncing ball.47. The Poof: Irving farts baby powder into Jeff Tremaine's face.48. Old Man Balls: Irving walks the streets of Los Angeles while his testicles hang out of his shorts.49. The Switcheroo: Phil and Preston trade places in the middle of the night to try and fool April.50. Ding Dong: Dave visits Knoxville's house, gets hit by a giant airbag when he rings the doorbell, and is knocked senseless. (An extended version of this exists as a deleted scene on the DVD, with several other crew members meeting the airbag.)51. Big Red Rocket: Knoxville rides a red rocket over the lake.52. Terror Taxi: The guys play a prank on Danger Ehren, who they dress up as a suicide bomber. A gun-toting Jay Chandrasekhar helps and many of the guys make special contributions to the costume.53. The Bear Trap: Knoxville puts his arm in a bear trap.The movie finishes with a Busby Berkeley-style movie musical production number set to the La Cage aux Folles song "The Best Of Times", where the cast sing and dance while getting battered by violent stunts. One stunt involves Wee Man and Preston Lacy sliding onto a bunch of metal trash cans. Others involve Chris Pontius dancing in a flaming building and jumping safely onto a mat, at which point he is knocked off his feet by a fire hose, and Bam and Dunn dancing in cowboy outfits in front of a horse before Knoxville causes the horse to flee by slapping its rear, pulling Bam and Dunn away by a rope attached to their feet. As in the first film, Rip Taylor is seen at the end of the sequence.On the unrated DVD, several additional segments (both unrated and deleted) were shot and included. These include:-Bam Disclaimer: Bam warns viewers of what they're about to see, especially scenes where the guys "get gay".-The Ball Bookmark: Wee Man convinces one of the crew members to stick one of his testicles into an open book and then slams the book closed.-Wee Man and Bam Elevator Ride: Wee Man and Bam ride an elevator naked.-Penis Tricks: While in India the guys meet a man who does crazy things with his penis.-Preston Middle Butt: Preston shows the camera his rear end while swimming, and it looks like he has an additional pair of buttocks.-Trash Can Pyramid: Steve-O is launched from a child's swing into a pyramid made of plastic garbage cans.-The Ding Dong: The full "Ding Dong" sequence.-Alaskan Wolf Trap: Jim Karol shows off some of his animal traps to the guys and Bam sticks his arm in an Alaskan wolf trap.-Cow Udder: Preston dresses up like a cow and feeds two baby animals with his udder.-Dildo Tricks 1 & 2: Knoxville sticks a dildo to a wall and a table.-The Shock Phone: Knoxville obtains a World War II military field phone, which Pontius uses to give the guys (along with musician Loomis Fall and actor Luke Wilson) electric shocks.- Wee Horse: Wee Man shows us his "wee horse".-Stun Gun Hot Potato: The guys and Willie Garson play a game of hot potato with a taser.-Trash Can Cymbals: Knoxville annoys everyone with two trash can lids he uses like cymbals.-Poo Piling: Steve-O gets feces dumped on him.-Me Tattoo: Steve-O gets a tattoo of a pentagram with a penis on the bottom.-Homemade Hang Glider: Steve-O makes a hang glider and tries to use it to fly.-Lobster Claw: A lobster pinches Steve-O's tongue in its claws.-Poo Mountain: Steve-O and CKY Crew member Brandon Novak ski down a mountain of poo.-Wiener Kite: Wee Man flies a kite with the string tied to his penis.-Ugly American: Knoxville annoys Indian citizens.-The Snowcase: the full version of "Indoor Ski Slope", which ends with April Margera and Knoxville riding a plastic toboggan down the stairs.-Bellhop Cart/Flying 69: John Waters puts Steve-O and Pontius to work as bellhops, and their first assignment is to ride a luggage cart down a flight of stairs. Pontius and Steve-O then perform an act simulating oral sex.
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humor, entertaining, prank
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train
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imdb
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tt0108330
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This Boy's Life
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In the fall of 1957, Toby Wolff (Leonardo DiCaprio) and his mother Caroline (Ellen Barkin) are driving from Florida to Utah in search of better luck after Caroline was beat up by her latest boyfriend. Caroline has bought a geiger counter and intends to get rich on uranium in Salt Lake City even though no uranium has been found there. Toby tells us that his father left his mother a long time ago and took Toby's older brother with him. In Salt Lake, Caroline gets a job and Toby starts a new school. Soon Caroline's ex, Roy (Chris Cooper), turns up after tracking Caroline down. He gives Toby a rifle as a present and tries to reestablish his relationship with Caroline, but when he becomes too controlling for her, Caroline decides to pack up and leave town on a Greyhound.Six months later in Seattle, Toby is skipping school, calls himself Jack and has Elvis hair. He and his two friends watch Superman on TV and talk about sex. Toby is living in a boarding house with Caroline, who is dating an attractive and well-mannered man, Dwight Hansen (Robert De Niro). He invites Caroline and Toby to stay the weekend at his home in the small town Concrete. They go to a turkey shoot; Dwight had promised Toby a chance to shoot, but it turns out the rules forbid it. Instead, Caroline enters the shoot as the only woman and ends up winning much to Dwight's dismay. Dwight has three children of his own, and he praises Concrete to Caroline hoping to persuade her to stay.Back in Seattle, Toby is caught carving obscene words into a bathroom wall and is suspended. Desperate and short on cash, Caroline agrees to Dwight's suggestion that Toby should live with him for a while. Dwight picks him up, and on the drive Dwight shows his nasty side for the first time, threatening Toby with what he will do to him if he doesn't behave. He has Toby's hair cut, enrolls him in the boy scouts and gets him a paper route. Soon Caroline and Dwight are married. It soon turns out there are many things they don't see eye to eye on, starting with their wedding night. Dwight has a loose temper and has no time for objections. Toby protests when Dwight keeps the money from Toby's paper route and won't buy him gym shoes, but Caroline doesn't want to get in the middle of their differences. Dwight tells stories of how he used to beat people up and teaches Toby to do the same. Toby has new friends in Concrete, but also meets Arthur (Jonah Blechman), an outsider who does not like to be called a homo. At first they fight, but later they become friends. One night Toby takes Dwight's car out for a drive, and when Dwight finds out he beats Toby. Toby asks his mother if they could leave town again, but Caroline says she can't run anymore and that the best thing is to stay.Two years later. Kennedy is running for president, and Caroline wants to work for his campaign, to the displeasure of Dwight, who is as abusive as ever. Toby has his sights set on leaving town. He wants to apply for prep schools, but he has bad grades and has to get Arthur to help him fake his transcript. When schools start to decline his applications, he realizes that he may have to stay in Concrete like his friends and gets a job in a grocery store. But one school accepts his application and sends an interviewer, who Toby successfully convinces of his suitability for higher education. When Dwight learns that Toby has received a scholarship he attacks Toby with a mustard jar, and they end up in a fight only ended by Caroline and a baseball bat. Caroline finally realizes that she doesn't have to put up with Dwight, and she and Toby leave town as Dwight complains about his misfortune.At a bus stop, Toby says goodbye to his mother as she leaves on a Greyhound, and he waits for his own bus to depart a few hours later. Titles tell us about the later fates of the characters, including Dwight living in Concrete until the end of his life, Caroline remarrying happily and Toby being expelled from the prep school, serving in Vietnam and becoming an author.
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violence
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train
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imdb
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I heard of this movie before, but I had no knowledge of what it was about, and basically rented it because it looked good and Robert DeNiro is the star--my Number One favorite actor.
And that he is, but you must see his performance in this movie before regarding him as "just another pretty face." He was still in his early teens (I'm guessing) when he made this film, so this was a long time before he hit it big with "Titanic." Ellen Barkin is also good, but I wish her character could've been developed a little more.
I kept wondering, during the course of the film, why she felt like withstanding Dwight's abuse for such a long period of time.
Robert DeNiro is one of the finest living actors of Hollywood, most of his movies are pure gold, not to mention this fine film "The Boy's Life".
This Boy's Life was the break out role for Leonardo DiCaprio who proved what a great talent he was in this coming of age film.
DeNiro with his great ear for voices and accents perfectly captures the role of stepfather Dwight Hansen, a man with a terrible inferiority complex who takes it out on his stepson.The film is based on the memoirs of writer Tobias Wolff as he and his mother endured five years of hell with this very provincial man who is trapped in the small town mentality of Concrete, Washington during the 1950s.
Anyway, he certainly gave a powerful performance and served notice he was going to be a "big name" actor.Basically, it's about teenage kid and his mom trying to survive the mean father-husband of the family in a small town during the 1950s.
Leo plays "Tobias Wolffe;" De Niro, "Dwight Hansen" and Barkin, "Caroline Hansen." She had remarried Hansen after having "Toby" earlier, hence the surname "Wolffe."What made this story tough for me was that, to be honest, neither father nor son were nice guys, although De Niro's character was far worse.
The real-life Dwight has since died (everyone who knew him says he was just like book and movie portrayed him) and his real kids dispute the fact that he was an abusive father.
Robert DeNiro did a superb job of protraying Dwight, as did Leonardo DiCaprio protraying Jack.I recommend viewing this film by anyone who is raising a teenage son, so as to give some insight to the pitfalls that adolescence will challenge a father.
But the acting
1993 must be Leonardo DiCaprio's best year as an actor yet, his portrayal of Toby in this film is very good, and he was absolutely sensational in "What's Eating Gilbert Grape?".
Robert De Niro is also very good in the film, he manages to bring forward the brutal side of his character while he also lets the audience know that Dwight is a very childish man.
But nevertheless it's kind of a shame that Leonardo DiCaprio has never been the same since "Titanic." In three of his earlier films--"What's Eating Gilbert Grape?" "The Basketball Diaries," and this one--he had a promise not quite seen since James Dean, whom bad luck prevented from going beyond his own early promise.DiCaprio is excellent here as a frustrated teen-age stepson to DeNiro's petty and jealous stepfather.
This MIchael-Caton Jones powerful true story Drama gives us a young faced Leonardo DiCaprio starring as 16 year old Tobias Woolf, a troubled young man who is shown by DeNiro that life can be a hard mistress.
With Ellen Barkin caught up in the middle of it all, the film tells us the story of Di Caprio's character Toby Woolf and his trouble with his mums boyfriend (De Niro) with this film being made in 1993, this is when De Niro was at the top of his game as an Actor, and you would think makes it harder for Di Caprio to compete with on screen, but it doesn't.
Leonardo competes perfectly within his character, and is just as memorable as De Niro throughout the film, and is somewhat even better on screen, seeing the actor that he has become today.
The typically reliable Robert De Niro delivers one of his worst performances ever as a crazy kook from Seattle named Dwight, who falls for Toby's (DiCaprio) mother, Caroline, played by Ellen Barkin.I applaud De Niro's recent ventures into comedy and disagree with the critics who claim he has "sold out." But his performance in "This Boy's Life" is simply unacceptable.
"Radio Flyer" was not a great movie by any means, but by portraying child abuse through the eyes of a child and portraying the guilty as a truly cruel human being, it succeeded and made us feel for the boys."This Boy's Life" doesn't work because it's a bit too sarcastic, knowing and self-assured.
And by then, the accent has become so corny, and the dialogue and happy-face gestures so hysterical, that the film totally negates whatever its point was and becomes a half-hearted bittersweet comedy with a great performance by Leonardo DiCaprio and unimpressive elements elsewhere.Overall, "This Boy's Life" is a mixed bag of a film that doesn't know whether to find sympathy for Tobias Wolff or humor in his situations.
We're Not Supposed to Sympathize with Deniro, But I Did. I don't know what Tobias Wolff was really like as an adolescent, but if he was anything like the obnoxious twerp portrayed by Leonardo Dicaprio, then it's no wonder his stepfather hated him and abused him!
If Tobias Wolff was really like that, I think Dwight deserves a medal for not killing the brat outright!Moreover, if you read the epilogue at the end of the film, you'll learn that Tobias Wolff was expelled from the prep school he got himself into, for bad behavior.
What you don't realize is that there are people who have faced times harder, and done equally challenging things.This story is one such narrative of a boy from a small town with a mother trying to get settled somewhere.
A Depressing, but very Entertaining True Story of a Young Boy. I never knew about this film, but now seeing it twice this month, I truly love the story, the characters and I feel that I can feel Tobias's pain.
I'm glad I know this film now.The story is about a troubled boy named Tobias along with his mother growing up in the old country world.
The music fits perfectly with the sad tone and there are many great scenes, I even love how in the end Tobias tries to stand up to his abusive, step father to convince him to leave him alone.This a must watch many times.
(You should Wikipedia some information after the film since this was released in 1993 and many things can change since then 'till now) The acting from Leonardo DiCaprio, Robert De Niro, and Ellen Barkin is sublime, and this film is worth watching.It centers around the life of a child as he lives life with his mother (his father left with the child's older brother who eventually released a book called "Duke of Deception: Memories of My Father").
When watching Robert De Niro and Leonardo Di Caprio in the same film you are guaranteed for an excellent film, and this is it.With the aggressive father of De Niro and the equally aggressive but also vulnerable teenager of Di Caprio audiences are shown an emotionally packed story about family loyalties, friendships and marriages.It is unbelievably emotional and each actor involved in this 1993 drama performs with their hearts on their sleeves.Each character has a different side to them throughout and the actors are terrific as they create passion to create realism for the fantastically portrayed real life situations The story is consistent, taking place in school, and different houses in America.The narration by Di Caprio is a good technique and allows audiences to gain an insight into his thoughts.With its very deep issues it is an insight into what some people in society are like and emphasises the cruelty in this world and this film sends out a message that something should be done about abusive people This is one of the best dramas I have ever seen and probably the best which adjusts itself to real life perfectly.If you like films about deep personal issues, sensitive and hard people, scenes which will make you feel for the characters then this is definitely for you 8.5/10.
Before "Titanic" and "The Aviator", Leonardo DiCaprio played the lead role - so to speak - in "This Boy's Life", based on Tobias Wolff's autobiographical novel.
It portrays Caroline Wolff (Ellen Barkin) and her son moving to Seattle where she marries mechanic Dwight Hansen (Robert DeNiro).
DeNiro's role is especially impressive: the first time that his character spoke, I thought that he was supposed to be Irish or something, before I realized that it was a Scandinavian-American accent...yes, Travis Bickle speaking like one of the "Fargo" characters.All in all, a really good movie.
Writer Tobias Wolf's autobiographical tale provided a young Leonardo DiCaprio with an early acting triumph, here cast as the son of Ellen Barkin, a sexy single mom in the 1950s who becomes romantically involved with unpredictable live-wire Robert De Niro.
With an adaptation by talented screenwriter Robert Getchell, the film is gripping and real despite a lack of insight into the characters, De Niro's in particular (he's simply a creep with no rationale, and why Barkin gives up her freedom to marry him is never made clear).
This is one of the best movie of leonardo dicaprio's.such a outstanding and stunning performance by leonardo dicaprio's.superb and fantastic story and i totally loved it.great characters and the most amazed thing i was not expecting tobey maguire and i saw he i really admired him to see him with leo and though they are best friends till now.
The movie is based on a true story about the life of Toby Wolff.
The boy quite enjoys the whole adventure with his bold and lively mother.Life as they knew it takes a twist when Robert De Niro's character Dwight enters their lives.
His antics, his irritation, all the small nuances have been played to the T.There are some truly funny and sweet moments that make your heart go out to Leo and are sure to make u giggle like Toby acting out as Dwight, all the teens dressing up as Elvis etc.The movie definitely leaves you feeling good but with a tinge of sadness at what the boy had to endure..
The movie, from what I gathered, is about Tobias Wolff's life in a town called Concrete, living with his abusive stepfather and his mother.
Toby, or Jack as he likes to be called, is played well by a young Leonardo DiCaprio, who proves that he actually does have true acting talent before his Titanic days.
Jack has been pushed by his mother (Ellen Barkin) to move to a town called Concrete, to live in a more stable life with her new fella Dwight (Robert DeNiro).
DiCaprio plays his role as Tobias Wolff very well indeed, it is excellent how he switches from being the 'know-it-all' bad boy to a young teen desperate to make something of his life.
Enjoyed this film and the great acting by DeNiro, DiCaprio and Ellen Barkin.
Based on the a book by Tobias Wolff, and account of his real life, this movie grips your heart, tugs at all your emotions and makes you smile and sigh with relief at the end.9 out of 10.
Robert De Niro and Leonardo DiCaprio worked wonderfully in the movie.The other actors were also good.It has well wrote and directed.Although, it does has some disturbing scenes and words in it but they don't last all that long.The scenes are sexual to let you know.But overall it is a really good movie and I think you should see it..
I havent read the book but the film is highly enjoyable!Leonardo di Caprio plays Tobias Woolf a teenager who lives with his mother and has hopes of going to college one day!.They move to another state where his mother meets Dwight(Robert De Niro)and marries him who Tobias takes a quick disliking to as he is constantly picked on.
Robert de niro is fab as nasty bully Dwight and Tobias'feminine friend Albert(Jonah Blechman)plays a good part too this is top entertainment from a great cast!.
I haven't read the autobiographical book upon which this ostensibly "true story" was based, but judging from the movie version of "This Boy's Life" (**1/2), Tobias Wolff's memoir could have been subtitled "Getting Even with Stepdaddy Dearest." At least the film is honest enough to admit that young Toby is well on his way to reform school when "Dwight" marries his clueless, footloose mother and takes them into his home, even though he already has three other children, two of them teenagers.
Good looking, it shows the mixture of fear and optimism that an abused boy would feel.That Toby made it out of his family is a given, otherwise we wouldn't have the story.
I liked the movie that I just happen to see on a cable channel but it was painful to watch.The characters were all too real for me as I've known of people like them.I don't sympathies with either Tobias, his mother or Dwight.
but since 1997 i know you and i watched all your movies and what can i say,, i act like you cause you where my big idol and this boys life is one of your movies i watched more than 10 times.you put on great performance on this movie and your acting abilities is showing more than people could see.
This movie was an excellent early Leonardo DiCaprio film and Robert DeNiro did also great as the abusive step-father.
This Boys Life is a great movie with a very well developed storyline and a terrific cast.This is one of Leonardo DiCaprio's first movies and his very first major role in a film,he proves from the first scene that he can act,and has only proved more and more since this movie that he is easily one of the most talented actors out there,but he can't beat the very professional acting of Robert De Niro,who plays this abusive character with so much meaning,and it really seemed like he had a field day with his performance.The characters are very real,I know many people whose personalities suit the three main characters perfectly,it is an extremely realistic film which adds immensely to the drama.This Boys Life is at times depressing and at all times dramatic,I would recommend it to anyone looking for a good drama.
and one who enjoys one to many cans of the strong stuff, De Niro is excellent in this movie, but the real star of this movie is decaprio who shines through out, I've never been a fan of his work but the guy has earned my respect and he is truly a fantastic gifted actor and should of won an Oscar for his role in this movie i am not one to give away the full story when it comes to reviewing films as so many other reviewers do SHAME ON YOU GUYS!!!
But I did think Dicaprio was convincing as the young abused teenager living in hell under an abusing step father and I am sure plenty of women, men, boys and girls can relate to the trauma that happens here, I myself cannot as I have been very lucky to have a loving and understanding father but it takes a film like this to remind that it does happen to real people and sometimes there is nothing you can do about it.
But I also find this movie entertaining which I am sure the director didn't mean to happen because in each scene of the film there is something going on whether it be Tobias trying to get into a boys school, Dwight Bullying whoever he can, Arthur trying to sweet talk Tobias into their friendship, there are so many characters which you find real and entertaining.
At times bitter-sweet, mostly harrowing, yet always compelling - This Boy's Life is well-played by all concerned, especially its odd-couple protagonists, DiCaprio and DeNiro, and the woman between them, Ellen Barkin.
There's not only a strong, commanding performance from Robert De Niro, but an impressively assured one from a young (and then unknown) Leonardo DiCaprio.DiCaprio plays Tobias 'Toby' Wolff, a rebellious teen of the 1950s.
Leonardo DiCaprio shows off his bad boy side in this film, playing the rebellious teen Tobias Wolff in the late 50's.
I saw it because of 18 year old DiCaprio and by the time the film was over I was completely obsessed in not only him, but the story as well.This Boy's Life is set in the 1950's and based on Tobias Wolff's 1989 autobiography.
And just maybe he'll put new order into her unruly son Leonardo DiCaprio's life.The movie is just as good as the book, although in the movie Leonardo (Tobias/Jack) is subjected to physical and mental abuse from DeNiro (Dwight), whereas Tobias states in his autobiography nothing like that, except telling his brother that Dwight hit him so that he could visit his brother and the violence Dwight expressed on his mother in the end.I related highly to the film.
And I remember having seen the film many years ago, before "Titanic", before all Leonardo Di Caprio's adult roles, I didn't forget Dwight, played by De Niro, but I didn't forget Leo either."This Boy's Life" is the chronicle of Tobias Wolff's teenage days, when his nomadic mother, played by the a sensual Ellen Barkin, decided to go west, the land of greener grasses.
It is directed by Michael Caton-Jones and it features Leonardo DiCaprio as Tobias Wolff together with Robert De Niro and Ellen Barkin.
Basically set in the 1950s, Caroline Wolff (Ellen Barkin) and her young Tobias "Toby", who wants to go by the name Jack (Leonardo DiCaprio), have fled the East to escape her abusive boyfriend, the find a new life and settle in Seattle, Washington.
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tt1470171
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Abandoned
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Mary Walsh (Brittany Murphy), a bank manager, accompanies her boyfriend Kevin Peterson (Dean Cain) to the hospital for outpatient surgery on his leg. She is told by nurse Amanda (America Young) at the hospital that Kevin's operation will take approximately an hour and recommends that Mary go to the cafeteria for coffee to pass the time. In the cafeteria, Mary meets Cooper (Tim Thomerson), who she thinks is just an ordinary man.As the day goes by, Mary doesn't hear anything about her boyfriend or how his surgery went so she decides to look for him. She is told by different hospital personnel that Kevin was never in the hospital for surgery, and that he is not even in the hospital's computer system, and also that his supposed surgeon, a Dr Harding, is on vacation. Mary then calls the police and tells them her boyfriend is missing from the hospital, and a Detective called Franklin (Jay Pickett) is assigned to the case. Detective Franklin arrives and searches the entire hospital for Kevin and also speaks with several employees and describes Kevin and asks if they have ever seen him. Also, the head of hospital security named John Holloway (Scott Anthony Leet) checks his security tapes for any sighting of Kevin and then tells Mary he has found no record of him ever being in the hospital. The hospital's director, Victoria Markham (Mimi Rogers) also gets involved and she cannot find Kevin's name in the hospital computer records. All three meet up with Mary again and listen to Mary's story and are now skeptical that she is telling the truth. Surveillance cameras may have recorded the nape of the neck of somebody who could or could not be Kevin. In her cellphone, Mary has a photo of them in love against the sun, so that the photograph could be of almost anyone. Next, Mary phones Kevin's cellphone, but the number doesn't exist. During their discussion, Mary accidentally drops her bottle of antidepressant pills on the floor. The director picks up the bottle and then hands it to the hospitals head of psychiatry, Dr. Markus Bensley (Peter Bodganovich), who has just joined the discussion at the request of the director. He comments that it is a very strong dose and then requests that Mary accompany him, supposedly to further discuss her story. Once Mary is inside the psychiatrist's office, she pleads with him that she is telling the truth and that time is being wasted talking to her when they should all be looking for her boyfriend. Dr. Bensley tells her that her mind is playing tricks on her and that it is entirely possible that she invented a missing boyfriend because several months earlier Mary's mother died in a hospital. Mary is very upset and asks for a moment alone and Dr. Bensley tells her to take all the time she needs and that he will be in the next room which is his office. After the psychiatrist leaves the room, Mary also leaves the room and goes back to the hospital room where she was last with Kevin. Detective Franklin finds her there and tells her about his losing his partner in a shootout and also that he and his wife are getting a divorce. He tells her he knows what she is going through, and listening to him convinces Mary to let Dr. Bensley known that he can do with her whatever he wants and then Mary leaves the detective alone in the room.Mary decides to search the hospital herself for Kevin, finds some hospital scrubs and changes into these. In order to avoid capture by security who is now looking for her, Mary ends up hiding in the hospital morgue. Her cell phone rings and it is Kevin. He says he has been kidnapped, that he doesn't know by whom, doesn't know where he is, and that she shouldn't talk to anyone or trust anyone because he doesn't know who is involved in his kidnapping. He asks her where she is and she shines her cell phone light around the room and realizes she is in the hospital morgue because she sees dead bodies. She tells Kevin where she is and then she hears something over the phone that sounds like Kevin's abductors have found him talking with her over a phone. Mary then hears the call abruptly end.Mary decides to leave the hospital, and while she is fleeing, she is hit by a car in the parking structure, and is found and put in a hospital room because she has suffered a concussion. While in her hospital bed, the man named Cooper, who she had previously met in the hospital cafeteria, visits her and reveals that he is one of the kidnappers and that he wants her to wire ten million dollars to a secure bank account. She attempts to do this with the laptop he has with him but she can't get a signal to do so. She tells him that she needs to get to a computer inside the hospital with a hard line. Cooper agrees to this change in plans but gives her very little time to do it and tells her to meet him in a sublevel of the hospital once the transfer is completed. Cooper leaves and Mary manages to leave her room undetected and uses a computer in the hospital administration office to wire the money. All that is left is to send a confirmation message from her Smart phone.Mary then goes to the hospital sublevel and meets up with the John, the hospital's head of security. She realizes that he's in on the plot to kidnap Kevin and Cooper enters dragging Kevin. Nurse Amanda is with Cooper. Mary rushes to Kevin and hugs him and asks if he is okay. Kevin then reveals that he is in on the plot and that he was never kidnapped. Cooper reveals that he met Kevin when they were both in prison together. Mary is then grabbed and held by John as Kevin, Amanda and Cooper leave the basement. It is obvious that John has been instructed to kill Mary after they leave.John pulls a gun on Mary but she gets free from him and runs. He chases her and she manages to hit him with a baseball bat. He falls to the ground and apparently dies, and his gun slides across the floor. Meanwhile, Kevin phones John to see if he has gotten rid of Mary yet, but Mary reaches into John's jacket and answers his phone and Kevin guesses that it is her breathing that he hears on the other end of the call. Kevin then decides to drive back to the hospital and deal with Mary himself.Cooper and Kevin chase Mary around the parking structure and the hospital. Mary shoots Cooper with John's gun, which she picked up after she hit him with the bat. Kevin then comes after Mary and just as she is about to be shot by Kevin, he is shot by Detective Franklin, who has surprisingly returned to the hospital from his apartment after having read the last pages of a paperback book that he found on a chair in Kevin's hospital room and took home with him after Mary left Kevin's hospital room. Kevin falls over a railing and hangs on for a few moments and calls to Mary but then falls several feet to his death.The book the Detective found and read was inscribed by Kevin to Mary and he wrote to her in the book that it was the best book he'd ever read. Although we are shown a scene with the Detective reading the book, the scene moves quickly, and shows only a few lines of text with the pages Detective Franklin is reading, mentioning a knee operation, an unstable woman, a kidnapping, and making the woman believe a kidnapping and the paying of money.The last scene shows Detective Franklin helping Mary walk back through the hospital parking structure. He tells her that he figured out what was really going on from the book and he shows it to her. She scans the last few pages and then comments that Kevin couldn't even come up with something original. Mary tells Detective Franklin that she will be fine, that she will just keep on living.Just before the final credits roll, there is a dedication of the film to the memory of Brittany Murphy. FYI: This was the last film she made before her death on December 20, 2009.
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flashback
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train
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imdb
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You'll notice that the guns sound like cap guns.Beyond its predictability, I think what bothered me most was the amateurish acting of everyone except Murphy and the Lieutenant; even Cain was poor.
It had an very hitchcock like vibe to it as the innocent Mary Walsh who is played by the lovely Brittany Murphy what is tragically her last role is accused of being crazy when she reports that her boyfriend of 4 years is missing from the hospital and finds out that they have no record of him being there.
The acting was mostly on the weaker side but Brittany Murphy's performances always has this charm to them but you can sadly tell that her state of health wasn't good in this movie and it looked like they tried to hide it by putting a lot of makeup on her but her hair looked greasy and crusty it was tragic to see.
Overall it wasn't the best movie ever and I've seen it done better before but if you like Brittany Murphy you should check it out because she pretty much saves the movie from completely sucking but don't expect anything out of the ordinary.
Brittany Murphy looked like she was about to die.
It's a drama/mystery/suspense flick that for some reason went direct to video.Brittany drops off her boyfriend (Dean Cain) at the hospital for routine, out patient surgery.
Brittany gives a very good performance as the increasingly worried girl friend, seemingly losing the only man she has really connected with in a long time, or ever.
Peter Bogdanovich is also good as the creepy psychiatrist who suspects Brittany is suffering from a mental break down, a suspicion fueled by her current high dose anti-depressant meds and an unlikely story reeking of paranoia.Supporting cast include Mimi Rogers as the clueless hospital administrator, Jay Pickett as the police detective with his own issues who is still good enough to follow the clues to the end, and Scott Anthony Leet as the intimidating security guard.
Some (including me) might think it fairly obvious based on the plot clues, but that part is only the beginning of the twists.As Brittany's final performance, this one is good enough to make you want to watch again sometime.
She was also suffering from pneumonia.Dean Cain does a fine job of playing her mysterious boyfriend, able to play the good guy well and leave you wondering about his motivations because he has played villainous roles since his Superman days.
If you like what you see it's a nice movie to have in a collection, not a must-buy, but if you like Brittany Murphy and want to own her last screen appearance then I recommend getting this.
It starts out well and keeps a good mystery going until one point in the film where you knew where everything was heading down a very worn path made by much better films like Double Jeopardy.
There is a germ of a good idea in this film, playing to the common fear of hospitals and the lack of control one feels in the hands of doctors and administrators.But the production values are so cheap and direction unimaginative that it would be embarrassing quality for TV.
Aside from Ms Murphy (for we shall not speak ill of the dead) the acting is almost universally terrible.The entire thing appears to be shot in a few rooms, stairwells and a parking garage with one camera, while odd music plays constantly in an effort to generate tension that a script riddled with implausible dialog cannot.
In Los Angeles, the manager of bank Mary Walsh (Brittany Murphy) brings her boyfriend Kevin Peterson (Dean Cain) to the County Memorial Hospital for an orthopedic surgery of ligaments of his left knee with Dr. Harding.
Mary flees from his office and seeks out Kevin alone disclosing the truth about her prince charming."Abandoned" is the last chapter of Kevin's book; and also the last chapter of the life of the promising actress Brittany Murphy.
The hair of Brittany Murphy is awful and she looks very tired in this film.
The late Brittany Murphy turns in a riveting performance as a possibly emotionally disturbed woman whose boyfriend may or may not have been abducted from a hospital during a routine appointment.
Not many people know about it, and some are quick to point out the flaws of the film, but I think that if you enjoy a movie, who cares about what's wrong with it!
It's so sad that Britney Murphy has to do movies like that, on last years of her life..
ABANDONED – TRASH IT ( F ) It's so sad that Britney Murphy has to do movies like that, on last years of her life.
The acting was garbage, other than Brittany Murphy.The script also crap, the story itself...totally played out and seemed familiar the whole time.
The acting was good, the story was interesting (I had a pretty bad idea of where the story was going) and it was engaging from the beginning to the end.
Because it make the story more interesting and the viewer will have question in mind about the whole.Besides, i don't know why, but Brittany Murphy acting skill in this movie is not very good.
Los Angeles bank manager Brittany Murphy (as Mary Walsh) accompanies her boyfriend to the hospital.
He and the staff try to find Cain, but begin to wonder if Murphy may be crazy...Murphy's hair looks like it hasn't been washed in weeks; also, there a distinct line showing her darker roots.
That there seems to be something seriously wrong only adds to the sadness upon hearing the "Abandoned" star died before this mystery was released.** Abandoned (8/24/10) Michael Feifer ~ Brittany Murphy, Dean Cain, Jay Pickett, Tim Thomerson.
Honestly don't know why this movie is getting bad reviews, I thought it was pretty good.
Anyway this movie gets straight to the point it and doesn't drag on at all and I thought Brittany Murphy did a decent performance in this movie.
There were a few times I was ready to give up early on, and I imagine others will be, but it's worth sticking with it.Some of the acting was weak, but some of it gets better as the movie goes on, and the story starts to compensate.Possibly the worst aspect of the movie was the main lead's make up.
The opening scene - of Mary Walsh (Brittany Murphy) being chased through a parking garage - drew me in right away as I wondered what was happening.
Mary had taken her boyfriend of four months - Kevin (Dean Cain) to an almost closed hospital for routine day surgery.
There's a tragic feeling overhanging this movie, because it was Brittany Murphy's last movie before her tragic death from a combination of pneumonia and anemia (there is also a conspiracy theory that alleges she was murdered) about six months after this was filmed, and I think that people are perhaps looking too hard for flaws in her performance as if to say "look - she was already sick." People complain about her hair?
In the same situation (if I took my wife to a hospital for day surgery and she then inexplicably disappeared) I think I'd be a lot more out of control and unreasonable than Mary was.I'm not under the illusion that this movie is without flaws.
As it turned out, those were the only reasons to watch this movie.While there are a few holes in it, this plot could make for a reasonably good film.
However, all similarities to Hitchcock's classic end there, especially when it comes to quality.Murphy plays a young woman, Mary Walsh, who takes her boyfriend, Kevin Peterson (played by Dean Cain), to have outpatient surgery on his leg.
In the end, there is just too much wrong here to recommend this to anyone but Brittany's fans and those who have nothing else to do for an hour and a half.All of us who enjoyed her acting and remember her at her best will miss Brittany.
this wasn't a bad movie, but Mary is a manager at a bank.
Brittany Murphy looks like a living doll, her lips are huge, her hair almost had a life of its own due to the amount of gel, the makeup is just too much.
Don't get me wrong, I know she was a great actress, but in this movie she just gave up, as if she knew this was so bad it wasn't worth the effort.
It's not even good for a popcorn time.This movie is bad and it shouldn't have been made..
Good movie and concept but Murphy looks a hot mess!.
This was Murphy's last movie and she looked like she was completely sick in this movie.
Although the movie had a good plot with a great theme, I just couldn't concentrate and get pass the horrible look of Brittany Murphy.
I can honestly say that the movie is great (I've seen it more than once) but the acting and look of Murphy bombed!
Poor Brittany Looked like a Clown in the Movie.
Perhaps some clever writer has come up with an interesting plot twist to this tired old story line.Maybe in some other movie, but not here.
As with so many other films, the set up is not bad, not great, but more than watchable, mainly because of Brittany Murphy.
Sorry, but I think a little more detail than 'I think she might be mental' would be forthcoming from a believable character in this role.And towards the end as a maniac, screaming, panting security guard looking to shoot Ms. Murphy's character is stalking her, he's running his mouth with a 'come out, come out, wherever you are' patter, as does everyone else trying to kill her.
Brittany Murphy was good, the movie not so..
Brittany Murphy did a good interpretation of her character, though the movie itself was so-so.
"Abandoned"is a average movie for me which keeps you in a world of great suspense and thrill throughout the run-time.The movie started well with full Adventurous disappearance of Brittany's boyfriend Kevin from the Hospital and the movie takes a great turn as detective cannot solve the mysterious puzzle.I think the story was presented by the Director magnificently.I love the twist at the end particularly and yet another turn at the very end.
How, then, can I claim to love him whom I've chosen not to know...which is the unbelievable thread to this "THRILL HER WITH ABANDON" that screams corrupted script from the beginning.Dean Cain's character of Kevin Peterson arrives at County Memorial Hospital as an outpatient to have orthopedic surgery.
He begs girlfriend Mary (Brittany Murphy) to promise she won't leave him when he's under (anesthetic) when hospital procedure wouldn't allow him to be "put under" anesthetic without a second party in the waiting area to drive him home afterward, thus giving his fear of her abandoning him no basis in fact.
But as manager of a Los Angeles bank and with the unread book Kevin's carried around the four months of their relationship in her purse to his added relief, Mary drops Kevin off at the door and tells him "I'll be right up," leaving him to enter the hospital alone when OUTPATIENT ADMISSIONS for every department is usually on the GROUND floor.
She arrives at the reception desk behind him and he's not in a nearby waiting area, where he would be seated behind other patients waiting for an ADMISSIONS SECRETARY to call his name, confirm his surgery, get his signature both of consent and to administer blood if needed and fit him with a computer-printed PATIENT WRISTBAND identifying him by his name, age, the hospital's name, the doctor's name, the date and his room number, if applicable; Mary would then have taken a seat next to him and shared his wait to be admitted to before-op.Yet in continued ignorance of the writers, rather than ask "Where is Kevin Peterson who's arrived here for orthopedic surgery with Dr. Whatever-His-First-Name-Is Harding?" when the nurse who is wearing no state-required picture ID tag asks how she can help, Mary asks, "Where is the OUTPATIENT DEPARTMENT?" She then buys the lie out of the nurse's mouth that the hospital is shutting down for renovations on Saturday—-and when the main office of EVERY business--including the bank she manages--is closed on Saturday and will apply equally to the construction company renovating the hospital Monday through Friday during business hours.
And so, six minutes into the movie, bank manager Mary busy carrying out business on her phone, has missed ***TEN*** clues that she's being set up for foul play by the loving "boyfriend of four months" that she does not know and hasn't trusted her best girlfriend to meet yet as she falls for the nurse's continued lie that most of the hospital patients have already been moved west—-go through those doors and take the elevator up—-to ORTHOPEDIC OUTPATIENT ADMISSIONS Mary should have known the location of previously!
But darn it: this last send-off to Brittany Murphy would have been one hell of a thrill ride had the writers stuck to TRUE hospital protocol from the beginning and then found a way to cross up the middle--and if Mary and Kevin had only known each other four DAYS, rather than four months for subject matter believability!.
The so called "off the street" actors are no better or worse than the secondary characters of any non-blockbuster movie (they can't all be made for $200 million dollars like that piece of tard Atavar, James Cameron's only really bad movie despite being his most successful) Someone complained that no bank would trust an unstable woman with that money...SHE WASN'T UNSTABLE...that's the whole ****ing point of the movie.
No, this movie is not the first of its kind, nor will it be the last, and it is not going to be remembered for anything except that it is her last film, but it is still a d***ed entertaining 2 hours..
What happened to Dean Cain's career and what made Brittany Murphy take this role?
Mary Walsh (Brittany Murphy) takes her boyfriend Kevin (Dean Cain) to the hospital for some routine outpatient surgery on his leg.
He walks her from the building and the screen displays "In Memory of Brittany Murphy".OPINION: The movie is poorly written, and poorly filmed; it looks as tho it was filmed with a fairly small budget.
At the beginning Brittany Murphy is pale and sickly with dark rings under her eyes and messy, greasy looking hair.
I imagine the beginning portions were filmed last, probably right before she passed away.I wouldn't watch this again, and wouldn't really recommend it to anyone either unless they are A, die-hard Brittany Murphy fans or B, extremely bored and there is absolutely nothing else to do..
I thought Brittany was cute and was sorry to see her life ended so soon (in real life), but I was never a big fan of the cheesy romantic films, I did however think she did a great job in this movie despite her being obviously ill during filming.
Brittany checks her boyfriend into the hospital for routine out patient surgery.
She runs around the hospital in a frantic search as the staff try to catch her.Brittany Murphy's doll face is in nearly every scene.
The acting was good, the plot was so-so as the "is it real?" didn't carry through until the very end as the movie shifts from a suspense-thriller to an action-drama.If you enjoyed "Shutter Island", you might want to check out this movie or vice-versa..
A good twist of a movie but, it's sad that it was Murphy's last film!
I liked the fact it was turning from mystery to action, it kinda makes the film more interesting and good for your brain to guess what's happening.
This movie does put you off on going to a hospital for a week even after watching it!
*NO SPOILERS UNTIL VERY END - CLEARLY MARKED*As a fan of Brittany Murphy it truly saddens me that Abandoned turned out to be her last film due to the fact that it is a complete mess filled with nonsense.
This movie is very low budget and the acting is debatable at best but I am willing to overlook all of that if the plot is interesting and there is a good payoff in the end, something necessary in every basic mystery thriller with a twist.
I don't hate Abandoned because it was cheaply made - not every film has the luxury of having a big budget or access to well known actors - I hate it simply because it's awful.Mary (Murphy) and her boyfriend Kevin (Dean Cain) go to the hospital so he can have outpatient orthopedic surgery.
The Dr. that was supposedly doing his surgery wasn't working that day and the nurse, Amanda, that Mary saw with Kevin that morning didn't exist.What happened to her boyfriend?
One thing I must comment on is Brittany Murphy's hair/makeup in Abandoned.
I read that her husband did her makeup but she must have approved it before shooting which is something I just don't understand.3/10 - Bad acting (Brittany Murphy & Jay Picket are the exceptions), low budget look and awful awful plot and execution.
***************SPOILERS***********There was a lot of stupid nonsense in this movie but the 2 worst were:1) The main reason why I rated this film so low was the asinine plot point with the cop/book that was contingent on him saving the day in the end.
Brittany Murphy's last movie, she died about 8 months before it was released on DVD..
I was curious to see only for one reason, I always liked Brittany Murphy and I wanted to see her last movie.The movie isn't very good but has some interesting moments.
Now I want to re-watch many of her earlier movies.Brittany Murphy is Mary Walsh, and on this day she is going with her boyfriend of 4 months for a procedure at the hospital.
Anyway, after several hours she still isn't notified in the waiting room, then when she goes to find him the hospital has no record of his ever being there.Dean Cain is her boyfriend, Kevin Peterson.
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tt0119567
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The Lost World: Jurassic Park
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The movie opens with an incident on the island of Isla Sorna (code-named "Site B" by the InGen company), located in the vicinity of Isla Nublar, where the film "Jurassic Park" took place.A British couple has stopped along the coast to relax, and their daughter has gone off on her own. She soon encounters a group of Compsognathus or "Compies," that attack her, much to the shock of her family when they find her after hearing her scream loudly.The film then cuts to Ian Malcolm, who is called to the Mansion of John Hammond, the "former" head of InGen. Malcolm meets Hammond's grandchildren Lex and Tim there, whom he encountered on Isla Nublar in the first film. Malcolm also meets Hammond's nephew, Peter Ludlow, who has taken over InGen as its new Chief Executive Officer. Both trade barbs over the aftermath of the incidents at Jurassic Park, with Malcolm chastising Ludlow for covering up what really happened, and Ludlow claiming Malcolm went public telling stories (of which Malcolm counters he told the truth but took no payment for what he revealed).Malcolm then is allowed to visit Hammond, who is now bed-ridden. Malcolm is soon shocked when Hammond tells him about Site B. Isla Nublar was the location for Jurassic Park, but Site B was where the animals were originally created and bred. However, in the aftermath of Hurricane Clarissa, Site B was evacuated and the animals let loose to roam free, with them inhabiting an environment free of human interference. This shocks Malcolm as he had assumed that the dinosaurs should have died, since they were bred with a lysine deficiency, that needed to be supplied by medical means. Hammond explains he has no idea why they are still alive, and shocks Malcolm when he explains that a research team has been recruited to conduct studies on this subject, and that brings him to Malcolm, who Hammond wants to be the 4th member of the team.Hammond then explains that after the incidents at Jurassic Park, InGen has been on the verge of Chapter 11 bankruptcy for some time, with the Board wanting to exploit the remaining dinosaurs on Site B for profit purposes. Hammond was able to keep them from doing so until the incident with the British Family. After this, control of InGen was taken away from Hammond, and he explains that his plans for the research team are seen as a possible deterrent for whatever his nephew Peter has planned.Malcolm (of course) refuses Hammond's offer, and plans to make sure that the research team does not set foot on the island. However, he soon finds that his former girlfriend Sarah Harding (Julianne Moore) has already arrived, with the additional members to meet her in 3 days. Malcolm then leaves planning to rescue Sarah from Site B.Malcolm's next stop is a garage owned by Eddie Carr (Richard Schiff), who has been prepping vehicles and equipment for the expedition. Malcolm also meets Nick Van Owen (Vince Vaughan), who was planning to take video and photographic footage for Hammond's expedition. Malcolm is soon after joined by his daughter Kelly (Vanessa Lee Chester). Kelly wants to come along on the expedition, but Malcolm explains she can't go, and the two have a small altercation before Malcolm sends her on her way, telling her 'not to listen to him.'Malcolm, Eddie and Nick transport two Mercedes SUV's and a modified RV to Costa Rica, and then head to Site B. However, the ferryman refuses to weight anchor near the islands, claiming that some people wandered too close to the island chain and were never heard from again. Through translation, Nick explains that the islands are known as Los Cinco Muertes ("The Five Deaths").Once on the island, Eddie, Malcolm and Nick locate Sarah using a homing beacon on her backpack. They encounter her taking pictures of a herd of Stegosaurus, with Sarah seeming to be perfectly fine. Shortly after meeting up with her, smoke can be seen from the direction of the RV, and the group finds that Kelly has stowed away. This surprise is short-lived as suddenly, a fleet of InGen helicopters can be seen flying in vehicles and equipment.The team is headed up by Peter Ludlow, and led by Roland Tembo, a big-game hunter who is leading the expedition to round up various dinosaurs for InGen. After the capture assignment is completed, Roland heads off to try and kill a Tyrannosaurus Rex, which he considers his fee for the assignment. Roland instead finds an infant Tyrannosaur, and has it chained, with the hope that its cries will bring its parents back.Meanwhile, Ludlow has arranged a satellite uplink to InGen's boardroom, where he is attempting to drum up a sales pitch for InGen's latest plan to get itself out of Chapter 11: take John Hammond's dream of a Jurassic Park, but build it in a more convenient place. Ludlow tells of his dream for Jurassic Park: San Diego, when suddenly, the encampment is attacked by the dinosaurs that were caged moments ago (having been freed by Nick Van Owen and the others).On his way back to the RV, Nick finds the infant Tyrannosaur, and noting that it seems injured, talks Sarah into taking it back to the RV to be mended. Once back at the RV, Kelly notes that the Rex is making sounds that could attract other animals. Wanting to be somewhere safe, Malcolm has Eddie take Kelly into a special perched cage high up in the trees some ways off. As they look out over the trees, a familiar sound reaches Malcolm's ears, and he then heads back to the RV.Soon after, the Tyrannosaurs come for their infant, and it is returned to them. However, they then proceed to push the RV off the nearby cliffside. Eddie heads to their rescue and manages to save Malcolm, Sarah and Nick, but not before he is eaten by the Rexes.The group soon meets up with Ludlow and Roland's groups, and now have to work together to get off the island. The only way to radio for communications now is at the main facility in the interior of the island. Ludlow warns them that it will be dangerous, because of scans having shown that Velociraptors are located in the island interior.The group then sets out for the interior of the island. One evening, very close to their destination, the T-Rexes happen to find them. As the female chases after one group, Roland attempts to kill the male. However, he soon finds that someone has removed the shells from his gun, and he instead uses tranquilizers to take down the male.In the confusion, some men scatter into a field of tall-grass, where they are taken down by velociraptors hiding in the field. Malcolm, Kelly, Sarah and Nick end up making their way to the abandoned main facility. While Nick radios for a rescue team, Malcolm, Sarah and Kelly end up trying to fend off a group of raptors that have chased them into the facility. They manage to escape (along with Nick) when a helicopter arrives at the facility. As the helicopter takes off, they see that a group has also come for Roland, Peter Ludlow, and some of the remaining survivors. The crew has also had a giant cage rigged to transport the tranquilized male T-Rex to a waiting ship.Both groups arrive in San Diego, California, where Malcolm and Sarah quickly head to InGen's waterfront facility, where Ludlow has arranged a last-minute press conference to herald the arrival of the male T-Rex as the main attraction for the still-in-construction Jurassic Park: San Diego.However, instead of going smoothly, the ship the creature is on crashes into the docks. Ludlow, Malcolm, Sarah and some workers go aboard, only to find dismembered pieces of the crew, and the cage with the Rex broken apart. Suddenly, the doors to the cargo hold burst open, and the male T-Rex emerges, making his way off the ship and into the city of San Diego.Sarah and Malcolm soon find a surviving crew member who explains that after they were in transport of the T-Rex, it stopped breathing, so an additional drug was given. However, being unfamiliar with the T-Rex, proper dosage was not known. Because of this, the animal is dehydrated. Sarah figures that the T-Rex will first find water and then look for food. They receive word that Ludlow brought the infant Tyrannosaur as well, and transported it in his personal jet to the still-in-construction park. The two head there to retrieve it, in hopes to use it to lure the T-Rex back to the docks.After recovering the infant, the two find the T-Rex rampaging through the city. upon hearing and smelling the infant, the t-Rex follows the Malcolm and Sarah back to the docks. Ludlow, upon hearing what has happened, orders that the adult male be shot, and that the infant be recovered. When he sees Malcolm and Sarah carrying the infant to the cargo ship, he quickly follows, only to find the infant in the cargo hold. Ludlow attempts to lure the infant out, but soon after, the adult male enters the hold, and injures Ludlow, before allowing the infant to kill him.Sarah then launches a tranquilizer dart at the T-Rex, which subdues it as Malcolm closes the hold's doors. In the aftermath, the Navy and a new crew escort the ship back to Isla Sorna, as Malcolm and Sarah rest in front of the TV. John Hammond also releases a statement requesting that with InGen's secret island of dinosaurs now being realized, that Costa Rica help establish the island as a nature preserve, to keep humans from setting foot on it.
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mystery, boring
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train
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imdb
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The Lost World: Jurassic Park continues the story of John Hammond as he summons chaos theorist Ian Malcolm to his home with some startling information, while nearly everything at his Jurassic Park had been destroyed, his engineers happened to have a second site, where other dinosaurs were kept in hiding.
Steven Spielberg returned to direct this sequel,(loosely) based on the Michael Crichton novel that sees Jeff Goldblum returning as Dr. Ian Malcolm, who is enlisted by John Hammond(Richard Attenborough again) to return to Jurassic Park(though on previously unmentioned Site B) to study the dinosaur population, and also to rescue another team, which includes a former flame of his(played by Julianne Moore).
He reluctantly agrees, and after locating her, finds to their disgust that the company INGEN has allowed hunting parties to take place, where big-game hunters(led by Pete Postlethwaite) stalk and kill dinosaurs, though the tables would of course be turned...Good sequel has equally effective F/X and terrifying story, though a few too many characters; the twist toward the end is surprising and entertaining, though some poor editing leaves a big plot hole aboard the discovered freighter...still, a worthy sequel that holds up today..
These ancient and magnificent beasts are brought back to life with the directed craft of no one other than Steven Spielberg, the movie God. With the huge success of "Jurassic Park" in 1993, Spielberg keeps the story going strong with "The Lost World: Jurassic Park." Four years after the failure of Jurassic Park on Isla Nublar, John Hammond reveals to Ian Malcolm that there was another island ("Site B") on which dinosaurs were bred before being transported to Isla Nublar.
In my opinion is not, but is at least better than Jurassic Lark III is but is not any better over The Lost World: Jurassic Park (1997).An Underrated classic sequel in the series and the last movie directed by Steven Spielberg.
I still love This movie a very underrated science fiction/action sequel film in The Jurassic Park entry franchise.
I am glad he was cut by the end of the film.Peter Stormare/Compys sequences from swarm of Compsognathus knock him and killing him were really unnecessary and unneeded etc.), plus it has a sluggish pace and such.Baby T-Rex in this movie was extremely annoying and his yelling in the trailer and in the car it annoyed me so much and on end of the movie.Thing's I love in this movie: T-Rex dinosaur in a city San Diego, the chase and eating people in the city are awesome.
Jeff Goldblum as Dr. Ian Malcolm from Jurassic Park (1993) and Julianne Moore as Dr. Sarah Harding did a good job on there performances.Returning of John Hammond his nephews Tim and Lex the same actors from Jurassic park (1993).
Steven Spielberg's superb follow up to his original dinosaur classic finds Ian Malcolm (Jeff Goldblum) with the help of John Hammond (Richard Attenborough) trying to protect what survives the original Jurassic Park in a sequel that truly lives up to it's name sake.
Julianne Moore, Vince Vaughn, Arliss Howard and the great Pete Postlethweite rounds out the cast in a darker, more relentless film that has some of the best action sequences ever filmed for a Jurassic Park movie.
Sadly, neither Spielberg and Goldblum return for the next two sequels in the series and the quality of the series definitely take a sharp dive in quality with their departure.Which is a shame because the Jurassic Park series deserved more than the dumb and badly acted monster movies they have become since Spielberg and Goldblum left the series after this film..
Most of the characters was coherent with the story and it was nice to see Dr. Ian Malcolm (Jeff Goldblum) as the main lead this time around, since he was a likable character in the first "Jurassic Park" movie.
Steven Spielberg's sequel to his Syfy classic Jurassic Park not only follows the same formula that fuels the fire of the original movie but has a rhythm of it's own to be it's own film.
Throw in a wonderful and strong turn by Julianne Moore and a strong scene stealing turn by the late great Pete Postlethweite and you have a stronger cast of characters than you had with the original.Spielberg brings some of his best bag of tricks to this film as well with some of the most show stopping scenes in the series including a falling Trailer scene that has to be seen to believe and to this day, the most scary raptor attack ever put on film.
While there are a few viewers who did not like the climax in San Diego, that climax still packs a fun, mean wallop that neither the two sequels that followed (The horrid Jurassic Park 3 and the so so Jurassic World) have top in their entire films.While Spielberg and his main cast of characters did not return for the next two films in the series, nothing can take away from the sheer fun and excitement that The Lost World gives to the series.
Very good sequel to Jurassic Park finds Ian Malcolm (Jeff Goldblem) in a race against time to save his girlfriend(Julianne Moore)and stop Ingen from taking dinosaurs off the island in order to take them state side for their own Jurassic Park.
Of course the original is the best, but The Lost World is packed with suspense, witty dialogue (especially Goldblum's), and of course, the usual great looking dinosaurs.
In-between its select moments of true suspense, frustratingly frenzied action and generally enjoyable moments centred around dinosaur danger is an uneven and, at times, dull film full of bizarre plot-points and an unnecessary third-act that straight-up shatters all credibility (or perhaps even good-will) built up before it.
Despite having perhaps one of the worst sequel titles in film history, The Lost World: Jurassic Park winds up being a favorable dinosaur outing.
The wonder and elements of peril are still firmly instilled in Spielberg's direction and David Koepp's screenplay, making for a film that continues to really emphasize the thrill of its predecessor through nearly every scene.We focus on Ian Malcolm (Jeff Goldblum), who is hired by InGen CEO John Hammond (Richard Attenborough) to document the activities of the dinosaurs on Hammond's second Jurassic Park site after the terrible breakdown of his first site before financiers close the second park.
This band of characters, while still not entirely fleshed out, is still a lot better than the marginally amusing cast of characters from the first movie, which benefited largely from the effortless charisma of the everyman Wayne Knight.Still instilled in The Lost World from the original Jurassic Park film is the film's desire to keep us feeling constant danger and uncertainty.
Consider the scene when Kelly performs a complex gymnastics routine to save Malcolm and Sarah, or when the dinosaurs are attacking the film crew and Malcolm works to rescue them.In some ways, The Lost World finds ways to be more engaging than Jurassic Park.
The Lost World: Jurassic Park continues to affirm this frightening realization while remaining a thrilling piece of blockbuster entertainment, never squandering the opportunity to be dark and violent but also peppering in the occasional one-liner (some funny, some cringe-worthy) for good measure.
Continuing my plan to watch every Steven Spielberg movie in order, I come Jurassic Park: The Lost WorldI think this movie is the worst type of sequel.
While Jurassic Park was seen by many as a stalwart family film, Spielberg took a different direction with The Lost World in making it a darker suspense/thriller movie.
It has been four years since Jurassic Park was destroyed and the island Isla Nublar itself was drowned by a hurricane killing most of the dinosaurs; now there is a new island (called Isla Sorna) that has been genetically engineering the same animals, but abandoned the project after the company InGen declared bankruptcy.The film's short prologue introduces a rich family who are trying to enjoy their vacation on the beach of Isla Sorna, but their little girl wanders off into the jungles of the beach where she encounters a small dinosaur called a Compy in which she assumes it's a friendly creature, but turns out to have little friends of its own when they start pecking body parts of her off screen.Jurassic Park survivor Ian Malcolm (Jeff Goldblum) returns to John Hammond (Richard Attenbrouogh) after being called upon.
He gets a big game hunter name Roland Tembo (Pete Postelwaite) who wants to bag a Tyrannosaurus Rex as his trophy.The Lost World: Jurassic Park is great entertainment; the special effects are twice worthy than the original.
A lot of people love to criticize JP3 for a number of reasons, like repeating the last movie or hyping up the Spinosaur so much but in my personal opinion, I think JP3 captures that "theme park movie" feel much better than The Lost World does.For one thing, this is a much darker film.
The first Jurassic Park film worked because it focused on the morality of the entire situation, with the dinosaurs playing a supporting role (though quite a large one, considering the incredible visual effects).
Unfortunately, the sequel does not hold true to this formula, and instead has idiotic characters doing inane tasks, all the while showcasing the roaring dinos and, in the end, turning into little more than Godzilla.For a basic plot summary, "The Lost World" reveals the existence of another island, not disclosed in the original, where the dinosaurs were originally "bred" and now live in their own contained environment.
If you like seeing dinosaurs on good sets, or like watching great special effects (as I do) you love this movie!PLOT; after Jon Hammond (Richard Attenborough) loses control of Ingin, they decide to take some dinosaurs back to San Francisco and use them and a huge attraction at a zoo.
Meanwhile a team (Jeff Goldblum, Julianne Moore, Vince Vaughan and Richard Schiff) that Hammond created is also exploring the island, when the too teams met there are a lot of hard feelings because of the fact that Hammond's team has released all the caged dinosaurs!This is a terrific film 8/10!.
Ian Malcolm (Jeff Goldblum) goes from horrified onlooker to potential hors d'oeuvre when he travels to Isla Sorna to persuade his paleontologist girlfriend Sarah Harding (Julianne Moore) to come back home with him.Director Steven Spielberg called this film "my first pure sequel," noting his Indiana Jones films are more like installments in an adventure series.
He's really not much of a villain, since his motives are less evil than capitalist (the same thing in Spielberg's world, maybe, but not mine), but he adds the right notes of conflict whenever given the chance, like when Malcolm grabs his arm in an early scene to make a point: "This suit costs more than your education."Howard doesn't do much villain work, so I was happily impressed enough to give him my 1997 Doe Avedon Award for great performance in a bad movie.What passes for a plot involves watching the various name characters try to avoid the same brutal fate they bestow on those who meet them, and then try and save an angry T.
However, "The Lost World: Jurassic Park" does pull itself off as a fairly good film for what it was meant to be: an elaborate and heart-pounding action thriller.
Even when they are of some great importance, or intended importance, during the first two-thirds of the film.However, "The Lost World: Jurassic Park" succeeds entirely with its action sequences, which couldn't be better.
The picture starts when the billionaire John Hammond(Richard Attenborough) as Jurassic Park's curator brings again to paleontologist(Jeff Goldblum)to his home hoping to convince him for new adventure in other island of the coast of Costa Rica and where dinos were allowed mix freely and to breed.There are living dinosaurs and various prehistoric creatures genetically engineered by means of DNA cloned extracted from Jurassic animals found in mosquitoes preserved into amber from cretaceous period.At first he(Goldblum)refuses but knowing that his sweetheart(Julianna Moore) is on island he head for there along with a specialist(Richard Schiff) and a researcher(Vince Vaughn)and his daughter who has stowed away into the van .Besides a hunters group(Pete Postlethwaite,Peter Stormare) and ambitious person(Arliss Howard) arrive to the island.
Humans try desperately escape of dinosaurs and they are chased through leafy jungle by fanged giant animals,specially by the Tyrannosaurus and of course by attack of the Velociraptors like as in the first part,Jurassik Park.In fact the prehistoric animals are truly the stars film ,they are terrifyingly awful and create abundant and quite potent screams and scares.There's a stirring and exciting scene dealing a van dangling over a cliff and Tyrannosaurius pushing while the starring are seized in a cord where the actors give vigorous physical performances.The biggest interpretation is by Pete Postlethwaite as a tough and two-fisted slayer and Arliss Howard as greedy man with mean purports.
But the Isla Nublar disaster has resulted in Attenborough losing control of his InGen corporation to his unscrupulous nephew (Arliss Howard), who wants to bring the dinosaurs back to the as-yet-unfinished Jurassic Park complex in San Diego.The only people standing in his way are chaos theorist Ian Malcolm (Jeff Goldblum), Goldblum's daughter (Vanessa Lee Chester), his girlfriend (Julianne Moore), and two other men (Richard Schiff, Vince Vaughan).
I personally think that Jurassic Park 2 was the best movie of the trilogy, having not seen Jurassic World.The CGI effects in this movie are very superb and the action scenes are played out very well.Jeff Goldblum does a very good portrayal of his previous character Dr. Ian Malcolm,from the first Jurassic Park in this movie, taking a main character role this time around.There's a lot more action in this film than the first one, and there are definitely some parts of the film that will keep you on the edge of your seat more so than the first film.Personally I felt this was a much more entertaining film in the first Jurassic Park and should be treated as such.
A lot of people may not have liked "The Lost World: Jurassic Park", but I'm not one of them.
Thrown in a gracious cameo from Sr Richard Attenborough and a scene stealing Pete Posselweight as a dinosaur hunter and The Lost World becomes almost as memorable as the original Jurassic Park.
Coming off of the emotional exertions of his last film, Schindler's List, few can deny that the director was entitled to wind down with The Lost World project, there was after all nothing safe about Schindler's, but although Jurassic 2 is a hugely enjoyable family blockbuster, a jazzy bit of hi-tech fun, it lacks the requisite brains to make it an inspiring sequel.Formula follows the same path, humans in peril on the island, with some added and new dinosaurs (double T-Rex a bonus), and then the "twist" in the narrative sees some monster peril come to San Diego, King Kong style, for the finale.
The Lost World: Jurassic Park (1997)*** (out of 4)Steven Spielberg's sequel to his 1993 blockbuster has a group of researchers heading to an alternate island where John Hammond (Richard Attenborough) has more dinosaurs living but what they don't know is that there's another team on the way to the island to try and capture the creatures and return them to America to put them on display.THE LOST WORLD: JURASSIC PARK didn't get nearly as much praise when it was released compared to the original but I've always felt that this film is actually better.
That's not the case here because everyone was at risk and the action sequences were directly perfectly.Jeff Goldblum, Julianne Moore, Attenborough, Vince Vaughn and Pete Postlethwaite are all good in their roles but, again, the real stars are the dinosaurs.
Still, "The Lost World: Jurassic Park" is far, far from the garbage some would have you believe it is and is actually a solid action/adventure film.7/10.
After the massive success of Jurassic Park, it was pretty clear that a sequel wouldn't be 65 million years in the making; but just because it had less time to evolve doesn't excuse the fact that The Lost World is an inexcusably sloppy piece of movie-making.Jeff Goldblum returns as eccentric mathematician Ian Malcolm, who travels to dinosaur infested island 'site B' to rescue his researcher girlfriend Sarah Harding (no, not the one from Girls Aloud, but rather the lovely Julianne Moore) who has gone to study the scientifically engineered prehistoric creatures not quite appreciating the dangers she will face.What follows is often spectacular, and sometimes downright brilliant (best bit: Moore falling on to the slowly cracking windshield of a truck suspended hundreds of feet above jagged rocks), but any flashes of genius from director Steven Spielberg are easily negated by some of the dumbest plot developments and unintentionally funny bits it has been my displeasure to witness in a big-budget blockbuster.For starters, there is Malcolm's (African-American?!?!) daughter Kelly (Vanessa Lee Chester), who stows on board her father's high tech truck in order to lend the film some kiddy appeal.
It wouldn't have been pretty but it would have made me take them seriously.The Lost World: Jurassic Park flaws are big but easy to overlook because the film is entertaining.
The Lost World: Jurassic Park may not be as good as the first movie, but it is one hell of a thrill ride!
I also don't understand why films like this are so underrated and get a lot of hate, because if you watch and discover the story that certain movies such as The Lost World hold, then I can NOT see you not having fun with this film!
The Lost World: Jurassic Park is a very enjoyable film and almost lives up to the first one.
Jurassic Park and it's sequal are the only movies in the world that can do that (when it comes to dinosaurs).
If you want to have a good time with a sequel that is at least respectful to the original, Then The Lost World Is your Movie.
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tt1073241
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Nothing But the Truth
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Robert Bennett (Richard Dix) is a stockbroker who is very carefree with other people's money. Encouraging clients to buy stocks in companies that are failing is all in a day's work to him. His fiancée Gwenn Burke (Dorothy Hall) has to raise $40,000 for a charity project, comes to him with $10,000 to invest from her charity group, and wants him to double it within five days.
Meanwhile, E. M. Burke (Berton Churchill), Frank Connelly (Louis John Bartels), and Clarence Van Dyke (Ned Sparks) bet Bennett they will pay him each $10,000 if he tells the truth for 24 hours. The men later go to a nightclub where they meet Sabel and Mabel Jackson (Wynne Gibson and Helen Kane), who are a gold-digging sister act.
Mabel Jackson sings Do Something. After the show, the sisters ask Burke to back their show for them. They are determined to hold Burke to his promise to finance their idea for a show. and won't take No for an answer. They hold all the cards, as they have managed to enter Burke's home and refuse to leave without the cash. Burke's wife Mrs. Burke (Madeline Grey) learns from Robert that her husband had promised to back the Sisters' show. which makes his wife furious. Robert asks every question truthfully, before the 24 hours are over. His fiancée Dorothy asks him if he loves her and what he had done with all the money, he tells her the answer without telling a lie. Around 4pm, Robert has won the money by telling the truth.
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murder, storytelling, flashback
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train
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wikipedia
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The fact that writer and director Rod Lurie spent 13 years in the newspaper business is evident throughout, making for one of the most compelling and believable portrayals of what it is like to be a political reporter for a major newspaper since All the President's Men. Kate Beckinsale (the reporter) and Vera Farmiga (as the CIA operative) are outstanding and each delivers an Oscar-worthy performance.
I must say Nothing But The Truth has exceeded my expectations many times over.Based on a true story, the basic plot line has close focus on a reporter of a Washington D.C. major newspaper Rachel Armstrong (Kate Beckinsale) who after writing an article on the US president's actions revealing the identity of a secret CIA agent Erica Van Doren (Vera Farmiga) is being pressured to reveal her secret source by the government in such ways she could never have imagined.The story flows flawlessly, picks up nicely and slowly drags you into a twist of controversial emotions, drawing the characters with all their pros and cons and letting you slowly get acquainted with their moral inner fights.Beckinsale and Farmiga have a great energy between them that will have you forget you're watching a movie and catch your breath at the few scenes at which they confront each other.
He is the second billing in this film, right behind Kate Beckinsale, also starring Vera Farmiga, Alan Alda, Angela Bassett, and David Schwimmer.The film is about Rachel Armstrong, a reporter (Beckinsale) who has written the story of her life: a military coup by the United States on a South American country was a lie, a Watergate, an operation that could get a president impeached.
The well selected cast includes Kate Beckinsale as the brave reporter, Vera Farminga as the outed CIA operative, David Schwimmer as Beckinsale's frightened husband, Matt Dillon as the government henchman assigned to get Beckinsale to reveal her source and Alan Alda as the lawyer who supports Beckinsale's stance (his speech before the Supreme Court will be remembered as some of the finest and most gripping writing in years).
Sam Lurie wrote and directed this engrossing film with the good sense to not hammer the audience over the head with the fairly obvious comparisons to the shenanigans of the Bush/Cheney administration, leaving the evidence in plain sight that when the President decides what can and can't be known to the public - in the name of 'homeland security' - our constitutional rights and even our democratic form of government is at stake.
Championing justice and the high price of integrity, conviction and principle, he takes a page from today's headlines and makes it his own with a story involving a top notch journalist and an exposed undercover CIA operative and the the fight to protect not only a source but the values of motherhood, family, privacy and the right to know.Kate Beckinsale is mesmerizing as Rachel Armstrong.
Having just seen Farmiga as a devoted loving WWII mother in "The Boy In The Striped Pajamas", I was blown away by her tough as nails, hard core performance as Van Doren which she balanced with a carefully toned maternal edge; an act equaling that of Beckinsale's maternal double edged sword.As if the women aren't reason enough to be on the edge of your seat with Lurie's taut script, enter Noah Wylie, Matt Dillon and Alan Alda.
Meanwhile, Lurie has returned to his original combination of preoccupations for "Nothing But The Truth", the film that will, if there is any justice in the world (and at the box-office), arc his reputation from cult indie filmmaker for the educated-elite into the most important mainstream movie maker in the business, able to entertain with edge of your seat suspense while quietly informing you about the most important elements in our society.Clearly, "Nothing But The Truth" was inspired by the Valerie Plame/Judy Miller incident: the film focuses on a curious relationship that develops between a reporter (Kate Beckinsale) and a spy (Vera Farmiga) when the former "outs" the latter in a newspaper story.
But don't think for one moment that this turns out to be some dry 'message movie.' "Nothing But The Truth" plays as a Hitchcockian thriller, right down to the twist ending that makes a mainstream viewer want to go back and watch the movie over again, just to try and spot the hints of what is in store for us at the conclusion so as to try and grasp how we "never saw it coming" even though Lurie prepared us every inch of the way.
Kate Beckinsale refuses to not look completely edible even when she has jail scenes, while Vera Farmiga looks just as good as to make one think it will be a movie about a cat fight.
I think the best acted role in this movie belongs to Matt Dillon, though.The film portrays the trials (pun intended) of an American journalist who is jailed and then imprisoned for withholding the source of her article.
The star studded cast of Matt Dillon, Alan Alda and Kate Bechinsale brings out the qualities that was needed to make this type of film truly majestic.The intense vigor of how the prosecuting attorney played by Matt Dillon, (which I first thought was going to be way out of character for him, but he pulled it off so effectively that he now has a new fan), actually attacks our protagonist is so real and matter of fact.Being based on a true story helps in the matter of believability and the injustice of our justice system.8/10.
We never really know who the "bad guys" are in the film, which seems to suck even more impact from the presence of Kate Beckinsale's "good guy." Lurie seems to suggest that Matt Dillon's independent prosecutor character is the villain, but if that's the case then there's absolutely nothing to discover in the film.
It strikes me that "Nothing But the Truth" is exactly the kind of unfocused film and script that he would have once devoted an entire radio show to fry.I won't reveal the ending, but suffice to say that it is beyond contrived to think that a major news story would be based on this source.
"Deep Throat" this source ain't.Truly, watching this silly film made me feel a lot like the Matt Dillon character's futile attempts to get Rachel Armstrong to reveal her source.
Vera Farmiga was vera good playing the ousted CIA operative Erica Van Doren; Alan Alda was commanding as the amending counsel Burnside; David Schwimmer was great as Rachel's lover Roz (oops wrong Schwimmer acting pool), I mean as Rachel's husband Ray; Angela Basset was her usual respectable Basset case as the supportive editor Bonnie; Noah Wyle had some E.R.
this film certainly poses some ethical and moral questions,and it also entertains.the acting is first rate,especially by Kate Beckinsale,who is decidedly unglamorous in this role.hers was the meatiest role of the whole cast and i think she acquitted herself quite well.Vera Farmiga was also good,but in a smaller role.Matt Dillon was adequate in a small role.I like Angela Bassett,but i thought her role could have been expanded.Noah Wiley though really impressed,in a small,but important role,as did David Schwimmer.i loved the subtlety of the ending,which i never saw coming.i thought it was genius.for me,Nothing But the Truth is a 7/10.
The journalist, Rachel Armstrong (played well by Kate Beckinsale) refuses to reveal her source of information as to who blew the cover of the CIA undercover agent, who happens to be another woman, Erica (Vera Farmiga).
This is surely among the better Crime thriller movies out there, featuring some well executed performances from Kate Beckinsale and Matt Dillon, as well as good, strong dialogue, and most importantly, a question on the nature and morality of the relationship shared by the governments and the press, and the conflicts that arise out of them.
I was engrossed enough to find myself frustrated by 'Rachel's' decisions and the story is definitely thought provoking, with Kate Beckinsale playing a principled investigative journalist in Washington DC who writes a story that outs a CIA operative and winds up going to jail for not revealing her source.There's an excellent cast attached here(Alan Alda, Angela Bassett, David Schwimmer, Matt Dillon, Noah Wyle, Vera Farmiga) all giving good performances and the ending provided a twist that totally surprised me and explained why she couldn't give up her source, because all along I'd been thinking; you're losing everything, your marriage, son, career and nobody cares anymore what for.
Greetings from Lithuania.This is why i think "Nothing But the Truth" is a good movie:Kate Beckinsale gives probable her best performance yet.The story is involving, even if your not interesting in politics and live on the other side of the world, but principles and experiences are the same.Alan Alda and other supporting cast gives good performances.
From the first few minutes of this thriller, however, which depicts a presidential assassination to the film's final surprise, this is a gripping story of a woman who follows the dictates of her conscience, who even knowing she might lose her family, chooses to stand up for constitutional rights even with the pressure of powerful government organizations levied against her.
Kate Beckinsale is a journalist who won't reveal her source in "Nothing But the Truth," a 2008 film also starring Matt Dillon, David Schwimmer, Alan Alda, Vera Farmiga, and Noah Wylie.Beckinsale plays Rachel Armstrong, a journalist for the Washington Sun who outs a CIA operative, Erica Van Doren (Farmiga), another soccer mom like herself.
and Nixon, but about the excellent filmmaker who took dry premises and told fascinating stories, such as the ones from JFK, Natural Born Killers, Born on the Fourth of July and Wall Street, out of them.Like Stone, Lurie has been keeping a low profile on recent years, but most of his films (Deterrance, The Contender and now Nothing But the Truth) have that intense energy and tenacious conviction which make them hypnotic, substantial and hugely entertaining.Nothing But the Truth was unfortunately not exhibited in cinemas from the United States due to economical problems from its distributor.Luckily, its release on DVD will give it more diffusion to benefit itself and the audience, because this is a fascinating political thriller, which has an emotive human centre and lacks of partisanship, and in which the ambiguous politics from the North American government stop being abstract words in order to become into tangible situations which affect the lives from many people.On the beginning of Nothing But the Truth, we are informed that the story is fictitious; however, it is clear that it is inspired on the real case of Judith Miller, a reporter from The New York Times who was imprisoned for not revealing the source which reported Valerie Plame as a secret agent from the CIA.In fact, I had never understood the relevance of that news, but Nothing But the Truth considerably helped me to understand its meaning and consequences.Whatever the way it is, I dare to say that Lurie used the Miller-Plame case as an excuse to build a tense story in which the eternal disjunctive between national security and individual freedom is examined.Even though it is easy to feel on the side from the main character of Nothing But the Truth, the movie refuses to bring us an easy solution, because it is evident the government must protect the secrets which may favor the "political elite", but which obliquely also protect the population, who live their ordinary existence without noticing the disgusting decisions required to keep it safe from internal and external threatens.On that level, Nothing But the Truth is incredibly honest and real.The only fail I found on this movie is that the ending is a bit predictable.However, that does not avoid me from recommending this fascinating and intelligent political thriller which has many layers under its surface, at the same time it offers excellent performances from Kate Beckinsale, Vera Farmiga and Alan Alda and solid direction from a filmmaker who has already consecrated himself as a provocative but fair voice in the contemporary ideological cinema..
Its a story of Beckinsale's character's resolve under extremely trying situations to stand by her principle losing her family, locked away in the prison, thinning gratitude by her employer and to add to this all a special prosecutor in Matt Dillon who is willing to go to any lengths to get the details of the source.
But even the newspaper bosses start thinking twice when the corrupt judge, agreeing with every single thing the special prosecutor wants, fines the newspaper $10000 a day till Rachel talks.The movie does a good job presenting the viciousness of government once someone ends up in their sights.
Alan Alda is hilarious as the ostentatious supposedly expert attorney on free speech but who's in reality more interested in Zegna suits and fancy watches.The surprise at the end about who the source is was effective but it upends the entire movie making it all pointless--the whole trial and suffering but also the whole reporter's stance which was supposed to be on principle.
This has now entered into one of the best films I've ever seen.With an a very well constructed story, very strong dialogue, fantastic casting and great performances.This film is exceedingly important and plays an integral part on so many levels.The reviewers who claimed the ending was flawed certainly missed the entire scope of the story...in-fact, the ending made it more important than if it had been an inside government leak.This movie surpasses almost every other movie about government corruption and conspiracy and does so with conviction and skilled story telling and brilliant performances from everybody on every level.I'm glad that there are people who have the principles to stand up to this kind of pressure to protect others beliefs, rights and identities, without thinking of how it may place themselves in danger..
The ending in my opinion completely ruined the film because it makes no sense whatsoever;there was absolutely no need for the reporter to protect her "source" because she was at all times fully protected by the law in any event.I give it 5 for the acting and direction but I would never watch it again and I certainly wouldn't recommend it to anyone else.Shame..
Vera Farmiga's character was probably the most interesting one, and she did a great job.while this movie is obviously based on the Judith Miller/Valerie Plame thing, the plot does diverge from that story so it isn't just a dramatization.
What is worrisome is not that people with power can many a time tend to abuse it; if they are smart enough with a focused presence of mind and just a tad a lucky, they can get away with it for the long haul.And yet, if you matter-of-factly have a real big picture mindset, if you were gullible enough to buy the story that you are your character which is defined by a set of principles, and if you have enough naiveté to act against your fears because you think you have no choice, you might end up contributing to a different manual - the one that shows you how to use these two very effectively and consistently: Integrity and Accountability.
See it if you enjoy 'Law & Order,' on TV.'Nothing but the Truth' was inspired by the story of Judith Miller, the New York Times reporter who in 2005 went to jail for 85 days because she refused to reveal her source for an article she'd written in connection with the Valerie Plame affair.
These are some of the questions that are being asked in Nothing But the Truth, the 2008 film directed by Rod Lurie.Despite the disclaimer that starts the film the story is obviously inspired by a true case and the lead character by a true person – Judith Miller, a New York Times reporter who served 85 days in prison for refusing to name her source in a case where the name of a government agent was made public.
The story tells about political reporter Rachel Armstrong (Kate Beckinsale) getting under pressure to disclose the source of the information she published about the real identity of a CIA agent, actually a whistle-blower whose revelations are covered up.
In this story, the outed CIA agent is Erica Van Doren (played by Vera Farmiga) who gets outed by reporter Rachel Armstrong (Kate Beckinsale), with tragic consequences all around.Although it's not "exciting" in the typical sense of the word, this movie is interesting - even fascinating.
The principles are important, and the performances were great - in addition to those I mentioned already, I'd note especially David Schwimmer as Rachel's husband Ray (his sometimes irritating typical hangdog look is perfect in this role) as well as Alan Alda as Rachel's lawyer Alan Burnside.The most powerful moment in the movie is the last scene, which finally reveals the source.
Apparently based on a number of true stories, but not a true story itself, "Nothing but the Truth" is a film about a reporter who outs a CIA agent and subsequently gets thrown in jail for refusing to reveal her source.With a strong cast made up of Kate Beckinsale (as said reporter), Oscar-nominees Vera Farmiga, Matt Dillon and Angela Bassett and Alan Alda and "Friend"'sDavid Schwimmer, you'd expect a pretty damn good film that probably got a fair amount of publicity.In reality, chances are you've never even heard of this film.
Even Alan Alda (minus a fine little speech before the Supreme Court) gets to basically fail in defending his client.His client is Rachel Armstrong (Kate Beckinsale) a journalist who finds herself in contempt of court for not revealing her source for a story on the outing of a CIA agent.
Nothing but the Truth is a drama that features Kate Beckinsale,Matt Dillon,Vera Farmiga,David Schwimmer,Angela Bassett and Alan Alda.
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tt0756683
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The Man from Earth
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The movie begins with Professor John Oldman (David Lee Smith) packing his belongings onto his truck preparing to move to a new home. His colleagues show up to give him an unexpected farewell party: Harry (John Billingsley, a biologist); Edith (Ellen Crawford, a fellow professor and devout Christian); Dan (Tony Todd, an anthropologist); and Sandy (Annika Peterson), a historian who is in love with John. As they are walking into the house, Edith spots an unknown Van Gogh painting of John's with the note "To my friend, Jacques Borne" on the back written in French. Once inside, his friends persistently ask John why he is leaving.Another friend, Art Jenkins (William Katt), an archeologist, and his student Linda Murphy (Alexis Thorpe), arrive and John's friends continue to pressure him for the reason for his departure. John poses the question, "What if a man, from the Upper Paleolithic survived until the present day?" They assume that John is working on a science fiction story and play along with the discussion. As the film progresses, John slowly reveals that he is the "caveman" under discussion when he mentions that he was given a chance to sail with Christopher Columbus in the 15th century. The revelation starts off with John's recollection of the terrain of prehistoric Earth and John's origins, which happens to be roughly 14,000 years ago. John reveals that he was once Jacques Borne, a friend of Van Gogh's, and he is now "moving on" since some people have noticed his lack of aging.As they take a break from the discussion, Art who is concerned about John's sanity telephones another friend, Dr. Will Gruber (Richard Riehle), an elderly psychologist, explaining the odd situation and asks him to come over right away. In the meantime, Sandy confesses to John that she loves him, but John tells her they can never be together because of his immortality. John resumes his story by stating that he was once a Sumerian for 2000 years, then a Babylonian under Hammurabi, and finally a disciple of Gautama Buddha. Dr. Gruber arrives, at which point Dan mentions that John's tale is as impossible to be disproved as it is to be verified, a response to the many attempts to poke holes in John's story by his colleagues. The discussion takes a turn into the biological and physical condition of John and the topic of death. Gruber propels the discussion deeper into the topic of death and tension rises as Gruber interrogates John on that subject. The tension culminates with Gruber pointing a gun at John. After the drama ends with the departure of Gruber, Harry reveals that Gruber's wife has passed away the day before and the profession of John's immortality had hit Gruber very hard. Art and Edith are upset with John's story, while Harry, Dan, Sandy, and Linda appear to be more sympathetic.John also mentions that he is not a follower of a particular religion, and he doesn't believe in an omnipotent God. John's audience is shocked when he reveals how he survived the crucifixion when he was Jesus by "blocking the pain", a technique he learned in India. He explains the origin of the Resurrection, Moses, and other events and people in the Bible. Tempers and emotions rise as Edith pressures John to recant his story, which offends her deep-rooted faith in the Bible. Dr. Gruber returns to the scene and apologizes to John for his "infantile behavior". As John continues to pack his belongings onto the truck, his colleagues begin to talk about the possibility of John being mentally ill or high on drugs.The discussions of John being Jesus, Christianity, and the Bible continue and Edith, unable to take John's tale anymore, breaks down crying. Emotions in the room run high. Gruber takes charge of the situation and sternly demands that John end his "high tale" and give closure to the story; he threatens John with the possibility of locking him up for observation. John apologizes to everyone and, as he doesn't want to further upset any of his friends, he tells them that all he just told them is just a story.As each of John's friends leave, John apologizes to Harry and Edith, while Art and Linda leave without many parting words. When it is Dan's turn to say goodbye, it is hinted that Dan believes John's story. After everyone but Dr. Gruber and Sandy has left, Dr. Gruber overhears John relating to Sandy some of the other pseudonyms he has used over the years. One used over 60 years ago was the name of Gruber's father, a chemistry professor from Harvard, who had left the family. Gruber, shocked and over-excited, suffers a heart attack and dies. After Gruber's body is taken away, the movie ends with Sandy walking towards John (sitting in his truck); at the last minute he changes his mind to spend some part of his life with her.
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psychological, boring, fantasy, thought-provoking, cult, philosophical, historical, storytelling
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train
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imdb
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A sci-fi film with absolutely no special effects, relying solely on the story and a room-full of actors.A highly recommended film that needs some concentration and thought to fully appreciate, and that might even cause a tear if you become fully immersed.
Jerome Bixby's "The Man from Earth" stands proudly among the best science fiction films ever made.
However, unlike "2001", "CE3K" and "Blade Runner," this little movie relies not on outstanding set design and mind-blowing visual effects, but rather on ideas; the very foundation of science fiction.I've been a fan of Mr. Bixby's ever since "Star Trek", and I must say this equals if not surpasses "Mirror, "Mirror".
Challenged me with historical facts (several of which I've since checked online, and thus far, all of which appear 100% accurate.) This is a chess game of a film, forcing the viewer not only to listen and to think, but to understand.I highly recommend "Man from Earth" to any and all who love intelligent science fiction.
If not the "best" science-fiction film ever made, Jerome Bixby's Man From Earth is certainly one of the most thoughtful.
This movie represents the true art of science fiction and I believe It will surprise allot of people on how many different ways entertainment can form itself.
The man who made sure my grandfather's story never died, Mr Emerson Bixby who I'm positive will bring us fun and interesting films for years to come..
At first i was not sure of what a was to expect from the movie but like the characters i was drawn into the story.
It may not be action packed but it makes up for this in intrigue,it kept me watching and is a must see for genuine movie buffs.The acting at the first couple of minutes had me a little worried but after that i thought the film flowed and it soon eased my worries i am notorious to friends for giving up on movies before they begin.I would not recommend this film for kids it would be more suited to anyone over the age of 25 but hey what do i know you can make up your own mind by watching it in the cinemasOverall i rated this film 9/10.
If you are looking for that, then consider a different movie.I watched this movie because of the reviews and ratings here on IMDb. This site doesn't usually let me down, but I have to say that there is no greater discrepancy here between rating and actual quality than there is with The Man from Earth.Have you ever had a professor who obviously considered himself a genius, and also considered himself funny, even though he was plainly the opposite in both cases?
It feels like it was made by an atheist who considered himself enlightened, yet the message gets lost in the abysmal story.I won't spoil anything, as if there was some way that could make the movie even worse, but the ending will either make you laugh derisively or shake your head in disbelief over how poorly done it was.The review I read said the movie was for people who are not afraid to think, yet the ideas expressed in between the cheesy one-liners were no more profound than an AOL chatroom discussion about who is greater, pirates or ninjas.
The story could easily just be two people talking, as in K-PAX, which is far better.The dialogue is awful (I thought it was the acting originally but that was wrong).
I am a fan of sci-fi and indie films, and after reading the reviews of this film i figured it was definitely worth a watch, especially with an impressive average rating of around 8.
However, on watching it, i felt obliged to sign up to IMDb, just to right the wrong that is this overrated film.It's incredibly slow-paced; the actors could maybe one day aspire to star in a low budget soap with enough lessons, and it's impressive that they considered equal rights for blind people by giving no visuals other than people sat in a cabin acting badly.The plot is pretty terrible.
I just wish of all the things for the fundamentalist Christians to attack and try and bring down they would put this film out of it's misery.Please save your time and watch the inside of your eyelids for 2 hours.
It's that engaging.Like some other people have said, once you start, you watch it till the end and goes by in a minute, it soaks you up and spits you out with a very thin boundary on your beliefs.I recommend it for anyone who wants a movie to make you think, engaging, something substantial.
suffice to say, all those intellectuals with scientific education went hysterical, blown away and shaken by what that one guy tells them without bringing any solid proof (even refusing to bring one when asked).Supposedly, those bits of the story of the life of that 1 guy should entertain me as i sit through 87 minutes of dullness, like i never read belletristic or sci-fi books.There aren't many good sci-fi movies out there but..This is not a movie.Imagine going to a museum and instead of getting to look at the mask of Tutankhamun, you get a screening of 8 guys describing to you Tutankhamon's mask in a dull manner, one of them threatening to kill another with a gun at a random point of the lecture.
Dramatic, thoughtful, insightful, an intellectual mind trip with a non-Hollywoodized killer of a surprise ending.Some people are describing Man from Earth as a "book," not a movie, because there is nothing but conversation.
Calling a brilliant film like is "the WORST movie ever made" does nothing but parade your ignorance.Judging from the majority of the comments, there is obviously a large audience out there starved for good science fiction.
Clearly they were not lost on cast, crew, their friends, their families and possibly from the looks of the discussion threads some religious cult, because whilst watchable the notion that this film deserves an 8/10 score and mention in the best Science Fiction films on IMDb is enough to get me to type my compulsory ten lines.The film is not bad in the same way that eerie Indiana on Nickelodeon when I was twelve was not bad, the acting is passable the story even verges on intriguing but at the end of it all it's predictable, rhetorical and cheap.It's not like we don't have plenty of excellent low budget productions that attempt to be clever and even pull it of well.
You can of course try this, just don't be fooled into thinking it's a better use of your time than watching any of the films truly deserving of such credit..
I agree with several other commenters that the cast of characters brought out the discussion very well.To watch a movie that presents an alternate view point to so many closed minded "Christians" put a smile on my face.
I doubt that this movie will "open your eyes" to a new way of thinking or spark a revolution in your own mind but I can guarantee that even if you hate this film, you will still be talking about it when it is done, especially if you watch it with someone else..
Because "The Man From Earth" is all premise and no film.It's a fantastic, thought-provoking idea.
I really can't...I do not believe in wasting my time writing bad reviews, but good Lord, I feel a need to warn people about this movie.
I really feel like to enjoy this movie, you really don't have to have much taste in film in general.
The first thing you should know before watching this movie is that the IMDb reviews here are flooded with 9 and 10 ratings from one-time reviewers.
The acting was pretty bad, the story was ridiculous really and there was nothing really to redeem the film save that you were wondering what was going to happen, and in the end nothing of interest did happen.
I found myself bored most of the time as the ideas which were being discussed (which apparently others feel were quite deep) were really, in my opinion, just plain silly and in no way believable even if you accept the basic premise that this man has lived such a long life.
I am completely staggered that people have rated this movie so highly - and irritated; having wasted the time which I gave this film.
It is bad because EVERYTHING about it is bad - there are simply no redeeming features - seriously, even if I live a million years I will still begrudge the fact that a hour of my life (I couldn't watch more) was spent on this film..
I've seen much more creative and intelligent and work from high school students' group projects that were written in a week and shot with a cell phone.This was like listening to someone that has had one AP class in world religions, and now thinks that he has all the answers to humanity's complex questions tied up and resolved.
Yes, the premise is interesting, but if (like me) you like sci-fi you would be better off READING A BOOK and not watching this film.
As is frequently stated throughout the movie, "All of this could have come out of books!" (And how surprising, since they are all academics.) The film is not as anti-Christian as some reviewers would have you believe, unless you are a terribly sensitive Christian.
People hoping for an intellectually challenging movie, good science fiction, or even a mildly enjoyable movie should not watch 'The Man from Earth'.The central concept surrounding the main character does not succeed in becoming more than a gimmick.
Some reviewers have pointed out the strength of the concept is its ambiguity, but when one sees the amount of effort made by the writer to uneasily force this uncertainty unto the story, this argument can be quickly discarded.The characters portrayed are caricatures, which is an insurmountable obstacle in a movie in which eight persons are constantly in one room.
Frankly I think this is the kind of movie that some people embrace or overrate because of its attempted "intellectual nature," ie as a way to go "see, it's intellectual and I like it, so I'm intellectual." The fact that the author was a popular sci fi writer and this was his last work (completed on his deathbed) might not have hurt either.
Having read a review of this movie on IMDb I was rather keen to take the time to watch it.
The acting is not of a high quality, the characters are your usual US / TV movie stereotypes (Professors / Teachers etc, the young blond girlfriend).One aspect of the film did stay with me, only due to the fact it's a pet hate of mine.
This is the first comment i have ever made on any movie on the Internet but i think its important to support well made, intelligent low budget films as opposed to thoughtless blockbusters churned out by the Hollywood machine.
I liked The Examined Life and My Dinner with Andre, I like independent, low budget films.This movie did not live up to expectations.
Anything that looks like a well built historical-sci-fi script will rate well, even if the movie is just a piece of crap.
this is the worst movie i ve ever seen (Regie, Acting, Story, Script!).
this is the worst movie i ve ever seen (Regie, Acting, Story, Script!).
His father wrote this story in the late 1960's He completed the screenplay just before his death in April of 1998I love Sci-Fi and Indi films and this movie was no exception.
Written by Jerome Bixby, who wrote Fantastic Voyage, four classic Star Trek episodes and one unforgettable Twilight Zone episode ("It's a Good Life", )The Man from Earth's plot concerns a goodbye party for a college professor who reveals that he is an immortal who is more than 14,000 years old.It is a brainy film, without all the million dollay effects you see today to drive the film leaving it up to the story and actors, like the good old days.It's one of the best Indi films i have seen in a while.
You'll feel 14000 years old by the time you've watched this film..
Ultimately this is a simple storyline made worse by poor acting, in a dismal setting, (a cabin) with an obviously fake 'real' fire, presumably put there for continuity reasons...You will feel nothing for the characters, they create no atmosphere at all and if you manage to fight your way through the tedium to the 'massive' ending without strangling yourself you'll be disappointed.If it wasn't for the religious element it would not have got peoples attention.
For this film to work it really needs to be a lot more thought-provoking and ground breaking intellectually.As a historian I loved the idea and was thrilled to see it being played out.
David Lee Smith's character, John Oldman, lived 40,000 years and yet the only details of that incredible story he re-tells are of being Jesus and his convenient friendship with Van Gogh which he never describes.This film could've been a beautiful and amazing insight into human history and into the human condition and all it turns out to be is an agnostic vehicle.I rated the film 7/10 as the idea is wonderful, the dialog is decent and the simple presentation is daring and well-done.Where the film fails is in the poor cinematography and lighting.
In contemporary films, we've been seeing more and more use of special effects or production techniques to overcome the shortcomings of the basis of every movie: the story.
It was surprisingly refreshing to come to this movie without any expectations and be completely astonished by the captivating and well-thought-out storyline.The Man From Earth uses no gimmickry, no special effects, no surprise production techniques and a cast of sparse actors to create an experience that is quite moving.
One of them thinks he is a caveman.The actors are horrible, the subject is not particularly interesting, the discussion is not particularly intelligent.I could not watch the entire movie, it was too boring and idiotic.Filming the discussion of a bunch of stoners would have been more interesting than this.
I watched this film on the strength of the other reviews here, thinking they can't all be wrong but OH MY GOD!
Never seen a movie that's shot in one room,yet gets you so interesting that you want to watch over and over again .
A film that is literally a group of people talking in a room, it never fails to hold your attention as we traverse the life of an immortal man, born in the stone age, in the presence of professors in Biology, History, Archaeology, Psychology, and a Christian Literallist.The only film I'd ever give a 10/10 for.Now, stop reading about it and go watch it!!!.
However, I am sure they succeeded at converting some of the general masses to atheism - purely through rhetoric and false intellectualism, but void of substance.Do not get me wrong, I love this genre of movies and science fiction in general, but without any action or good acting the movie was relying 100% on the plot and writing, which turned into historical and theological comedy..
Anything would appear ingenious in comparison with this film's screenplay or casts' performance.I find it very hard to believe almost 30 000 people have voted for this movie with it ending at 8.1.
We need more films like this - it just shows that you don't need big budget special effects to create fantastic science fiction.
The characters often act and react in contrived and incoherent ways, taking away from the credibility of the story and the immersion of the viewer.For those who remember the "The Twilight Zone", to me this movie felt a bit like an episode of that (if better and a bit more intelligent) - exciting for children, but not very captivating for mature viewers.
The movie is simply this man, John, answering question after question and telling stories about his long, event filled life due to the his friends not believing him.
plot holes everywhere for a movie that tried to sound smart and believable,not to mention the bad acting.i watched it until the end,because maybe there is some kind of twist or anything that made this movie so well received and praised by other IMDb users but i should've stopped.
I am really astonished to see the ratings here on IMDb, as this movie is nothing more than a high-school project that was not stopped in time for good.
It works more or less like this: A guy tells his friends that he's 14.000 years old and then they spend the rest of the movie asking him questions and he tells them stories about his life.
If you are a sci-fi fan or if you're looking for a movie that actually makes you think, then do not miss this.
I was longing to watch a movie like this for such a long time!
I fell in love with the way the story was told.The IMDb rating is actually pretty good, I would give this movie a 10/10 every time, cause no matter how many times I watch it, the story just grows on me.
We delayed things tomorrow and nothing bad would happen, in all ,we can wait, just let time do it.This film might have religious points of view which I am not familiar with, and someone may disagree with those things, but using the imagination as we are watching the movie over the assumption of immortality can bring us lots of fun.
Nice story, didn't feel like a movie.
It's a tale told verbally between friends and slowly as the tale unfolds you find yourself in the room with the characters on the edge of your seat wanting to know more.I encourage anyone who likes movies that make you think to give this one a go..
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tt1440292
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Submarine
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Oliver Tate (Roberts) is a 15 year-old Swansea boy in 1986 who is convinced that he is an unrivalled genius who is widely loved by his classmates, when in fact he is pretentious and socially alienated. He is in love with a mischievous but straight-talking girl named Jordana (Paige) in his year, and goes as far as bullying an overweight classmate to impress her. One day she invites him to meet secretly after school, instructing him to bring a Polaroid camera and a diary. She takes pictures of them kissing, but it turns out to be a plan to make her ex-boyfriend jealous. The plan backfires, the two are publicly bullied, and Oliver is beaten up for refusing to call Jordana a massive slut. Walking home after their ordeal, she takes his hand and they kiss, and Oliver quickly establishes Jordana is his girlfriend.At home, Oliver becomes concerned that the relationship and sex life of his parents is falling apart and that his dad (Taylor) is depressed. Worse yet, new age guru Graham (Considine), an ex-boyfriend of his mother's (Hawkins), has moved in next door, and his seductive and flirtatious character is arousing Oliver's suspicions.Meanwhile Oliver's relationship with Jordana is growing, but he learns that her mother has developed a potentially fatal brain tumour. Oliver considers poisoning Jordana's beloved dog to make the death of her mother less painful. Later, he attends an early Christmas dinner at Jordana's house and he witnesses her father break down. Unsettled, he decides that the Jordana he loves is at risk because the emotional events surrounding her will "make her gooey on the inside". He cuts off contact with Jordana because he thinks it will make her ordeal easier, an example of his unintentionally cruel and incompetent social methods.Suspecting his mother and Graham are having an affair, and seeing that his father is depressed Oliver attempts to repair his parents' relationship. One night he finds that his mother and Graham have gone to the beach. He tracks them down there, and whilst searching for them on the crowded shore, sees Jordana with a new boyfriend. Heartbroken, he heads home, but on the way back, sees his mother with Graham, and assumes the worst. Enraged, he breaks into Graham's house, gets drunk, and commits minor acts of vandalism. When Graham comes home, he finds Oliver but returns him home with minimal fuss. The next morning, Oliver awakens to see that both his parents aren't angry with him, and are reconciling, although his mother admits that she gave Graham a handjob.However, Oliver is still distraught about losing Jordana and is unable to obtain an audience with her to explain his actions. Frustrated, he sulks for weeks, until he sees her on the beach. Running towards her he explains his actions, and learns that Jordana has broken up with her new boyfriend. Whether the young couple gets back together is left open.
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psychological, entertaining
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train
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imdb
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There's nothing better than walking into a screen to see the debut film by a writer and director – one that you have only heard very little about – and walking away 90 minutes later feeling more moved, entertained and uplifted by a movie than you have been in years.Perhaps cinema-goers in the mid 1990s had this experience upon seeing Wes Anderson's first film Bottle Rocket.
However, for those of you who, like me, were too young to witness the birth of these auteurs of independent cinema then you don't have to worry, because Richard Ayoade's film Submarine is almost as good as both of them put together.It tells the story of Oliver Tate who is caught at the junction between childhood and adulthood as he struggles with his first feelings of love, desire, heartbreak and must choose what path he wishes to take that'll define who he is for the rest of his life.Sure, it may sound somewhat similar to all the coming-of-age stories that have hit the cinema recently, but what makes Submarine so special is Richard Ayoade's ability to capture the essence of growing up; the joy, the optimism and the tenderness alongside all the angst, confusion and depression too.
I defy anyone to not see themselves plastered up on that silver screen in the film's opening as Oliver fantasises about the adoration and attention he'd receive if he died.The ups and downs of this British comedy are mainly due to Ayoade's wonderful screenplay and direction that are touching yet never slip into sentimentality - he often playfully pokes fun at it in many cases – but what also deserves credit are the poignant score by Arctic Monkey's singer Alex Turner, the cinematography that effortlessly shifts between comic framing and beautiful imagery and the note-perfect performances by the entire cast.Craig Roberts plays Oliver Tate in a star-making performance that will surely see him become one of Britain's finest young actors in the next few years.
It's essential to the story that she is a mystery to Oliver for much of Submarine's opening half, only revealing the reasons why she is so rebellious, unromantic and mischievous in the final act, and Page brilliantly portrays this with a careful mix of enigma, seductiveness and humanity.What also excels Ayoade's film from being just another British coming of age story is the stylishness of his direction.
Oliver Tate (Craig Roberts) is like a young, Welsh hero of a Wes Anderson film.
Lloyd is like a grown-up, Welsh hero of a Wes Anderson film and I loved how they included the father of the protagonist as a main character and showed that although he was more mature, still not any more in tune with the ways of the world around him.It has some slightly dark twists, but "Submarine" succeeds because it never lets up the humour or the quirky tone.
I am normally a bit scared of coming-of-age movies, mainly because of potential cheesiness and annoying child actors but Submarine managed to an accurate, funny portrayal of the hell of teenage UK school life.
His father Lloyd (Noah Taylor) is so passive and uncaring that he is practically a zombie, and so Oliver takes it upon himself to rescue his parent's broken marriage whilst holding his own fragile relationship together.The film arrives amidst critical praise and festival word-of-mouth, and the promise of a real future talent in director Richard Ayoade.
It's a great little trick and you have to admire the film's refreshing self- assurance.The film is also very, very funny, with Craig Roberts proving an extremely talented comedy performer, all pale-skinned, wide-eyed awkwardness, and a pronounced, high pitched voice that almost resembles many of Ayoade's TV characters.
Jordana, with her eyes closed waiting for the surprise, opens them and deadpans 'f****n' hell, you're a serial killer.'A real gem, and a film that definitely introduces the potentially massive talent of director Richard Ayoade, star Craig Roberts, and Arctic Monkeys frontman Alex Turner, who performs the wonderful music.
In one such hypothetical situation he sees Jordana (Yasmin Paige) by the shore and runs to her, meanwhile his narration explains that it isn't her standing there, a stranger turns around.Submarine is a simple coming of age story, without the solid plot of the British film veterans.
He spies on his very strange mother & father and tries to keep a relationship with his girlfriend, Jordana(Yasmin Paige) going with very mixed results.Writer-Director Richard Ayoade does a great job of keeping the pace moving with no wasted moments & a dialogue that is both witty & believable at the same time.
This is why Submarine is so unique and un- flinching in its presentation, it was made not to dictate but to reminisce, to inspire, to harness belief.As previously said, this is not a romance film, nor is it a love story, it's a charming tale of a young boy's brush with its radiant thorns and the repercussions it has within his mentally aged mind.
His light-yet-real approach to Joe Dunthorne's novel is simply majestic to watch, his artful touches shining through the lens and his playful British humour echoing through the words.It is both the fantastic performances and Dunthorne's sweet, sincere characters that the film rests upon, like an unmovable block of unbroken laughter, dramatically and comedically they are perfect.
Craig Roberts' portrayal of the odd and pretentious teen Oliver Tate will surely never melt the hearts of the audience (his creepy involvement with his parents' relationship giving him eerie edge) but will capture their thoughts in a state of nostalgia and inspiration.
His heartfelt voice-overs fill the picture with truth and his exaggerated weirdness is a sign of humanity and in-difference among the many, highlighting his alienation and truly bringing him into the centre of the entire story, allowing him to never be over-taken by Sally Hawkins' emotionally forgiving mother or Paddy Considine's deluded dancer.There are no heroes within the piece, but a horde of under-appreciated and rarely recognised talent that fit so beautifully together like an artfully complacent jigsaw.
He truly has created something wonderful.Submarine is a unique and telling tale of teenage life, possibly the most truthful ever filmed, and Ayoade's fitting involvement allows it to be carefully broadcast into the minds of the many, un-spoilt and emotionally aware in its presentation.
It's appeal will spread from similarly precocious teenagers to nostalgic seniors thanks to the not-to-distant-past setting, yanking away the technological nightmares that lay within modern romance and leaving behind the bare-bones of true life with love.In short, it's a triumphantly humorous and truthful take on young life with artful touches and is the best, most honest British film for a long, long time..
While i appreciate the attempt to create another outsider hero in that mold, it was a little distracting to keep thinking of other movies while i was trying to get caught up in this one.Craig Roberts and Sally Hawkins and Noah Taylor all do terrific work here tho it should said and you never not believe that these three are in fact a family and that it would be a sad thing indeed if these three should split up or that something should split the three of them up.Again the film is beautifully shot--almost worth seeing just for some of the cinematography and some of the camera work alone.
Ah maybe its just my age--if i were maybe ten years younger i might've swooned heartily at this one, or maybe its just the fact that i'm not as able to relate to the main character as i once might have been able to--or maybe its the kind of thing where you need time and distance to let it wash over you so that it grows into a classic--which is what i think will happen, if not for me then for others who will gladly take the entire movie to heart and treasure it.
Ayoade works to emphasize character facial expressions, in addition to his characters becoming sole subjects of a scene as they discuss the film's events or narrate certain parts in a manner that breaks the fourth wall.The result is a quaint comedy-drama that unfortunately succumbs to its identity crisis and its desire to try and find a path before it figures itself out, much like its main character, Oliver Tate (Craig Roberts).
Oliver is also concerned with his parents' disintegrating marriage when he notices his father's (Noah Taylor) increasing disconnectedness and his mother's (Sally Hawkins) brewing relationship with a new-age guru (Paddy Considine) that she dated back in school.Oliver is very demanding and blunt, with a desire to use people in his circles as pawns for his greater good without even really knowing it; he takes "having all his ducks in a row" to a new level.
Having said that, the relationship he crafts with Jordana throughout the course of the film is a precious one, as is much of the film (until heartbreak begins setting in, and Oliver begins writing notes to himself that will make anyone who has went through heartbreak shatter a bit inside).Submarine is crafted in that indie movie light that emphasizes the quirky and the largely improbable or eccentric.
Oliver's relationship with Jordana was kind of unique, but still nothing too special.The film really falls apart when it comes to the supporting characters.
If you are into off-beat films then Submarine should be a film that you make time to see at the cinema.The film follows the growing pains of Oliver Tate (Craig Roberts) who is a rather awkward teenager at school.
Being so far away from my school years that I remember Betamax video players and a world without Instagram, I'm not that into teen love stories, but I was more than happy to give 'Submarine' a try, based on the fact that it was directed by the (awesome!) Richard Ayoade (best known for the 'IT Crowd').
Not at all the sort of movie that one would expect from Ben Stiller's production company.In addition to Craig Roberts and Yasmin Paige in the lead roles, the cast includes Noah Taylor (Game of Thrones), Sally Hawkins (The Shape of Water) and Paddy Considine (In America)..
While I didn't quite find what I was looking for, Submarine prove itself to be a very enjoyable movie.The story follows the teenager Oliver Tate (Craig Roberts), a british high schooler, who set two objectives to achieve: firstly, to lose his virginity, and secondly, to fix his parents deadbedroom-syndrome and with it, their marriage.
I felt like it was the main reason the marriage plotline was a bit stale for me.Submarine could have been one of my favorite movies, had I seen it in my teenage years; as an adult, it is still a very entertaining and refreshing take on the coming-of-age genre..
Richard Ayoade's good, if slight, film is about a Welsh teenager (Noah Taylor) experiencing his first taste of adult responsibility by both falling deeply for a quirky classmate (Yasmin Paige) and trying to avert the collapse of his parents' marriage.
Led by a wonderful cast and witty directing it is a greatly enjoyable movie.The film centres on 15 year-old Oliver Tate who feels isolated from the rest of his age group due to his quirky habits.
The unusual use of colour, frequent cuts and shifting narrative all come together to give the film a quirky style and in some ways reflect Oliver's different view upon the world itself.
Or, at the very least, it is an English film about Welsh folk.The centerpoint (or, I suppose, centrepoint) of this coming-of-age story is Oliver Tate, a 15- year-old boy in the throughs of adolescence.
This was a truly interesting British surprise and one of the most original and refreshing thought-provoking movies made on the ''coming of age'' subject.With large indie touches and a comical-dramatic charge, accompanied by a dazzling photography and a delicious soundtrack, the result is an alternative piece of cinema that explores the teenage era, leaded by a hauntingly mature Craig Roberts.
The film deals with Oliver's life at school dealing with bullies, trying to be popular, maintaining a good relationship with his new girlfriend as well as what he considers to be saving his parent's relationship and marriage.
I liked how Oliver's character had an unusual teenage life and that is part of what makes this film so interesting, but also the similarities to adolescence and school that we can all relate to.
15-year-old Oliver Tate (Craig Roberts) has two objectives: To lose his virginity before his next birthday, and to extinguish the flame between his mother (Sally Hawkins) and an ex-lover who has resurfaced in her life.Other reviewers have compared this film to "Rushmore", which I think is a bit off the mark.
Also to make matters worse his mother's old flame has just moved next door and threatens to end his parents already rocky marriage.Submarine is the wonderful film debut from British director Richard Ayoade (Moss from The IT Crowd).
The film is oddly hilarious and although sounding as though it's going to be the usual clichéd coming of age story, Submarine saves itself from this dreaded common ground by it's refreshing sense of truth to the thoughts and feelings of adolescents around the same age, and definitely marks Richard Ayoade as a director to watch.9/10 http://tonicleap.wordpress.com.
This is a piece of genius.I saw Richard Ayoade's name as the Writer/Director of this film, and being a huge fan of his work from shows The IT Crowd and The Mighty Boosh, I had to take a look.It perfectly captures that age when you are exceedingly awkward and odd, and feel like you are the only person going through it.
However, the recurring picturesque shots of the Welsh coastline at sunset may denote that beauty, like Jordana, is tangible and real.Almost every review of Submarine contains the word 'quirky' somewhere in its description and whilst the film does have its fair share of unusual twists and unexpected snatches of dialogue it deals with a very familiar almost clichéd set of characters and circumstances.
This was Richard Ayaode's directorial debut and he has done a very good job of adapting the novel.This film perfectly suits his style of humor.Craig Roberts is very talented and plays this role of dark teenager very well.
I doubt somehow that people will be remembering "Submarine" with the same fondness 30 years hence.It's not a bad film, and I think Richard Ayoade shows promise with his directorial debut, but for me, it's eminently missable, I'm afraid..
Using some interesting techniques that never snap you out of the idyllic setting the warmth of the story and the characters (particularly Paddy as guru Graham Purvis who is clearly just having fun with the role and Noah Taylor who managers to portray so much with so little as Oliver's dad Lloyd) propel the film along with expert pacing.
Certainly a young star to keep an eye on, it was refreshing to see an English coming of age story that didn't go down the typical Skins style route.Young men and old men alike will recognize parts of themselves in Oliver, his geekiness is not cheesy at all and he is one if the most likable characters to come along in film in a long time.
The storyline isn't particularly original but it does put it's own quirky spin on a familiar story.I particularly enjoyed the blossoming relationship between Oliver and Jordana, Jordana being the slightly unpopular girl at school who has a liking for bullying those less fortunate in school, she almost becomes dislikable, but in the end you really don't mind.All in all this was an enjoyable little film that I hope gets the recognition it so well deserves..
He appears once again in the person of 15-year-old Oliver Tate (Craig Roberts), a confused, self-involved, but ultimately sympathetic teen in Richard Ayoade's charming and stylish directorial debut Submarine.
I got the feeling the director enjoyed the set-up of the film but then didn't know how to finish it off, nor why we should care about the two protagonists, who at times played it like Hindley And Brady: The Early Years, in terms of their 'quirky' lack of compassion.
The film is helmed by Craig Roberts, as the main character Oliver Tate, a geeky 15-year-old who goes to a state school in Swansea and lives with his mother and father as an only child.
It is indeed a very unique film, and a clever one; and it does to a good job setting itself apart from just about anything else.Filled with fantastic performances, namely Craig Roberts, well- written comedy and drama, likable characters, a gripping plot and interesting quirks, this film is proud to be British, and it's great.
Submarine (2010), is a foreign film directed by Richard Ayoade, starring Craig Roberts.
The film is at the basic level a coming-of- age story about a 15 year old boy named Oliver Tate who needs to deal with his infatuation towards his classmate Jordana on one hand,and also somehow save his parents' marriage from falling apart on the other.After watching both the films that Ayoade has made as of now, I have no hesitation in saying that he is a genuine visual artist.
The supporting actors namely Sally Hawkins,Noah Taylor and Paddy Considine are also good.I think the main theme of the film is the state of depression that Oliver and his father find themselves in.
Submarine documents the coming of age story of Oliver Tate, who is trying to lose his virginity before he turns 16 and keep his parents from splitting up.Although this is Richard Ayoade's debut feature film it is incredibly cinematic, with its picturesque shots of rural Wales and the use of Super-8 mm film, there isn't much Ayoade is afraid to do.
15-year-old Oliver Tate, Submarine's protagonist, played by Craig Roberts is the kind of boy wallflowers dream about.
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5 bambole per la luna d'agosto
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At a desert island retreat owned by wealthy industrialist George Stark (Teodor Corra), a group of people have assembled for a weekend getaway of relaxation. Foremost among the guests is Professor Gerry Farrell (William Berger), an inventor/scientist who is badly in need of a vacation. While the first night passes uneventfully, with the group sitting around the fireplace at Stark's large seaside house singing folk songs, Farrell is enraged to discover on the next morning that Stark, together with several of the guests, has planned this entire getaway as an opportunity to coerce him in to selling his latest invention: a formula for industrial resin.Farrell is immediately established as a decent man, and although his marriage to his wife, Trudy (Ira Furstenberg), appears to be content, she is actually involved in a secret lesbian affair with Stark's artist wife Jill (Edith Meloni). Actually, none of the relationships are particularly healthy. Stark's business partner, Nick (Maurice Poli), is verbally abusive to his coquettish wife Marie (Edwige Fenech), but does not object to her sleeping with other men, one of whom is the houseboy and manservant Charles (Mauro Bosco). Stark is less of a husband to Jill than he is a business manager. Stark arranges for Jill to have her paintings and artwork publicly displayed and is also a source of constant criticism. The sole happy couple appears to be Nick's co-worker Jack (Renato Rossini), and his wife Peggy (Helene Ronee). Also among the guests is Isabelle (Justine Gall), a young teenage girl who seems to be in Stark's care while her parents are away.As Stark, Nick, and Jack badger Farrell for the secret of the formula by offering him $1 million each from their Swiss bank accounts, Jill makes a horrible discovery on the beach: the dead body of Charles. Having already sent the motor launch away to prevent Farrell from leaving, and with the radio strangely out of commission, Stark has no way of contacting the mainland. So, Charles body is moved into a large walk-in freezer where it hangs with other 'chunks of meat'.A little later, Farrell himself is the next victim. While he is walking alone on the beach, a sniper shoots him down. Trudy and Jill, walking hand-in-hand nearby, hear the gunshot and find Farrell's dead body and run way to tell the others. But the sniper is revealed to be Isabelle, who places Farrell's body in a rowboat and pushes him out to sea.As tempers flare to Farrell's killing and 'disappearance', the killings then escalate with alarming regularity. Peggy, standing on the balcony of her room, gets shot to death by an unseen assailant. Jack arrives on the scene first, and accuses Stark of being responsible, which he denies. Soon after, Marie turns up dead, having been tied to a tree with a knife sticking out of her chest. Then, Jill turns up dead in her bathtub after being electrocuted. Each of the bodies are placed in the freezer. Rather than risk anymore bloodshed, the four remaining survivors of Stark, Jack, Nick, and Trudy hold up in Stark's living room for the night. In this way they believe, the killer cannot strike without revealing him or herself. After bickering with Trudy, Nick storms off into the night. The next morning, he too is found dead, and his body is placed in 'cold storage'.Up to this point, Stark is the most possible suspect when he sneaks out of the house and uncovers a motorboat which will take him to the mainland. As he returns to the house to get supplies, Jack confronts him where he reveals himself to be the killer, having killed off everyone to steal the $1 million cashiers checks from their bank accounts. Before Stark can to anything, Jack shoots him dead. But its revealed that Jack has not been acting alone. After killing Stark, Jack meets in the freezer with Trudy who is the real mastermind behind the whole scheme. Trudy had met with Jack before arriving on the island and offered to kill everybody so she can steal the million dollar cashier checks from Stark, Nick, in order to hand him over the formula for the resin. Jack even was forced to kill Peggy too because she got too close to discovering his plan. Jack then offers to hand Trudy over the three $1 million cashier checks, as she produces the microfilm for the resin formula. But Trudy tries to pull the same trick on Jack, by shooting him in the head, and stealing the three million dollar checks for herself. But having anticipated Trudy's betrayal, Jack manages to shoot her with his gun before expiring. At this point, Isabelle, who had been hiding in the secret passageways in the house through most of the movie, enters the freezer where Trudy and Jack killed each other, and calmly collects the three checks from Trudy's handbag.Epilogue. In an incredulous, off-the-wall twist set months later, as well-dressed Isabelle arrives at the state prison where Farrell is incarcerated. It turns out that Farrell, the apparent 'hero' of the story, actually stole the invention of the resin himself, murdering the true inventor in the process. Together with his wife, Trudy, it was Farrell who concocted the whole scheme of murder and duplicity for the sole purpose to steal Stark's, Nick's, and Jack's money. But Farrell's treachery has not gone unpunished. In their conversion on the island earlier, Farrell had met with Isabelle and had her shoot him with a drugged bullet to make it appear that he would be dead to get away from the others, whom he duped Isabelle into thinking were trying to kill him. But after shooting and drugging the professor, Isabelle pushed him out to sea in an open boat hoping someone would rescue him. Unfortunately for Farrell, his rescuers ended up being the police on their way to Stark's island and, unknown to him, the drug Isabelle used on him made him so delirious which made him confess his crimes of murdering the inventor for the resin and orchestrating with Trudy, who subcontracted Jack, to murder everyone on the island for the money. Isabelle runs off with the $3 million, leaving Farrell behind on death row to be hung for his crimes.
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cult, horror, murder
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train
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imdb
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Art direction and cinematography are as distinctive as any of Bava's other giallo films of the period, but the garbled script to what is essentially little more than a standard body-count movie really lets this one down.
The late Italian director Mario Bava (1913-1980) made a handful of genuinely great films, like Black Sunday, Lisa and the Devil, and Blood and Black Lace, along with many that almost transcend kitsch, i.e. Diabolik and Black Sabbath, and some that are simply wonderful kitsch.
When he refuses to sell the formula, everybody on the island starts dying one by one (a la Agatha Christie's Ten Little Indians,) the bodies literally piling up in the meat locker, just one example of the hilariously dark humor Bava brings to this dubious premise.Bava made no bones about this movie being a paycheck job, or of his shame for it - the script was atrocious, the producer refused to let him have any say in the casting, or let Bava use most of his usual crew, and budget cuts forced the director to have almost every murder take place offscreen.
But Bava's films always had a misanthropic wit(except Black Sunday, with its clear-cut good versus evil scenario,) and in the case of "Five Dolls For An August Moon," it almost seems like the director's contempt for the project actually made the end result funnier and more brazen than expected.
Of course he doesn't want to sell at any price and this leads to resentment and veiled threats which leads to all on the island being killed off one by one, in this "Ten little Indians" type thriller and of course there is a storm brewing and the phones are down, I think you get the picture
.Now how do I review a Bava film without mentioning "Stylish" or "Superb use of Colour"
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I don't think I can really,but I will try
..This films theme is reminiscent of Bava's more famous work Bay of Blood, with its high body count
.it has a funky little score too, very 60's
..the film at times tends towards black comedy with the body bags swinging in the freezer, I have to say it made me laugh and as with all Bava films the women are quite nice to look at
in particular Edwige Fenech a lady I have heard a lot about and I can see why
.all in all an enjoyable little thriller, not Bava's best work but certainly worth a look.
Still, it does have some nice macabre touches that would have graced his best films, such as the repeat scene of the murder victims hanging up in the freezer wrapped in plastic; or the shot of crystal balls rolling en mass down a set of stairs and into a bathroom leading us to yet another dead body.
George Stark (Teodoro Corrà), a wealthy industrialist, invites several business friends and their partners to his island retreat for the weekend, with the intention of convincing scientist Gerry Farrell (William Berger) to sell his secret formula for a new industrial resin.
Philanthropist Gerry isn't interested in making a deal, intending instead to make his invention public, a fact that forces one or more of the guests to turn to murder.The general consensus seems to be that this is one of director Mario Bava's weakest efforts (even Bava himself was reportedly not fond of the film, being contractually obliged to direct); I can't really comment much on that since I've seen too few of his films to compare, but what I can say is that, even though I found the twists and turns of this Italian variation of Agatha Christie's Ten little Indians virtually impossible to fathom (especially the twist ending), there were still enough positives to make it worth a go.As with many a giallo, the female cast are very easy on the eye, with genre regular Edwige Fenech stripping off whenever possible as always.
But against Farrell's wishes, the group goes behind each other's back to obtain information on Farrell's chemistry ideas and soon the guests and residents start turning up dead one by one as Stark and Farrell must rally the group together to determine the identity of the killer (or killers) despite nobody trusting anyone.Most people I know would list Five Dolls for an August Moon as among their least favorite film that Mario Bava made.
One of the few films directed by Italian horror maestro Mario Bava that I hadn't seen, as well as a film starring my latest object of cinematic lust, Edwige Fenech, 1970's "Five Dolls for an August Moon" was one that I eagerly popped into my DVD player at home.
The wealthy investor George Stark (Teodoro Corrá), his partner Jack Davidson (Howard Ross) and their business friend Nick Chaney (Maurice Poli) invite Professor Fritz Farrell (William Berger) and his wife Trudy Farrell (Ira Furstenberg) to spend a weekend with their wives Jill Stark (Edith Meloni), Peggy Davison (Helena Ronee) and Marie Chaney (Edwige Fenech) in a remote island that belongs to George.
Then, each guest is murdered and the survivors bring the bodies to the freeze and try to discover who might be the killer."5 Doll for an August Moon" is a weird, flawed and silly black humor comedy of Mario Bava.
It is painfully obvious that Bava feels nothing for this film and despite a strong cast, a great soundtrack, and some fine scenes, FIVE DOLLS falls flat.A group of rich swingers take a vacation on a secluded island in a nouveau riche, futuristic mansion.
A few good sequences include the multiple bodies hanging in the meat freezer, Edwige doing a sultry dance in the opening number that results in a "sacrifice", Edwige lounging on a rotating bed, and a fight scene that results in many marbles tumbling and rolling down a spiral staircase (REALLY gorgeous scene!).FIVE DOLLS is a film I would only recommend to hardcore Bava or Fenech fans.
Mario Bava himself repeatedly stated that this is the worst film he was ever involved in, so luckily enough there still are some loyal and naive fan-boys (like myself) to reassure the public that "5 Dolls for an August Moon" nonetheless remains a worthy purchase and definitely better than your average horror/mystery from the early 70's.
The dialogs are weak yet almost the entire film is foreseen of a jazzy soundtrack, which actually makes "5 Dolls for an August Moon" Bava's most swinging horror movie (the über-cool "Danger: Diabolik" is falls into a class of its own).
Mario Bava is a great horror film director, but this is not one of his best works.The plot of this movie is along similar lines to that of one of his masterpiece's, "Bay of Blood", in that it revolves around money and a murderer.
What follows is a crescendo of murders as one by one the friends start turning up dead and the remaining survivors then don't know who amongst is the killer and therefore who to trust.Unlike a lot of Bava's other work; this film features little in the way of suspense or atmosphere, and the music isn't always as good as Bava's fans have come to expect.
By the time the film reaches it's climax, it doesn't really matter who the murderer is, as the intent is obvious from the start and the characters are largely samey and therefore uninteresting, and that's not a good way for a movie to keep the viewer's interest.This film isn't especially bad, but it's very average and doesn't meet the high standards that Bava has set for himself with his earlier (and later) works.
Just like my feet, so do the morals of 100% of the characters in this film - A bunch of beatnik types on a remote island courtesy of George Stark, an uber wealthy guy who's brought these people here in order to obtain a new chemical formula discovered by William Berger.Being the sixties, everyone's a bit groovy and all into each other's pants - Maurice Poli's wife Edwidge has huge Robert Smith circa 1984 hair and gold lame trousers and loves dancing in her bra and sleeping with the guy who owns the yacht.
Bava's one of those special cooks who just has a natural touch that makes everything taste everything better than anyone else.When not cooking, Bava made some of the best Gialli too, thanks to his ability to film things from unusual angles, fitting all the characters in one scene in one shot, and throwing in a curveball or too to totally confuse the viewer (that comes an hour into this one, where I thought the story had just forward to the end for some reason).
As innovative as Bava was (and still is), his filmography contains a few duds, and Five Dolls for an August Moon is one example.Taking inspiration from, of all people, Agatha Christie and her novel Ten Little N*****s (now commonly referred to as Ten Little Indians, understandably), Five Dolls groups a bunch of wealthy people together at a weekend getaway owned by George Stark (Teodoro Corra).
Despite being a fan of Mario Bava and have loved some of his other movies such as 'Black Sabbath', 'Blood and Black Lace' & "A Bay Of Blood', I can't say that I liked this one however as I found this quite tame and very disappointing and just tends to limp from scene to scene without much thought or logic, even Bava himself said that this was his least favourite movie and considering he had no creative control over this project, it was a surprise that this wasn't a total disaster.The plot centres around wealthy businessman George Stark who gathers a group of friends to his island retreat and hopes to gain a secret formula from one of the guests who happens to be a scientist for his own gain, but soon things take a turn for the worse when people begin to turn up dead in true whodunit style.Obviously this takes inspiration from the Agatha Christies 'And Then There Were None', only adding more sex and craziness to the proceedings, as well as blending the novels mystery and suspense elements to the mix.
Plus it was nice to see Italian goddess Edwige Fenech in her debut, but she isn't given anything to do and even she couldn't save this mess.So in all I wouldn't really recommend this unless you're fan of Italian thrillers or Mario Bava, but otherwise it's fairly routine murder mystery fodder and the perfect example of style or substance..
One of them, a chemist who has just created a revolutionary resin, is propositioned by his counterparts for the formula, and within a mere twenty- four hours, the body count has begun.What is essentially an Italian retake on Agatha Christie's "Ten Little Indians," "5 Dolls for an August Moon" is purported to be one of director Mario Bava's self-admitted failures, and while this isn't a perfect film, I'm not sure I'd go so far as saying it is his worst.
The script for the film is unabashedly cribbed from the Christie novel, utilizing a setup that many horror films have come to tout, but in spite of the unoriginality of the premise, this is an entertaining, atmospheric, tongue- in-cheek body count film.Admittedly, nearly all the murders take place offscreen, and the freewheeling vacationers literally begin storing the corpses by-the-numbers in an industrial meat freezer until they are able to fetch the authorities at the weekend's end, but the black humor of the entire situation is subtly implanted by Bava and is genuinely amusing.
The movie doesn't even try to make you care about what's going on; it's like looking at a series of photos of the location that occasionally have dead people in them.There is no on-screen violence that I remember, no nudity except for one scene with Edwige Fenech (who is wasted here) where you might have to squint, and no real reason to watch that I can think of, unless you are a Bava completist..
That said, FIVE DOLLS FOR AN AUGUST MOON isn't one of the director's more highly regarded efforts except by a few, such as the "Cult Movies" website, which it rates ***1/2 and singles out as his best film!It follows a well-worn thriller premise a variation on Agatha Christie's "Ten Little Indians" (filmed several times, best of all by Rene' Clair in Hollywood as AND THEN THERE WERE NONE [1945]) with a small cast, an exotic island setting and a welcome tongue-in-cheek approach.
The same, by the way, can be said of Piero Umiliani's score practically incessant, so as to be almost another character in the film but which is so delightful (especially the sardonic 'death waltz') that, in fact, this easily emerges as the single best thing about it!Also, Bava seems curiously detached here apparently, he was reluctant to make it (but did personally edit the film): the murder set-pieces aren't all that memorable (in fact, they mostly occur off-screen), the insufficiently developed plot meanders after a while, and the succession of ironic twists at the end tend to fall flat.
Typically, he over-uses the zoom throughout but does manage one particularly masterful sequence having the camera follow numerous glass bulbs (thrown off a table in an argument) down a flight of steps to reveal another victim in the bath-tub.The ladies, at least, are lovely for a Bava film, there's an unusual emphasis on eroticism here especially Ira Furstenberg and Ely Galleani (whose character is something of an enigma: though her presence is known to the people on the island, she's all but forgotten when the bodies start piling up and, ultimately, proves to be not quite so innocent).
A small group of people come to an island to relax but soon find themselves trapped on the island with a murderer in their midst.I love that the film features Tunisian-born Maurice Poli, who would go on to appear in Bava's "Baron Blood" and star in "Rabid Dogs".
The luscious lady co-stars in this interesting effort from Mario Bava utilizing that old "Ten Little Indians" theme of a group of people being knocked off one at a time.The victims are a group of businessmen - arrogant upper crust jerks all - and their hottie companions who have gathered at an island mansion; the men are determined to make a scientist, Gerry Farrell (William Berger), divulge his formula for an industrial resin.
Most of this ingenious man's films are absolutely brilliant, and although "Five Dolls..." is by far the least interesting Bava film I've seen so far (and in no way comparable to the brilliance of his other gialli), it is definitely a stylish, atmospheric and highly entertaining little macabre thriller coming along with an ingenious jazzy score.The film is about a group of rich people, who have met on an island to have fun and discuss business.
The soundtrack is, as mentioned above, brilliant, and fits in greatly with the movie's macabre sense of humor.Even though "Five Dolls For An August Moon" is definitely one of Mario Bava's weakest suspense films (the weakest I've seen so far), it is definitely a stylish and recommended little film that his fans can not afford to miss.
5 Dolls for an August Moon (1971)** (out of 4) Mario Bava's twist on the "Ten Little Indians" story has a group of people being invited to an isolated island where one by one they're murdered.
Recently talking about Giallo queen Edwige Fenech on IMDbs Classic Film board,I decided that it was time to watch a Fenech Gialli for the first time.Taking a look at a box set of auteur film maker Mario Bava,I spotted a collaboration that he had made with Fenech,which led to me staying up for the August moon.The plot:Wanting to get a breather from work, Professor Gerry Farrell & his wife Trudy decide to join industrialist George Stark and other couples for a "happening" weekend taking place on a remote island.Shortly after things start to flow,Gerry Farrell begins to suspect that he was not invited so that friends could catch up with him,as each of them start to offer bags of cash in exchange for his now formula of industrial resin.Sticking to his principles,Gerry turns down all of the offers.As the men argue among themselves,Stark's wife Jill decides to go for a walk on the beach.Getting stopped in her tracks,Jill finds out that a fellow guest has been left brutally murdered on the beach.As the bodies start to pile up,the surviving guest become increasingly desperate to get Farrell's new formula by any means possible.View on the film:Getting into the spirit of the "happening",director/editor Mario Bava & cinematographer Antonio Rinaldi dazzle with wah-wah whip- pans that give the partying a frenzied atmosphere.
Despite working as a "director for hire" (and being very dismissive about the movie later on)Bava clearly displays an excellent attention to detail for the film,as the blunt murders take place against a whirling psychedelic backdrop,which goes from each of the women wearing lavishly colourful dresses,to the murder scenes being covered in shimmering blood and rolling crystal balls.For the screenplay,writer Mario di Nardo gives the Giallo a satirical Film Noir bite,as Nardo makes all the guests more concerned about getting Farrell's new formula than they are about the bodies stacking up.Digging into the Film Noir root of the Giallo,Nardo fills the weekend guest list with shady femme fatales and smart suited men who would hang anyone out to dry (or in this case on a meat hook!) to get one step ahead in the business world.Whilst the satirical slices give the movie a brittle comedic edge,the casual nature that the characters treat the murders in is sadly reflected in the screenplay,with Nardo paying little attention to building up any clues,and and also treating the murder set pieces in a relaxed manner which withholds any tense atmosphere from them.Looking gorgeous wrapped in eye-catching clothes,the beautiful Edwige Fenech gives a wonderful performance as guest Marie Chaney,whose flirtatious charms are given a femme fatale shine by Fenech,as Chaney tries to wrap all the men around in to giving her what she wants.
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tt1148204
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Orphan
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The movie opens at a hospital. Kate Coleman (Vera Farmiga) and her husband, Jon (Peter Sarsgaard) walk in and Kate is clearly pregnant and clearly in labor. While Jon registers at the front desk in the lobby, Kate is wheeled towards the delivery room, but a painful contraction hits and Kate sees she is bleeding heavily. The nurse pushes the wheelchair along as if nothing is happening, but the audience can see blood trailing behind the wheelchair. In the delivery room, Kate is in a lot of pain and asks where Jon is, but nobody will tell her anything. The doctor tells her to relax, but Kate knows something is wrong with her baby. The nurse tells her that the baby is stillborn but they have to deliver it anyway, Kate is in disbelief and tells them that the baby is alive. Before she has time to think, the doctor grabs his scalpel and begins to cut into Kate's stomach, Kate wants to be put to sleep but the doctor says there isn't time. Kate yells and screams as the doctor cuts into her, Jon walks into the room with a video camera and tells Kate that she is doing perfect. After a few seconds, a baby's cry is heard and the nurse hands her a stillborn baby covered in a bloody blanket. Kate screams in terror.Kate springs up in bed after her nightmare. Kate creeps out of bed, without waking Jon, and goes to the bathroom. For a moment, she stares at the large incision scar that goes from her bellybutton all the way to her abdomen. She pops an anti-depressant pill into her mouth and then crawls back into bed with Jon. The next morning, Kate goes to see Doctor Browning (Margo Martindale), her therapist. Kate says that perhaps the nightmares are happening because she and Jon are seeing children that same week, so they can adopt one. She also says that she passed by the liquor store on the way to the office, Doctor Browning asks if she went inside. Kate says she didn't, but she was extremely tempted. Doctor Browning says that she is able to resist that temptation, then she is most certainly able to hold her own as an adoptive mother.Kate goes straight from Doctor Browning's office, to a school for the deaf or hearing impaired. She is greeted by her and Jon's five-year-old daughter Max (Aryana Engineer). Max holds up a picture she drew and Kate says (in sign language, naturally), that it's very beautiful. As Kate is driving home with Max in her car seat, she spots a young man with his child walking together. Kate is so distracted that a large truck almost hits her. Back at home, Kate is playing the piano while something constantly keeps banging against the house. Finally having enough, Kate goes outside and sees Max attempting to shoot a basket. Kate tells her to stop, and Max says that she is sorry, but Kate apologizes and says she shouldn't have yelled. Seconds later, Jon pulls up in the driveway with his and Kate's son, Danny (Jimmy Bennett), who takes the ball from Max and shoots a hoop. Jon takes the ball from Danny and hands it to Max, and lifts her up to the hoop so she can get a basket. Kate tries to say hello to Danny, but he rushes past her to go and play.Later in the night, Kate goes to tuck Max into bed. Max removes her hearing aid, so everything goes silent for a while. Through sign language (and subtitles for us, the audience), Kate asks Max if she wants to read a bedtime story. Max grabs a book, but Kate doesn't seem too happy to read it, but Max begs her. The story is about Max and how happy she was that she was getting a baby sister, but then Baby Jessica died and went to Heaven. Max was happy that she was in Heaven, but wishes that she could've met her. After the story, Max asks if Baby Jessica is an angel. Kate says that is a beautiful angel. After kissing Max goodnight, Kate goes to the bedroom and goes to the bathroom to take her anti-depressant. She is startled when Jon suddenly appears from behind her. Kate and Jon crawl into bed, and Kate says that even though she isn't having second thoughts about adopting, she is excited and nervous. She hasn't felt this way since she thought they were going to bring Baby Jessica home. Jon says that they shouldn't adopt for his sake, Kate says they aren't and that she really wants to take the love she had for Jessica and share it.The next morning, Kate and Jon go to Saint Mariana's Orphanage For Girls. When Kate and Jon get out of the car, they are greeted by Sister Abigail (CCH Pounder) who thanks them for coming. As they walk inside, someone is watching them from a window. When Kate gets the feeling that they're being watched, she looks up to the window but sees nothing. Kate and Jon separate, Kate is shown the girls by Sister Abigail while Jon goes to use the bathroom. Kate and Sister Abigail watch the girls play and Sister Abigail says that adopting an older child isn't an easy decision to make, but Kate says they're ready. Sister Abigail asks where Jon is and Kate says that he is using the bathroom.Jon leaves the bathroom and goes to look for Kate, but stops when he hears the sound of a girl singing. He follows the singing and sees a young girl sitting alone in a room, painting. Jon begins to walk away, when the girl suddenly greets him. Jon steps into the room and the girl introduces herself as Esther (Isabelle Fuhrman), and Jon begins to look through her paintings. They are extraordinary, since Esther seems so young. Jon asks Esther about the painting she is working on, and Esther says that each of her paintings tell a story and that in her current painting, a mother lion is sad because she can't find her cubs. Jon asks why the mother lion is smiling, and Esther says that it's because she is dreaming of her cubs. Jon hopes that she finds them, and Esther says she will and begins to paint in the lion cubs. Kate and Sister Abigail walk in, and Jon introduces Kate to Esther. Esther talks to Jon and Kate, and soon the couple agrees that Esther is the one that they want to adopt. They speak to Sister Abigail in her office, and she mentions that Esther is a rather mature nine-year-old and says that she is very smart and very polite as well. She also mentions that Esther is like a princess, because she wears ribbons around her neck and wrists at all time. Sister Abigail says she will file the paperwork as soon as possible.Jon and Kate take Esther home, and Max rushes out to greet them. Esther uses sign language to greet her, and Max takes an instant liking to her new sister. However, when Danny isn't fond of her. He even asks Jon, rather loudly, why Esther is dressed so differently and Jon quickly shushes him. Esther is thrilled when she sees that they have a piano, and Kate offers to teach her to play and Esther accepts instantly. Jon, Kate, and Max show Esther her bedroom and Esther says that it's perfect and she loves it. Esther is also introduced to Barbara (Rosemary Dunsmore), who is Jon's mother and Esther's new grandmother. A few days later, a celebration is being held in honor of Esther's adoption and this includes presents and cake. Almost like a birthday party. Danny doesn't seem eager to join the family's celebration, and instead plays "Guitar Hero" with his friend, Tyler. As Danny comes close to winning a game, he asks Jon to look but Jon is far too interested in Esther unwrapping his present, which just happens to be a large easel and paint supplies. Esther gives Jon a huge hug and smiles at Danny from over his shoulder. Danny tells Tyler that the game is getting boring, and he leaves. Tyler and Danny's other friend follow him out into the woods near the house. They go to Danny's tree house, and Danny lifts an old board to reveal hidden Playboy type magazines.Kate is in the kitchen, putting away the cake and speaking with Barbara about what she plans to do. Kate says that she'll get Esther settled and then begin to teach again; Barbara reminds her that she said she wouldn't go back to that job. Kate assures her mother-in-law and says that she isn't going back to Yale, but plans to give piano lessons to kids from the house. Barbara doesn't think it's a good idea but Kate says that she just wants some clarity which Barbara knows someone at an AA meeting suggested she needs. Barbara leaves the kitchen and Kate goes back to doing the dishes. Kate looks out of the window and sees Esther pulling Max on a sled over an icy pond. She rushes outside and yells for Esther and Max to get off of the ice and scolds them for playing in such a dangerous area. The next morning, Kate is sending Max and Danny off to school and calls Esther downstairs. Esther comes downstairs wearing a rather old-fashioned dress, which causes Max and Danny to laugh a little bit. Kate sends them to the bus and tells Esther that she should probably change before she goes to school, but Esther says that she likes to wear dresses. Kate gives in and allows Esther to wear the dress to school.The kids arrive at school and the teacher introduces Esther to her class. A girl named Brenda (Jamie Young) teases Esther. Esther says nothing, only stares coldly and walks calmly to her seat. Later that night, Kate runs a bath for Esther. Kate goes to do laundry, but hears Esther lock the door and immediately goes to check if she is all right. Esther unlocks the door and Kate warns that they do not lock doors in the house, but Esther says she was afraid that someone would walk in and see her. Kate assures her that no one will walk in and says she won't even go downstairs until she is done. Esther says she will sing for her because she use to sing to the nuns at the orphanage so that they would know she was all right when she was taking a bath. Kate says okay and goes to finish the laundry. As Kate is putting away Esther's clothes and listening to her sing, she finds that one of Esther's drawers is stuck. After some tugging and pulling, Kate discovers an old bible with a photo of a man inside of it. Kate accidentally drops the Bible and Esther's singing goes quiet, but starts back up after a minute. Kate shoves the Bible back in its hiding spot and continues about the laundry. As she goes down the hall to Max's room, Esther opens the bathroom door and looks coldly out. Obvious, she knew what Kate was up to.In the woods, Danny is shooting paintballs and seems to be enjoying it. Soon, a bird lands on the target and Danny shoots it on purpose. He becomes upset when the bird doesn't move and rushes to see if it's all right. It isn't dead, but it's barely alive and seems to be in pain as the wing is probably broken. Esther and Max suddenly show up and Esther asks what happened, Danny is sobbing and says he didn't think the paintball would hurt the bird. Esther picks up a large brick and asks Danny to put it out of its misery, but Danny refuses. After awhile, Esther takes the brick and beats the bird to death and then throws the brick aside. Danny runs off, horrified by Esther's actions. Esther takes Max's hand and walks away from the dead bird and the blood-covered brick. The next day at school, Esther is passing down the hall at the same time as Danny and Tyler. Tyler comments that Danny's "sister" is a total spaz, but Danny says that she isn't his sister and purposely knocks a book out of Esther's hands. As Esther kneels to pick up the book, Brenda comes along and picks it up for her. When Brenda sees that the book is a Bible, she holds it up and calls Esther a "Jesus-Freak." Esther tries to take the Bible from Brenda, but it soon falls to the floor and the pages scatter everywhere. Esther panics and rushes to pick them up, while a group gathers and begins to laugh at her. Brenda reaches to pull off the ribbon around Esther's neck, but becomes startled when Esther screams and kicks until everyone is silent. Danny is extremely weirded out as Esther continues screaming as though she were possessed.The same day, Kate is giving Esther a piano lesson and Esther castigates herself because she made eleven mistakes. Kate wants to talk about what happened at school, but Esther says that there isn't anything to talk about and leaves. The next day, Jon is with Max and Esther at the park, pushing Max on the swings. Joyce Patterson, the Coleman's next door neighbor, arrives in risqué clothing. Esther listens in on her conservation with Jon, but suddenly becomes distracted when she sees Brenda walking across the playground. After Joyce leaves, Jon becomes a bit nervous and goes to smoke a cigarette while Esther and Max begin to roam the playground. Brenda is nervous as she makes her way towards the slide. She then gets the feeling that she is being followed. As she looks down the slide, Esther comes from behind her and pushes her off. Brenda is in a great deal of pain, as her foot seems to be pulled back. Esther walks away but realizes Max has seen everything so she tells Max that if they want to stay together then she cannot tell anyone what happened. At supper, Jon and Kate are asking Esther about what happened but she says that she and Brenda were playing and she accidentally fell. Kate asks Max if she saw what happened, and Max says that Brenda simply slipped. Max signs something to Danny, but he can't understand her and asks Kate what she said. Esther interrupts and tells him that Max asked for him to pass the bread and butter. Danny says that he wasn't asking her and Esther simply shrugs and begins to cut her steak, and Danny tells her to eat normally and Esther says she is eating normally. Danny asks if that is the way she eats in Transylvania, to which Esther says she is from Russia and Transylvania is in Romania. Danny goes further and says if she was taught that at the school for retards. Jon orders Danny to apologize to his sister, Danny has reached his breaking point and says: "She is not my f*cking sister!" and rushes from the table.As punishment for his outburst, Jon locks up Danny's tree house and says he will unlock it when Danny apologizes to Esther. A few days later, Sister Abigail comes for a visit after being informed of Brenda's accident. As Kate and Jon speak with Sister Abigail about the accident, Esther panics and goes to Max's room and tells her that a "mean lady" is coming to take her away and asks Max for help, and Max agrees. They sneak into Jon's office and begin to search around for the keys to the padlock to the tree house; Max finds some keys and hands them off to Esther. Esther uses the keys to unlock Jon's safe, where she finds a gun, partially loads it and points it directly at Max's forehead and asks Max if she wants to play. Max, clearly frightened, shakes her head and Esther lowers the gun. Max and Esther rush to the bridge that isn't far from the house and they know Sister Abigail's car will pass it. Esther tells Max to stand in front of Sister Abigail's car and wave her hands to get her to stop, but Max is nervous. As Sister Abigail comes driving along, Max is frozen with fear and refuses to move. Having enough, Esther pushes Max onto the road and Sister Abigail slams on the brakes and her car swerves off the road. Sister Abigail climbs out of her car and rushes to a hysterical Max. Sister Abigail asks Max if she is okay, but a shadow looms over her and Sister Abigail looks up, just as Esther beats on her head with a hammer. Sister Abigail is bleeding and unconscious, but Esther knows she will probably wake up soon. She pulls Max to her feet and tells her to stop crying. Esther forces Max to help her move Sister Abigail's body before another car comes along. They push her body down a hill, but Sister Abigail regains conscious and tries to climb back up. Esther grabs the hammer and beats Sister Abigail until she is pretty bloody and definitely dead. Esther takes a traumatized Max up to the tree house and removes her bloody gloves and dress, but Max is still crying. Esther says that if she is caught for the murder, then Max will go to jail with her and tells Max that she won't tell on her if she doesn't tell on Esther. Max agrees and Esther comforts her.As the two are climbing down from the tree house, Danny watches from afar and Esther spots him but walks away anyway. As Danny sleeps, he is startled awake when Esther holds a box cutter blade to his throat and asks him what he saw. He says that he only saw her and Max coming down from the tree house, and Esther says that if he tells anyone than she will castrate him. Danny, clearly upset, accidentally wets himself. She releases Danny and leaves the room calmly. The next day, Kate is dropping Esther and Danny off at their school, and Max at the deaf school. When Esther leaves the car, Kate asks Max and Danny if Esther has done anything to hurt them. Terrified of Esther, they both say no and Danny hops out of the car. As Danny walks up the steps, his bookbag spills but he doesn't notice. Kate leaves Max in the car and goes to hand it back, and is confused because the bookbag was new. As Kate helps Danny, Esther releases the brake and sets the car in neutral. The car rolls down a hill, and Danny quickly warns Kate since Max is still in the car. Kate chases the car and people try to stop it, but it does no good. Finally, the car hits a huge pile of snow, which causes it to stop suddenly. Kate rushes towards the car and quickly pulls Max out, who is thankfully unharmed.That night, Kate and Jon argue about what happened. Kate swears she had set the parking brake, but Jon is still in a bit of disbelief. Jon finally gives in and he and Kate take Esther to Doctor Browning. But things take a bizarre turn when Doctor Browning says that Kate is the one at fault and not Esther. Kate is further frustrated when Jon doesn't even back her up and just remains quiet the entire session, further estranging the couple. The next morning, Jon goes to wake Esther and get her ready for an appointment at the dentist, and Esther startles him by leaping out from underneath the covers. She says that she doesn't want to go to the dentist, and Jon instantly gives into her demand as long as they reschedule and she goes to his office to draw with him (Jon is an architect). In Jon's office, Jon is working while Esther is painting. Esther says that she has waited a long time for a father like Jon, and Jon asks if she waited for a Mother like Kate. Esther pauses and expresses that she feels that Kate doesn't love her, but Jon says that it isn't true that she is just having a hard time getting close to her. He suggests that perhaps she should do something nice for her. Esther agrees. As Kate is in the kitchen, Esther comes and says that she has a surprise for her. She holds out a bundle of white roses that Kate recognizes instantly. They were the roses from Baby Jessica's dedication garden. Kate snaps and grabs Esther by the arm, and Esther lets out a scream. Jon hears the commotion and Esther runs off sobbing, while Jon comforts Kate who is weeping openly as she crumples on the floor and looks down at the roses. While Kate is in the greenhouse, still upset about the orchid, Esther sneaks into the tool shed and grabs a screwdriver. She wraps it in a rag and places it in her mouth, and then places her arm inside of a vice. She tightens the vice until her arm breaks and then goes to bed and cries for Jon that her arm still hurts from where Kate grabbed her. Horrified by the bruises on Esther's arm, Jon takes her to the doctor.Kate goes up to her bedroom and sees Esther laying in her and Jon's bed, and being comforted by Jon. Jon tells Kate that she broke her arm, but Kate argues that she didn't really grab Esther that hard. Jon says that it would be best for Kate to sleep downstairs. Kate contemplates drinking but decides not to after seeing the pond that almost cost Max her life. She pours the wine down the sink and sleeps downstairs. A few days later, Doctor Browning is called to the house and Kate still defends herself and says that she didn't hurt Esther at all. At that moment, Jon places two wine bottles out on the table. He tells Kate that Esther found them, which simply infuriates Kate but Jon can't help but ask if Kate is beginning to drink again. Doctor Browning is wondering the same thing as well. Kate defends herself again and says that she thought about drinking the wine but poured it down the sink, along with one of the bottles. Jon asks why she has the other bottle then, and he and Kate argue. Finally, Jon drops the bombshell: If Kate doesn't go into rehab, and then he will divorce her and take the kids with him. At the top of the stairs, Max listens in and Esther comes really close to her and whispers that she will shoot Kate if she tells. The next day, Danny sneaks to Max's room and asks her if she knows anything about Esther and Max confesses by showing Danny the pictures of Brenda's accident, Sister Abigail's death, and the car accident. Max also tells him that the hammer and Esther's bloody clothes are up in the tree house, Danny tells Max that once they get the hammer that Jon and Kate will believe them and Esther will be locked away. Unfortunately, Esther overhears the entire thing.The next day, Danny sneaks up to his tree house and searches for the hammer and clothes but can't find them. Esther suddenly appears and throws the hammer and the clothes to the floor. She tells him that Max will be arrested to for helping her, but Danny says that Max was forced to do it. Esther pours lighter fluid over the evidence and lights a match, setting the evidence and the tree house on fire. She escapes and locks the tree house up with Danny still inside it, and simply watches with a smile as Danny screams for Kate. Danny crawls out a window, but it's too late and the tree house crumbles and Danny is rendered unconscious and completely broken, but miraculously alive. As Esther lifts a rock to finish him off, Max pops out of nowhere and pushes Esther before she can do anything, and Kate arrives just in time. At the hospital, the family waits for word on Danny's condition. A doctor comes and says that Danny is alive and in stable condition, Kate asks if he will remember anything and the doctor says they'll have to wait awhile before they know. Kate and Jon walk away for a while and Kate says that either Esther or Danny started the fire, and Jon says that he doesn't know which one did it. Kate is frustrated by Jon but gives in and says she'll go to rehab only if Esther leaves the house at the same time. Esther asks Barbara for a dollar for the soda machine and then walks out of the waiting room, with no intention of getting a simple drink. She sneaks into Danny's room, removes the heart monitor from his finger (and puts it on her own so no one will know there is a problem) and tries to suffocate him with a pillow. Max, getting the feeling that Esther is up to something, goes to get Kate. Meanwhile, Esther, thinking she has killed Danny, puts the monitor back on his finger and alarms go off. The doctors rush down the hall to Danny's room. He has flatlined. Kate and Jon panic, but breathe a sigh of relief when Danny has a pulse and is stabilized again. Kate freaks out and knows Esther did something, She screams at Esther, calls her a bitch, and then slaps her hard. Orderlies sedate Kate while Jon comforts Esther and watches sadly as his wife drifts to sleep. When Kate wakes up, she is groggy but sees Jon is with her, she asks if Danny is okay and Jon says that they are running some tests and he should be home in a few days. He also says that he is taking Esther and Max back to the house, Kate makes him promise that Esther will get nowhere near Max. Jon says nothing and leaves the room to take the girls home.As Jon is tucking Max in, Esther comes into the room and Max becomes frightened. Esther wishes her sweet dreams and kisses her forehead, stealing her hearing aid. Jon finishes putting Max to bed and Esther walks away, Max soon falls asleep and Jon leaves the room. Jon, clearly upset by all that has happened, finds the wine and pours quite a few glasses. Suddenly, Esther comes downstairs wearing tons of makeup and a revealing dress, but Jon is so drunk that instead of getting angry, he sobs openly and tells Esther that he is scared for Danny. Esther assures him that he is a wonderful husband and father, and also tells him that she loves him. When Esther comes onto him, Jon comes back to reality and yells at her to go to her room. Esther runs to her room, sobbing hysterically as the makeup streams down her face. Meanwhile, Kate is resting in the hospital when she gets a call on her cell phone. It is Doctor Varava from the Saarne Institute in Estonia, he says he received the picture of Esther and asks where she is. (The Saarne Institute isn't an orphanage. It's a mental institution.) Kate says that she is at the house with her husband. Doctor Varava warns Kate to call the police and get her family out of the house; Kate says that Jon won't believe her. He then tells Kate to tell Jon that Esther is not nine-years-old. She is a grown woman, named Leena Klammer, and is actually 33 years old; she as one of their most violent patients, who disappeared some time ago. Kate is in disbelief and Doctor Varava says that the scars on her neck and wrists from her straitjacket. Kate realizes why Esther wears the ribbons around her neck and wrists: to cover the scars . The scene cuts to Esther, who now looks horrible. She has wiped off all her makeup, removes her fake teeth, and the ribbons from her neck and wrists. She now looks more like a hag than an innocent child. Jon goes on the search for Esther in her room but finds she isn't there, but he does discover something. In the black light of the aquarium he sees Esther's paintings for what they really are: images of violence and sex. Jon is mortified but continues on the search, just as the lights go out. He goes downstairs to the electric panel and is stabbed by Esther, but is still alive. Esther stabs him repeatedly, then looks at the top of the stairs and sees that Max has witnessed the whole thing.Max runs off and hides, Esther grabs Jon's gun from the safe and goes on the search for Max. Thankfully, Kate has escaped from the hospital and races to the house. The road is so slick though, that when Kate arrives she crashes through the house and alerts Esther who is upstairs searching for Max. Kate discovers Jon and breaks down, but her concern lies with Max. Esther finds Kate and shoots her in the shoulder, but Kate is okay and continues the search for Max. We see that Max is in the greenhouse and hiding behind the plants, she is relieved when she sees Kate on the roof of the greenhouse but Kate tells her to be quiet because Esther is there. Just as Esther is about to discover Max, Kate screams and Esther shoots at her. The roof is made of glass, so the bullet shatters it and Kate comes crashing down on top of Esther. Max waits anxiously before Kate regains conscious and grabs Max and runs. Kate takes Max down to the pond and comforts her, just as she sees police cars pull up to the house to arrest Esther. When the police enter the house, they search the entire household but when they come to the greenhouse, Esther is gone. At the pond, Kate is continuing to comfort Max when Esther suddenly lunges at her with a knife. Kate and Esther wrestle each other down a hill and right onto the pond, with Max watching on in terror. The gun flies out of Esther's hand as she and Kate wrestle, landing only a few yards away from Max. Esther slashes Kate's other shoulder with the knife, but Kate kicks her off before she can stab her. Max grabs the gun and holds it up, being only four and not knowing how to fire; Max aims and shoots the ice instead of Esther. The ice cracks and breaks, and both Esther and Kate fall into the freezing waters. They both fight under water before Kate kicks Esther and resurfaces. As Kate is climbing out of the water, Esther pops up and grabs onto Kate's legs, the knife hidden behind her back. Esther says, Please don't let me die, Mommy." Kate finally loses it and yells "I'm not your f*cking Mommy!" and kicks Esther hard, breaking her neck. Esther sinks back down and Kate escapes with Max.
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psychological, murder, horror, good versus evil, insanity, suspenseful
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train
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imdb
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tt1220634
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Resident Evil: Afterlife
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Four years later after the events of Extinction, Alice (Milla Jovovich) and her clones lead the assault to attack Umbrella HQ, located in Tokyo, slaying the entire branch except for Albert Wesker (Shawn Roberts), who escapes in a tiltrotor plane and detonates a bomb that leaves a massive sinkhole; however, the real Alice boarded beforehand. Wesker injects her with an Anti-Virus to remove her superhuman abilities, before the autopilot crashes the plane into the mountains and only Alice survives.
Six months later, Alice travels to Alaska in an airplane, tracking broadcasts from a safe haven called Arcadia; however, she only finds abandoned planes, and is attacked by feral Claire Redfield (Ali Larter). Alice destroys a spider-like device on Claire's chest, giving her amnesia and pacifying her. They travel to the ruins of Los Angeles, where they find survivors living in a prison which is surrounded by thousands of undead. They meet Luther West, (Boris Kodjoe) who leads the surviving band on prison, Wendell (Fulvio Cecere), Crystal Waters (Kacey Clarke), Bennett (Kim Coates), Kim Yong (Norman Yeung), and Angel Ortiz (Sergio Peris-Mencheta). With their help, Alice finally lands on the prison's roof and learns Arcadia isn't a fixed place, but a cargo tanker traveling along the coast. However, though the ship hasn't moved, no-one from it has responded to the group's rescue flares. Luther takes Alice to the last inmate, Chris (Wentworth Miller), who insists he's falsely imprisoned, and will reveal an escape route for freedom. Alice goes to the showers to wash up, but catches Wendell attempting to peep. Holding him at gunpoint, they are attacked by a group of infected that dug into the prison, and take Wendell; as she manages to kill them.
Desperate, they free Chris, who reveals that Claire is his sister, and the prison has an armored car they can use to escape. However, a giant axe-wielding monster begins breaking down the gate. Alice, Chris and Crystal go to the basement armory to get more guns; however, zombies kill Crystal en route. Luther and Claire reinforce the gate. Angel informs Bennett and Yong the car is missing its engine and it would take a week to fix. Bennett shoots Angel and heads for Arcadia in Alice's airplane. The Axeman breaks down the gate, allowing the zombies into the prison. The group decides to use the zombie-dug tunnels to escape into the sewers. Kim Yong is slashed in half by the Axeman, while Alice is knocked out. Claire successfully defends Alice, manages to defeat the Axeman and disorienting it, after which Alice kills it by firing at its head. Unfortunately, Luther is dragged back into the tunnels by a zombie.
Alice and the Redfields board the Arcadia, discovering it functional but abandoned. Claire then remembers Arcadia is an Umbrella trap to get test subjects; they release the survivors, among them K-Mart (Spencer Locke). Alice follows a trail of blood deeper into the ship, where she finds Wesker. The T-virus revived him, but it battles Wesker for control, something he believes fresh human DNA can pacify; the Umbrella staff fled when he began eating test subjects. Alice's DNA is superior to his, since she retained control despite her bonding with the virus at a cellular level; Wesker believes eating her will help him regain control of his body over effects of the T-virus.
The Redfields fight Wesker while Alice battles Bennett, now working for Wesker. Wesker easily overpowers Chris and Claire, but Alice is able to defeat both Bennett and Wesker with help from K-Mart. They lock Bennett in the room with Wesker's corpse. Bennett is devoured by Wesker when he revives. Wesker then escapes in an aircraft, activating a bomb on the Arcadia; the plane explodes instead as Alice placed the bomb there beforehand. Unbeknownst to them, Wesker parachutes away from the explosion, while Luther emerges from the sewers, battered but alive. Alice resolves to turn Arcadia into a real haven and broadcasts a new message for any other survivors. As Alice, Claire and Chris watch over from Arcadia, it is approached by a military squadron of Umbrella aircraft.
During a mid-credits scene in one of the aircraft, Jill Valentine (Sienna Guillory), who went missing after the Raccoon's City destruction's incident, is dictating the attack wearing the same mind control device used on Claire.
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murder, violence, flashback, good versus evil, psychedelic, revenge, sci-fi
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wikipedia
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tt0314331
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Love Actually
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The film begins with a voiceover from David (Hugh Grant) commenting that whenever he gets gloomy about the state of the world he thinks about the arrivals terminal at Heathrow Airport, and the pure uncomplicated love felt as friends and families welcome their arriving loved ones. David's voiceover also relates that all the messages left by the people who died on the 9/11 planes were messages of love and not hate. The film then tells the 'love stories' of many people:
=== Billy Mack and Joe ===
With the help of his longtime manager Joe (Gregor Fisher), rock and roll legend Billy Mack (Bill Nighy) records a Christmas variation of The Troggs' classic hit "Love Is All Around". Although he thinks the record is terrible, Mack promotes the release in the hope it will become the Christmas number one single. The song does reach number one; after briefly celebrating his victory at a party hosted by Sir Elton John, Billy discerns that Joe is in need of affection and suggests that he and Joe celebrate Christmas by getting drunk and watching porn.
=== Juliet, Peter and Mark ===
Juliet (Keira Knightley) and Peter (Chiwetel Ejiofor) get married in a ceremony orchestrated and videotaped by Mark (Andrew Lincoln), the best man. Both Juliet and Peter believe that Mark dislikes her; he is in fact in love with her, and behaves coldly to her to avoid revealing how he really feels. One day, Juliet comes to see Mark and says she wants them to be friends. He then shows her the wedding video, which is full of adoring closeups of her. After an uncomfortable silence, Mark blurts out that he snubs her out of "self-preservation". On Christmas Eve, the doorbell rings at Juliet and Peter's house. She runs down and opens the door, only to find Mark, carrying a boombox playing Christmas songs and large cue cards on which he has written, without any expectation of reciprocation, that he loves her. As he walks away, Juliet runs after him to give him a quick, innocent kiss and runs back inside.
=== Jamie and Aurélia ===
Writer Jamie (Colin Firth) is pushed to Juliet and Peter's wedding by his girlfriend (Sienna Guillory) as she feigns illness. He returns between the ceremony and the reception to check on her, and discovers that she is having an affair with his brother. Crushed, Jamie withdraws to his French cottage where he meets Portuguese housekeeper Aurélia (Lúcia Moniz), who does not speak English. Despite their inability to communicate, they become attracted to each other. When Jamie returns to England, he realises he is in love with Aurélia and begins learning Portuguese. He returns to France to find her and ends up walking through town, gathering people as they walk to her job at a restaurant. In his broken Portuguese he declares his love for her and proposes. She says yes in broken English as the crowd erupts in applause.
=== Harry, Karen, and Mia ===
Harry (Alan Rickman) is the managing director of a design agency; Mia (Heike Makatsch) is his new secretary. Harry is comfortably married to his wife, Karen (Emma Thompson), who stays home to raise their children. Harry becomes increasingly aroused by Mia's overtly sexual behavior at the office and does nothing to dissuade her. At the company Christmas party held at Mark's gallery, he not only inquires if Mark is her boyfriend, but dances closely with her. While at the shops, he calls Mia to find out what she wants for Christmas and ends up almost caught by his wife purchasing an expensive necklace from the jewellery department thanks to the salesman Rufus (Rowan Atkinson). Later on, Karen discovers the necklace in Harry's coat pocket and happily assumes it is a gift for her. When he hands her a similarly shaped box to open on Christmas Eve, she is heartbroken to find it is a Joni Mitchell CD, meaning that the necklace was for someone else. She confronts Harry asks him what he would do if he was her. Harry begs her forgiveness. She responds that he has made a mockery of their marriage and of her.
=== David and Natalie ===
Karen's brother, David (Hugh Grant), is the recently elected Prime Minister. Natalie (Martine McCutcheon) is a new junior member of the household staff at 10 Downing Street. During a meeting with the U.S. President (Billy Bob Thornton), they run into Natalie and the president makes some inappropriate comments to David about Natalie's body. Later, David walks in on Natalie serving tea and biscuits to the president, and it appears that something untoward is happening. Natalie seems ashamed, but the President has a sly grin on his face. At the following joint press conference, David is uncharacteristically assertive while taking a stand against the President's intimidating policies. Finding that his relationship with Natalie has become strained and a distraction, David has her moved to another job. However, he is spurred to action on Christmas Eve when he finds a Christmas card from Natalie declaring that she is his and no one else's. After a door to door search of her street, he comes across Mia, who informs him that Natalie lives next door. The entire family is on their way out the door to a multi-school Christmas play and he offers to drive them so he can talk to her. After Natalie sneaks him in to the school, he runs into his heartbroken sister who believes he is there for his niece and nephew. As the two try to keep from being seen and watch the show from backstage, they finally kiss. All their hiding was for nothing because as the curtain rises, they are seen kissing by everyone.
=== Daniel, Sam, Joanna and Carol ===
Daniel (Liam Neeson), Karen's friend, mourns the recent death of his wife Joanna, as he tries to raise his stepson Sam (Thomas Sangster) alone. Sam has fallen for an American classmate, also named Joanna (Olivia Olson), and, after discussion with his stepfather, decides to learn the drums so that he can accompany her in the big finale for their school's Christmas pageant (the same one that Natalie's nephew and Karen and Harry's children are in). After Sam feels that he missed his chance to make an impression on her, Daniel convinces Sam that he must go catch Joanna, who is returning to the US, at the airport that night and show her how he feels, lest he regret it. Sam runs away from the airport security and says hi to Joanna, who then kisses him on the cheek. Meanwhile, Daniel meets Carol (Claudia Schiffer), the mother of one of Sam's schoolmates.
=== Sarah, Karl and Michael ===
Sarah (Laura Linney) first appears at Juliet and Peter's wedding, sitting next to her friend Jamie. She is an American who works at Harry's graphic design company and has been in love for years with the company's creative director, Karl (Rodrigo Santoro). They finally connect at the Christmas party and he drives her home. They kiss, but before more can occur, they are interrupted by her mentally ill brother, Michael, phoning from a mental care facility. Sarah and Karl's evening tryst is aborted and Karl leaves. On Christmas Eve both are working late and, when Karl leaves, he only wishes her a merry Christmas. Michael phones Sarah and she goes to stay with him, sharing her Christmas scarf.
=== Colin, Tony and the American girls ===
After unsuccessfully attempting to woo various English women, including Mia and Nancy (Julia Davis), the caterer at Juliet and Peter's wedding, Colin Frissell (Kris Marshall) informs his friend Tony (Abdul Salis) he plans to go to America, where he is convinced that his Britishness will be an asset. Landing in Milwaukee, Wisconsin, Colin meets Stacey (Ivana Miličević), Jeannie (January Jones), and Carol-Anne (Elisha Cuthbert), three stunningly attractive women who fall for his Basildon accent and invite him to stay at their home, where they are joined by roommate Harriet (Shannon Elizabeth).
=== John and Judy ===
John (Martin Freeman) and Judy (Joanna Page) are professional body doubles for films. They meet for the sex scenes in a film for which Tony is a production assistant. John tells Judy that "It is nice to have someone [he] can just chat to." While the two are perfectly comfortable being naked and simulating sex on-set, they are shy and tentative off-set. Carefully pursuing a relationship, they attend the Christmas pageant (involving David and Natalie, Harry and Karen's children, Daniel and Sam, et al.) at the local school with John's brother.
=== Rufus ===
Rufus, played by Rowan Atkinson, is the jewellery salesman, whose obsessive attention to gift-wrapping nearly results in Harry being caught buying a necklace for Mia by Karen. Also, it is his distraction of staff at the airport which allows Sam to sneak through to see Joanna. In the director and cast commentary, it is revealed that Rufus was originally supposed to be a Christmas angel; however, this was dropped from the final script.
=== Epilogue ===
One month later, all of the characters are seen in Heathrow airport. Billy tells Joe that his Christmas single has spurred a comeback. Juliet, Peter, and Mark meet Jamie and his bride, Aurélia. Karen and the kids greet Harry, but Karen's reaction suggests that they are struggling to move past his indiscretion. Sam greets Joanna, who has returned with her mother from America, and Daniel is joined by his new girlfriend Carol and her son. Newlyweds John and Judy, heading off to their honeymoon, run into Tony who is awaiting Colin as he returns from America. Colin returns with Harriet and her sister Carla (Denise Richards) who greets Tony with a hug and a kiss. Natalie welcomes David back from his flight in view of the press, indicating that their relationship is now public. These scenes dissolve into footage of actual arrivals at Heathrow, as the screen is divided into an increasing number of smaller segments which form the shape of a heart.
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comedy, boring, cult, cute, feel-good, psychedelic, satire, melodrama, romantic, entertaining
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wikipedia
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Romantic comedies make me cringe and I avoid them like the plague so you can imagine the foul mood I was in when I was forced to watch this film.And the introductory voice-over by Hugh Grant as we watch an airport full of people hugging made me want to commit an act of violence - either against the people who forced me to watch this film or against myself just to end the torture.Then the most unbelievably shocking thing happened.
Bill Nighy and Gregor Fischer came on screen, mocking one of the most hated love songs in Britain, "Love is all Around" and I found myself getting sucked into the film.By the time I reached the end of the film I found myself facing the impossible, there was one romantic comedy out there that genuinely is a comedy and actually likeable.
It doesn't end with failure but the failure of one type of love in favour of a different kind.This film isn't perfect, I'll never find the perfect romantic-comedy because I hate the genre so much, for example, one of the storylines did annoy me intensely and yet ironically still made me laugh in places.
It makes a statement: "love actually is all around" then shows why it makes that statement and doesn't attempt to do or be anything else.And like the fact it covers different kinds of love, it covers different attitudes and portrayals of it - so a couple are realistic, a couple are classic fantasy, a couple are pure comedy and a couple are pure rom-com tradition.I have seen no reviewer give this film a middle-of-the-road review, and I've read many reviews.
But guess what -- this movie is clearly in the romantic, holiday fantasy genre -- just like It's a Wonderful Life and A Christmas Story are.
I also agree with those who have said that much of the nudity is completely unnecessary to the plot, and that at least some of the comedic threads in the movie are formulaic and unoriginal.In the end, I feel that Love Actually is for the most part a thoughtful and entertaining look at relationships, which does not shy away from taking the bad with the good..
The Prime Minister (Hugh Grant) and the member of his household, Natalie (Martine McCutcheon); his sister Karen (Emma Thompson), her husband Harry (Alam Rickman) and Harry's secretary, Mia (Heike Makatsch); Harry's employees, Sarah (Laura Linney), a woman with a serious problem in her life, and the designer Karl (Rodrigo Santoro); the writer Jamie Bennett (Colin Firth) and his Portuguese maid Aurélia (Lúcia Moniz); the grieving widow Daniel (Liam Neeson) and his son, Sam; a porn actress and her colleague; the singer Billy Mack (Billy Nighy) and his manager; the just married couple Peter (Chiwetel Ejiofor) and Juliet (Keira Knightley) and their best man Mark (Andrew Lincoln); a British young man that travels to USA, trying to score women in that country.
There are many wonderful moments, such as the collective interview of the Prime Minister and the American president; or the moment when Karen finds that her Christmas gift is a CD of Joni Mitchell; or when Mark declares his secret love for Juliet; or the relationship of Daniel and Sam; or when Daniel meets Carol; or when the manager of Billy makes a comment about Elton John; or the narration in off in the beginning of the movie.
I actually felt like standing up and cheering when Hugh Grant (as the Prime Minister) finally tells the American president to his face and in front of the worlds press that Britain will no longer kowtow to American wishes but will have an independent view of its own.Considering that America is the biggest market for movies it was extremely brave of Richard Curtis to write this scene and he deserves a lot of credit for portraying the American president as rather loathsome and putting into context what the `Special Relationship' really is all about.As Richard Curtis must have known the movie had done okay but not great in the States.
Love Actually is movie that helps you see how life redefine's it self.Common and extraordinary lives are mixed together with such good taste that you tend to believe that you were probably wrong the last time you were angry because of someone else doings.The cast gave us outstanding performances by Hugh Grant, Liam Neesom and Emma Thompson and characters (the rock star and his manager are just persons to love!).Special chapter for the charming Keira Knightley that just have away herself...
The scene during Daniel's wife funeral, his speech celebrating Joanna's life, moved me almost to tears.Yes, it is a long movie and it tells the stories of 20 people or so who all happen to live, work, fell in love, sometimes have their hearts broke in London that I've never seen so bright and lovely as in this picture - perhaps, because the stories start five weeks prior to Christmas and end on Christmas night.
Some could be dropped, leaving the movie shorter, leaner, and perhaps better but even the way it is, Love Actually deserves its place on such top lists as Best of 2003, Favorites, and Favorite Romance.
Let me just start by saying that I expected alot from this movie, with actors like Colin Firth, Alan Rickman, Emma Thompson, Kiera Knightly, Laura Linney, Rowan Atkinson, Bill Nighy, Liam Neeson as well as the one and only Hugh Grant you can't possibly go wrong.The movie lived up to my expectations and exceeded them immensely.
8 different love stories that interwine and end on an amazing climax on Christmas Eve. The actors, the story, the scenery, the overall spectacle of this brilliant film have definately added it to my top 10 list alongside The Shawshank Redemption and The Green Mile.For a feel good, funny, dramatical masterpiece I strongly recommend it to anyone and everyone.A Solid 9/10.
It really ticks me off to market a film as a "women's movie" when every female character over 30 ends up sad, alone, or dead.Where to begin: Well, the Liam Niessen story was unseemly.
I know life goes on and all that, but honestly, life doesn't go on in this way, and I don't find the practice of projecting adult thoughts into eleven year old bodies humorous or poignant.And the bereaved husband, who is so torn up about losing his perfect wife that he can't complete her eulogy, ends the movie by falling in love with Claudia Schiffer.
Hugh Grant is superb as the Prime Minister with a fantastic speech I would love Tony Blair to have given!!The opening and closing scenes at Heathrow Airport Arrivals made me cry, infact, I cried and laughed out loud at every viewing and have still not tired of it.I am astonished to see the bad reviews on the IMDB website - what a bunch of grumpy people there are out there!
Conclusively, without doubt, undeniably, unmistakably, unquestionably and irrevocably THE worst movie I have ever seen in my life.The only reason I was able to sit through it is that I couldn't look away from this horrific car crash that injured so many fine actors (not to mention a handful of appalling no-names).On the few occasions that my nausea subsided, it was brought back with a vengeance by the unbelievably bad music selection, the piece de resistance being the primary school's blood-curdling rendition of Mariah Carey's 'All I Want For Christmas'.Every time you think the film can't get any worse, it somehow manages to, which is quite a mean feat I must say....
There's actually eight stories in this film, some cross over, some blend together and some stand alone, but they all play wonderfully; and the humour is consistent from start to finish.Littered with top names, and scripted by the brilliant Richard Curtis -Love Actually breaks the mould of the romantic comedy genre while remaining totally appealing to the fans of the tradition.8/10 Brilliant.
The film is really funny, highly romantic (in the best sense of the world), has a great soundtrack and very well-acted by the many famous British actors.The film portrays the many various aspects of love and how it affect people's life and destinies.
The story follows a bunch of people living in London the weeks before Christmas whose life's are intertwined in different ways, with the common nominator being love, and a Christmas play at the end of the film...The film has many peaks but I would like to especially mention the scene where Keira Knightly's character discovers her husbands best friends feelings towards her.
There are scenes in here that, if viewed as short clips, are kind of funny and work fairly well, only to have every shred of their credibility leeched away by director Richard Curtis with some unbelievable and patently false follow-up moment.The result is that characters move from the realm of real, identifiable people to soulless plot monkeys in the flicker of a few frames and a music cue.
This is not the fault of the actors, who struggle valiantly to connect to their characters, but they are all eventually undone by Curtis' desperate preciousness.How can Curtis be praised for his humanistic touches when he absolutely refuses to allow his characters to exist as real people?Horrible plot thread example No. 1: Within a five-week period, a writer, (Colin Firth) is betrayed by his girlfriend and brother, goes to France to write a book and falls in love with his Portuguese house keeper with whom he's had only the barest of conversations due to a language barrier; he finishes the book, learns enough Portuguese to ask her to marry him - all while never once seeming to be in any sort of anguish or psychic pain due to the betrayal...Wrong!
Suffice it to say that it is a sorry state of movies when I can recognize deeper and truer levels of humanity in Ron Perlman's Hellboy character than I can in any of the people here (barring the Alan Rickman, Emma Thompson story thread; they survive relatively well).The more I think about `Love Actually,` the angrier I get.
We meet Billy Mack (Bill Nighy), old singer who tries to get back on top with help of his loyal manager Joe (Gregor Fisher); David (Hugh Grant) has just become the new Prime Minister and he instantly falls in love with his new personal assistant Natalie (Martine McCutcheon); Karen (Emma Thompson) and Harry (Alan Rickman) are married couple with their own problems; Sarah (Laura Linney) is women torn between a man she loves and her sick brother; Peter (Chiwetel Ejiofor) and Juliet (Keira Knightley) are fresh married, but Peter's best friend Mark (Andrew Lincoln) is in love with Juliet; John (Martin Freeman) and Judy (Joanna Page) met on shooting of porn movie; Jamie Bennett (Colin Firth) moves to France after he found out that his girl is cheating him with his brother and there he meets Aurelia (Lúcia Moniz), young Portuguese woman; Colin Frissell (Kris Marshall) hopes that he'll find 'normal' girl(s) in America; and finally there is Sam (Thomas Sangster), who is young boy and also in love, which makes a problem to his stepfather Daniel (Liam Neeson).So many characters and so many actors that are beautifully composed in this movie.
"Love Actually" rises above many romantic movies because it has great story, capable direction, top class actors and magnificent soundtrack mixed with some old and some new songs.
"Love Actually" is best described as a series of vignettes about various varieties of love.The star-studded cast don't exactly have to act their hearts out but they work perfectly together, Liam Neeson and Bill Nighy being the most affecting actors in the film.
(A wonderfully excessive chart of all these, with French text, oddly, is clickable on the Love Actually wikipedia page.) The writing and directing are both the work of one man, Richard Curtis, who has directed only one other film but has written a slew of them (and who is only British by means of the Empire--he's from New Zealand).
That, combined with a high IMDb rating, provoked me to see this one.Love Actually is a romantic comedy that thoughtfully shows different people (of different race, age, etc.) that are all involved in some predicament with love during the time around Christmas (unofficially Valentine's Day's long, lost brother).
Thinking all along that there would be a point to it all, that there would be some sort of resolution, something to make sense of all the lamo, supposedly varied, love stories that are just simply awful.The writing was so bad too, as if it was written by spoilt eleven year old girl who has been sheltered from everything in life and handed anything she wanted by rich over protective and adoring parents.This film is like a big gooey sugary sweet mess of contrived and packaged imitation sugar, sprinkled with crap and delivered on a big plastic pink conveyor belt at the hope of tugging at people's heart strings.They should have handed out vomit bags in the cinemas.That this film was made is like an insult to anyone who has lived life for more than a day in their lives.The people who liked this movie are the people that open spam e mails, they're the people that vote in the Eurovision song contest, the people that stupid signs are made for, the people that don't know anything about the world, who read supermarket shelf magazines, the happy to be stupid people.
Mix the movie "Crash" with "The Breakup" with "Napoleon Dynamite" with "Bridget Jones's Diary" with "The Terminal" with "It's a Wonderful Life" with "The Family Stone" and you get LOVE ACTUALLY, the ultimate romantic comedy as the DVD cover boasts.
The common issues some of these people are dealing with makes the characters more likable and makes the movie feel more personal.Grant plays the prime minister of England and falls in love with a member of his maid staff.
At times it can get confusing and a lot of times viewers will be wondering why they haven't seen much of a certain characters in what feels like a long time.All the actors in this movie did a good job for how little screen time they had.
As Hugh Grant says in the opening narration: "love, actually, is all around us."I have to confess that I'm generally not a fan of these movies that feature separate story lines that eventually intertwine.
No one relationship really dominated in the story, although the three that really stood out for me were Hugh Grant's role as the Prime Minister (the slightly confused by love character being perfect for him), Liam Neeson as the recent widower dealing with grief and helping his stepson with love and Bill Nighy as rocker Billy Mack, who adds the most comedy to the movie as he releases a Christmas album that he knows is terrible - which he tells everyone, much to the chagrin of his manager.
well "Love actually", has great actors in it (Bill Nighy, Keira Nightly and so forth), that make the most of even small stories and screen time.While this set around Christmas time, this is also a hint, that you shouldn't take the movie too seriously.
Some parts of the movie are very sentimental, but Love Actually is a well-directed and well-acted film.
I like the thinking behind Richard Curtis' concept for "Love Actually." Why tell one Christmas love story when you can tell eight?
I mean, at one point there is a scene featuring a sort of negotiation between Grant, the prime minister of the U.K. and Thorton, the president of the U.S. If the demographic for this film isn't overstated with Christmas and romance already, that certainly ices the cake.The story lines are for the most part all good, but with eight of them, they all don't have to be.
Christmas time helps set that tone, but in general the mood the film is consistent in all the story lines.Like most romantic comedies, there's always a cheese factor, but the better ones make you forgive the cheese.
So as much as you might think you're watching just another romantic comedy about Christmas, "Love Actually" at least convinces you that for the time you're wrong..
Its a very pleasing film, but it does stay true to its name as well as a movie could anyway, it is more like Love Actually.
What's so great about this movie is the complexity of the story, and yet the simplicity of the overall message of the film- which is given right up front for all of those who miss it- "Love actually IS everywhere".
:-) Thank God, there is still good movies like "Notting Hill" or "Love Actually".
Like very much actors, we have many famous names (hugh grant, bill nighly, colin firth, laura linney) as well as new leading actresses (keira knightley, martine mcchucteon) and not very known people (lucia moniz, rodrigo santoro, abraham lincoln) presenting us that love can be in life always, in many ways, and that you dont need neccesarily to have a boyfriend or girlfriend to be happy.
Love was everywhere except my living room where I viewed this piece of crap.I haven't seen an ensemble cast movie this bad since 'America's Sweethearts' -- and this had better actors.There was no character development, no plot line other than the fact all of this junk happens around xmas.
The worst thing about the film is its over reliance on those fairy tale 'only in the movies' moments that seem to be an integral part of virtually every romantic comedy that comes down the pike these days (there's a scene set in Wisconsin that is so lacking in basic credibility that I was absolutely positive it would turn out to be a dream of one of the characters.
I don't know what movie the people who left even a semi-good review for this pile of crap were watching, because it wasn't Love Actually.
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Waking Life
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Waking Life is about an unnamed young man living an ethereal existence that lacks transitions between everyday events and eventually progresses toward an existential crisis. For most of the film, he observes quietly but later participates actively in philosophical discussions involving other characters—ranging from quirky scholars and artists to everyday restaurant-goers and friends—about such issues as metaphysics, free will, social philosophy, and the meaning of life. Other scenes do not even include the protagonist's presence, but rather, focus on a random isolated person, group of people, or couple engaging in such topics from a disembodied perspective. Along the way, the film touches also upon existentialism, situationist politics, posthumanity, the film theory of André Bazin, and lucid dreaming, and makes references to various celebrated intellectual and literary figures by name.
Gradually, the protagonist begins to realize that he is living out a perpetual dream, broken up only by occasional false awakenings. So far he is mostly a passive onlooker, though this changes during a chat with a passing woman who suddenly approaches him. After she greets him and shares her creative ideas with him, he reminds himself that she is a figment of his own dreaming imagination. Afterwards, he starts to converse more openly with other dream characters, but he begins to despair about being trapped in a dream.
The protagonist's final talk is with a character who looks somewhat similar to the protagonist himself and whom he briefly encountered previously, earlier in the film. This last conversation reveals this other character's understanding that reality may be only a single instant that the individual interprets falsely as time (and, thus, life); that living is simply the individual's constant negation of God's invitation to become one with the universe; that dreams offer a glimpse into the infinite nature of reality; and that in order to be free from the illusion called life, the individual need only to accept God's invitation.
The protagonist is last seen walking into a driveway when he suddenly begins to levitate, paralleling a scene at the start of the film of a floating child in the same driveway. The protagonist uncertainly reaches toward the car's handle, but is too swiftly lifted above the vehicle and over the trees. He rises into the endless blue expanse of the sky until he disappears from view.
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boring, psychological, thought-provoking, cult, alternate reality, psychedelic, satire, philosophical, storytelling
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This film is best for those who have sat around thinking about the big questions in life for long periods of time, dying for someone to talk to about them.
I saw this movie for the first time late last night and 5 minutes before it started I had fallen asleep and was hoping I'd be able to make it all the way through the film.
From the first frame I was riveted and completely awake and remained so even after it was over; contemplating all the myriad viewpoints the film had thrown at me.This movie is so exciting and bursting with ideas that I'm going to buy the DVD as soon as I possibly can and watch it over and over trying to absorb it all.See this film.
If it were simply caught on film and released in that same manor, it would not have had the monstrous effect that it had, and it would not have come across in a way that would retain the interest of this generation's ADD youth (which SHOULD be it's primary demographic...they are the ones who can still change this world, and create the paradigm shift that is necessary) This movie is the fiber of all life, it IS that collective unconscious from which we all draw our own, personal beings.
It has its flaws, but only in retrospect or through the eyes of another will they be found--and then forgiven if you have even an ounce of heart or a particle of transcendence.It gets beneath one's radar and past one's filters.For instance, it hits you perceptually with constantly varying animation styles, and after some time, you adjust to this so much that when you leave the theater, THE WORLD IS ANIMATED--a poetic way of saying that your connection to the proposition that all things are real is loosen WONDERFULLY!And then, it hits you intellectually by parading a dozen+ viewpoints of persons who would not necessarily disagree with one another, but show the vast importance to us of the personal way we manifest our philosophical axioms and how much that depends on our individual interests-not all of us are psychologically constructed to be philosophers, but all of us can be analyzed to have a philosophical set of suppositions.
Fantastic Work of Film Art. Waking Life has broken new ground surrounding the idea of animation.
But the animation makes up for that, because the film has so much visual content that one could also watch it with out the dialog, just being immersed in the art.I'm not an expert in philosophy, I've just taken one beginners class, although i am interested in the topic.
I'd say that Waking Life, rather than trying to reinvent philosophical theories, tries to present these ideas in the form of a film the same way as Jostein Gaarder's book 'Sophie's World'.
Even something very talky like "My Night at Maude's" at least tries to spend enough time to explore the philosophical question.Watching this was like being at a party where a bunch of people start talking about stuff which they know absolutely nothing about - or more accurately, just enough to get it all wrong.
To just present them without organization or taking a position just seems to translate to me as: "See how much I know??" Like a discussion with someone after their first philosophy class, when they recite theory to you, without questioning, challenging, or even favoring any of it.I feel that the use of the plot being that the boy was dreaming (or dead) was to hide the fact that Linklater DIDN'T have any profound point to make.
Tom's theory was that you should always show your audience instead of "talking about" what you want to show them.Which brings me to "Waking Life." I had never heard anything about this film, read anything about it, seen any previews.
The script itself is thought provoking and utterly stimulating, and gets the viewer, if he or she is a creative and imaginative individual, to immerse him/herself with the subject matter at hand and ask themselves the big questions of what life is all about, as the lead character does.Reading through some of the negative reviews on this website, I felt like flushing my head down the toilet.
Waking Life will give any forward thinking individual a fine film experience; it expertly achieves what Richard Linklater set out to do, which was to create a visually outstanding, mind expanding film which deals with social and cultural theory.Detractors of this film should drop out of that film studies class they have been attending because evidently it is turning you into a pretentious film prima donna..
Filmmaker Richard Linklater supplies some much needed thinking material for those restless nights and boring work days in Waking Life.
You keep watching to see how, if at all, Linklater will develop his ideas in purely visual terms but if this were not an animated film and had real actors instead of what are, fundamentally, their cartoon selves, you would definitely switch off long before the end..
To describe the basic plot it is enough to say that the main character spends the film in a sort of dream state in which he meets/sees all manner of people who discuss ideas, theories and philosophy of life and that's more or less it.OK so by now you already know whether you will hate this or not, although you don't know if you will like it.
I would not want to watch a film done this way every week but again seeing it not only done but done for a reason within the material is worth the experience.Waking Life is far from a good film but it is undeniably creative and interesting.
to me, this was quite an exceptional movie and I particularly enjoyed watching it more than a couple of times, as I really felt the need to, given the fact that it had plenty of philosophical ideas in it and didn't want to miss any...
what has always stricken me as particularly odd is the fact that some dreams are so intense and vivid that they seem to come to life under my very eyelids:)I think there there are many things being said through this movie that we ought to be paying attention to...there is so little we know about ourselves and our surroundings these days that it takes a lifetime and more to get to the core of our existence.we are all inherently and fundamentally different that we should consider the fact that the only elements of binding with each other are the rules, customs and conventions inoculated and imposed by the societies or communities we belong to.think about that!who are you, apart from what the world has made of you?.
Hell, even Monty Python's The Meaning of Life will do.You want to watch a film with halfway decent animation that's just as intelligent if not more so, watch South Park (and yes I'm serious about this).If you want to watch a film with great dialogue, watch A Man for All Seasons.Basically, you'd be better off watching all of those movies than wasting your time on this piece of crap.I don't need to pay $7 to sit in a theatre or $3 to rent a movie filled with a bunch of pretentious morons sitting around in wobbly animation babbling on about life and philosophy.
If I want to explore the inner workings of the mind and the concept of dreams, I'd much rather read something by Sartre or Kierkegaard or any other psychologist or philosopher rather than watching Ethan Hawke and Julie Delpy spew it back to me on screen.This movie spoon feeds philosophy to those who are too lazy to read the actual works of the authors cited.
Although an ambitious idea (and I do find the technique of animation over live film intriguing, even if it doesn't work), it fails miserably because it does indeed come off as pseudo-intellectual, pretentious garbage, and that's exactly what it is.
The movies' look isn't a case of style over matter at all, it's what gives "Waking Life" it's dream-like quality.
This look is what really sucks you into this completely different world, this dream world.Although I've loved some of Linklater's movies dearly ("Before Sunrise/Sunset", "Dazed & Confused", "School Of Rock") and I have appreciated him as a rather versatile director before, it's "Waking Life" that convinced me that he's a real master, as artistically skilled as Michel Gondry or Darren Daronofsky.
Though slight and strong fluctuations surface as obvious additions to the original film, for the most part the animation adheres to the actors and their brilliant portrayals as 'characters' in a dream or even dreamers themselves.Second, the rich, rapidly paced dialogue covering grounds from Socrates to Nietzche keeps the mind and senses at bay throughout leaving the audience second guessing foreknown conclusions.
I was very curious to watch "Waking Life" and I expected a great movie.
This is like listening to a student read out his latest philosophy essay.The thoughts of the people the main character meets in the dream world are not really original, just more of the same old reprinted crap that has been going around in the literary world for decades.
Rightfully so, a nice movie worth watching in the background and jut about people living their life, and being as casual as it may be it manages to be original as well.While Waking Life may be comparable to Dazed & Confused in which there are many characters, all which seem to be laid back, and there's really no actual plot.
Liberties are taken with the animation, but to an absurd extent and it feels like it's trying too hard to be artistic (which it of course ends up failing at).The story of Waking Life...
A guy wandered around and lots of people talked to him about their personal (even though I know it was YOUR) philosophies, and he couldn't wake up from the dream.
The animation style gets VERY old VERY quickly.As for plot...Well, what can i say...perhaps as a 20 minute short, this film might have been quite watchable, but as it stretches itself out to an excruciating 1 hour 38 minutes, its enough to make anyone want to hurt themselves.The film consists of a series of monologues with brief dashes of (very thin, callista flockhart style thin) plot between nutcases ranting about various different philosophies and their individual take on life.Now, don't get me wrong, i enjoy arty movies which inspire deep thought and conversation amongst friends afterwards, but what we have here is a film that starts off dull, hurts your eyes with flangey and unnecessary animation, fires intense drawn out and unnecessary exposition, steers away from what little plot or purpose it is supposed to contain for long periods of time, and at the end of it, leaves the viewer not enlightened or inquisitive about the themes involved, but bored and frustrated that they had wasted over an hour and a half of their life sitting down and watching this piece of trash.Until i saw this movie, i thought i had seen bad films but at least i was able to sit through them without falling asleep.
I was quite disturbed by some of the comments of your contributors getting such a negative perception of this movie.Certainly it is not something for easy movie watchers,who prefer soaps or comedies with a predictable plot.This is a movie with no plot,an animation which sometimes might be exhausting for your eyes,but filled with so much thoughts,that one single philosophy book might be unable to contain.And if you watch more carefully the dream like animation,you'll see that animation is well expressing the thoughts and moods of the numerous characters,contribu- ting to the unique message ,interactivity between dream and reality.You should better watch this movie with the pencil in your hand,noting so many memorable quotes,which your quotes column only scarcely represent.But you can find on the internet pages giving many commented quotes from this unique movie.I highly recommend to take your time to interpret from your point of view the valuable thoughts expressed by the characters and this will help to better understanding of the message.I refer just to opinions expressed by the professor on existentialism:It stresses freedom of choice and responsibility for the consequences of one's actions.We are all made up of individual choices and decisions that we make throughout our lives.If we wisely choose the right decisions,then we can have almost total control of where our life will take us.Going concrete on above thoughts I pondered about the attitude of many people both in my country as well as in other democracies not to go voting when elections are held,this as they say,in the name of freedom of choice and of breaking social slavery.Certainly we may respect their choice.But strangely the same mass protesting by their absence at elections,always are the most fierce critics of the election results and of the further developments in their society.A minority votes,perhaps it is misinformed or uninformed,at the end the results reflect only their attitudes,So many more social problems are created.If you can put the blame on someone else for the consequences of your non-acting,you will face the consequences and have no possibility of correcting by your vote even the most irresponsible political behaviour embraced by a minority.I just tried to show by the above,how some phrases from this astonishing movie can lead those willing to ponder about,to interpreting various important issues of our post - modernist democracies.If you are willing to make this effort,the movie will offer you a wide variety of valuable thoughts to be interpreted,what no single philosopy-or sociology book can give you.Highly recommend Linklater's unusual animation,which I consider a great movie to watch again and again..
'Waking Life' is much more than just an animated version of Linklater's first film 'Slacker.' Yes, it follows the same routine, as young vagabonds traverse the streets of Austin, TX waxing philosophically about their disconnectedness.
Waking Life is pure art and philosphy.It is a product made for reflexions and to make you analyze everything you see in the world.Why the human been doesn't ask questions anymore?Did he got used to the reality which you just have to live your life without questioning the importance of it and why he are alive.The movie is constructed by dialogues with the main character who just listen tho opinion of the others.Those dialogues are about existenciliasm,violence,language,death,dreams and relashionship.It is a travel to the philosophy.It is exposed the thoughts of great man life Sartre,Tomas de Aquino,Aristoteles and the still search of man trying to explain the reality,what we live!It's just a big trip!The art is incredible,the actors were filmed by a small camera and after this process artists painted them with colors,life a cartoon within the reality.The work gets surreal as the movie roles.It was a wonderful idea and a new concept of doing movies(which shows that cinema isn't dead).It is a shame that the academy didn't considered Waking Life in the new category of the Oscar.Waking Life is only for fews who want to do reflexions on your life.Most of the people won't like because is an unconventional movie.But those who wants to start thinking about the world ,the existence and the meaning of many things we deal on life it is a great experience.Rent,watch and think!.
As a live action movie this would be unwatchable.The main point of this film seems to be to show the audience these amazing philosophical theories that will blow their minds and change their life.
If you question the mysteries of life and are open to different philosophical theories, ideas, or just random thoughts, you will most likely like this movie.
Anyway, that's what "Waking Life" looks like, only in this hip new movie by Richard Linklater, the chicks, dudes, and old geezers stand around talking about not being able to distinguish dreams and reality, and all that other kind of existential stuff.
And it's great that there's a hot new filmmaker who's interested in making movies about people who speak to each other and actually talk about ideas.
I'd like to watch another movie(this time not as an animation),with philosophical scripts and daring ideas, of many other philosophers who were not mentioned in this work of art, to explore even more the brilliant question that has many answers but non of them true(because there is not one): "What is the meaning of life?" If I were a director, it would be one of my goals.
The movie is a bombardment of ideas about our modern lives, that's why it makes people say "I've thought about this!" even though they haven't read anything about philosophy before.The use of sounds, animations and colors are very effective.
I saw this movie for the first time in 2006, I recently watched it again in 2014 and still think I have many more viewings to go.Its just a beautiful story held together with the most amazing interactions and dialogue.
"Waking Life" is like an animated "My Dinner with Andre" so that the talking heads are certainly more interesting to look at.
The mostly rotoscope-like technique makes for more intriguing characterizations than most animation, with interesting use of character actors and intellectuals with quirky faces and attention-commanding voices, no matter what sense/nonsense they're talking about dreaming/waking/consciousness/life/death.The cameos of such as Ethan Hawke (who is just as sexy animated as filmed) and Stephen Soderbergh and Adam Goldberg are fun to pick out.
Waking Life is one of the movies that make people think.
In short, not films like Waking Life..
Waking Life is an animated film like no other.
Yes, people don't "talk like that in real life", yes, some of the scenes are jarring and seem out of sync with the rest of the film.
I know of no film that resembles Waking Life in terms of animation techniques, story line and dialogue.
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The Watch
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In the town of Glenview, Ohio, Evan Trautwig (Ben Stiller) is an active participant in the community and senior manager of the local Costco store. His life is disrupted when the store's night security guard is murdered. The local police have no leads, and show no interest in investigating further. Determined to find the killer and bring him to justice, Evan decides to form a neighborhood watch. However, he only manages to recruit Bob (Vince Vaughn), a construction worker and loving father; Franklin (Jonah Hill), a high school dropout who dreams of being a police officer but failed the written, physical, and mental-health tests; and Jamarcus (Richard Ayoade), a recent divorcé.
The watch members use the group as an excuse to drink and have fun (much to Evan's annoyance). While driving on patrol, they accidentally hit something. They discover a strange metallic orb that acts as a highly-destructive weapon, and deduce that it is of alien origin. Meanwhile, several more townspeople are mysteriously killed. The watch responds to the murders and encounters an alien, which attacks them. Evan apparently kills it with a lawn gnome before the group returns with the creature to Bob's house. The creature regains consciousness and escapes, stealing the metallic orb and warning them that the aliens have already infiltrated the town. The watch theorizes that the aliens are stealing their victims' skin and disguising themselves as humans, so anyone in Glenview could be an alien. Bob confides to Evan that he is worried about his daughter Chelsea (Erin Moriarty), and does not trust her boyfriend Jason (Nicholas Braun). Evan admits that he has been avoiding his wife Abby (Rosemarie DeWitt) because he is infertile, and revealing that it may cause her to leave.
Evan suspects that one of his neighbors is an alien (due to his strange, stiff way of speaking and because he always seems to be watching him). As the watch scouts the neighbor's house, Bob learns that Chelsea is at an unsupervised party with Jason. Bob disobeys Evan's orders, and rushes to the party with Franklin. Bob prevents Jason from raping Chelsea, but Jason beats him until Franklin intervenes. Evan and Jamarcus investigate the odd neighbor alone, discovering that he (only) hosts orgies in his basement. When Bob returns, he and Evan argue over his putting his daughter above the watch. Bob is fired from the watch after saying Evan has no friends because he tries to control everything. Evan goes home and admits his infertility to Abby, who accepts the news and tells him they will work things out.
Evan then receives an urgent visit from Jamarcus, who confesses that he is one of the aliens but has decided to side with humanity after experiencing human culture (and oral sex). He warns the group that the aliens are building a transmitter (beneath the Costco store) which will summon their armada to destroy the earth, and is expelled from the watch for his deception. Bob, Franklin, Evan and Abby arm themselves and infiltrate the Costco to destroy the transmitter. Bob encounters Jason who reveals that he is also an alien, and they fight. Evan and Franklin attempt to disable the transmitter, but are surrounded by aliens. Jamarcus arrives and saves the pair, revealing that the aliens' brains are located in their crotch; Bob kills Jason by ripping off his penis. Evan discovers that the transmitter is powered by the metallic orb and removes it, disabling the machine. More aliens arrive, forcing the group to flee. The watch uses the metallic orb to destroy the Costco building, killing all of the aliens inside.
In the epilogue, Evan and Abby rekindle their passion and adopt a daughter. Bob is closer to Chelsea and accepts her new boyfriend (who is intimidated by stories of how Bob killed Jason by "ripping his dick off"). Franklin is finally accepted by the Glenview Police Department, and Jamarcus continues participating in the secret neighborhood orgies. The group maintains the watch, continuing to protect Glenview from criminals (and aliens).
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train
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Somebody else said that this isn't a cinematic masterpiece and that's pretty much what i agree with, but it wasn't meant to be, it had some refreshing dialogue that wasn't so much punchlines, but funny conversations,the whole movie itself was just funny in general, the plot was ridiculous but at the same time it was really funny because it was just a big joke.
"The Watch" is a funny buddy comedy, filled with crude jokes and the silly shenanigans that you'd expect from Stiller, Vaughn, the rest of the cast, and writer Seth Rogen.
I just don't find Ben Stiller funny in any of his films though I bet there are any number of people behind the camera laughing at his every wide eyed attempt at ironic humour, his manager, his agent, his psychiatrist etc.
Filled with high-school humor,long boring conversations and horrible acting with aliens in the mix.The only people who can find this funny are stoned high teenagers and kids that just learned a new word, DICK.This is one of those direct to DVD mistakes.
Like most comedies starring Vince Vaughn, Ben Stiller and/or any of the Frat Pack, people are going to complain that this was gross, unfunny, ridiculous, etc.
The Aliens are pretty creepy to look at!Performance-Wise: Ben Stiller, Vince Vaughn, Jonah Hill & Richard Ayoade are the life of 'The Watch'.
It feels like it was intended for actors half their age but written buy guys twice their age who thought "those young people will think this is funny." It is not.Spare yourself from this one.I can not understand the fairly high rating for this film on this site.
At first glance I thought I would see a great slapstick comedy with an interesting script of otherworldly creatures attempt to invade a neighborhood and the men with humdrum lives getting together to form a neighborhood watch team protect their neighborhood from the aliens but the movie was not up to par at all.
While I didn't think it was going to be a great story I thought the likes of Stiller, Hill, and Vaughn would make up for the plot and they would take the movie to a new level.
The Watch is another example of a film that sacrifices jokes and good performances for gross-out humor, and it's not very funny.
Very few films maintain a good level of comedy throughout the film and this is no exception as the comedy was very spaced out and produced a giggle at best.I think this film could have been very well made and the acting could have been better, most actors are good at one kind of acting in a specific area and the characters seemed to show it as everyone looked as though they were out of their comfort zone (apart from Richard Ayoade who seemed to really get along with his character).All in all I believe that if you were looking forward for this film wait for the DVD otherwise it isn't really worth watching..
When the Costco night watchman Antonio Guzman (Joe Nunez) is mysteriously murdered, Evan organizes The Neighborhood Watch, a watch team with his suburban neighbors Bob (Vince Vaughn), Franklin (Jonah Hill) and Jamarcus (Richard Ayoade) to protect the neighborhood and find the killer of Antonio.
Soon they discover that the murderer is an alien that is preparing to invade Earth, and they become the last hope of mankind on Earth."The Watch" is a gross, silly and unfunny comedy with Ben Stiller and Vince Vaughn.
Eventually the script morphs into a comedic version of "Aliens" in a final showdown at the local Costco.Ben Stiller is somewhat bland in the thankless role of straight man placed in the group of sophomoric buffoons who only want to belong to the neighborhood watch to bond and get drunk.
I don't know why he is put in roles like this because he is clearly capable of so much more.Overall, 'The Watch' is really funny and may signify the revival of Hollywood comedy that '21 Jump Street' hinted towards.
I wanted to watch a comedy, something light hearted with my boyfriend so I chose The Watch as it had a great cast in it and it had good reviews.Although I was very much enjoying the film, the thing that ruined it was all the sleazy comments made about women and the orgy scene was completely unnecessary.
I mention this because the film The Watch, directed by Schaffer and with cameos from Taccone and Samberg, is very far from reaching the humor, irreverence and energy we habitually find in their collective work, and is a horrible "comedy" with a pathetic screenplay.The combination of contradictory genres can bring good results, but in the sad case of The Watch, the mixture of comedy, sci-fi and thriller feels absolutely forced and like an arbitrary collection of incongruent scenes which don't contribute to the narrative, but which only exist as mini-sketches of a bad quality.
On the comedy level, The Watch is too predictable, with the expected scatological jokes and vulgarity which don't even work (the five-minute scene about urinating into a jar reveals a lot about the auto-indulgence from co-screenwriters Jared Stern, Seth Rogen and Evan Goldberg...and their probable level of intoxication while writing the screenplay).
And the least I say about the sci-fi aspect of The Watch, the better.The alliance of Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade sounds good on paper, but unfortunately, they are totally wasted in The Watch.
I tend to never pass judgement until the very end (and even then it normally takes me a couple of watches before I give a proper opinion)But in this case, I had simply made my mind up almost a quarter of the way through.There is so much that is wrong with this title, but the biggest chip on my shoulder is the fact that even with such great comedic actors they have to stoop to Genitalia jokes and swearing like their life depends on it.My second biggest gripe with the film is that you can clearly see the tiny amounts of effort that have gone into writing of this film, its as if they have literally sat down at a board meeting and discussed the easiest way to make a quick bit of money on a semi-appealing plot.
You won't be thinking about that at all because the film offers so little resemblance to any "neighborhood watch" movie, program, or event in the last decade or so.
After one of his workers is murdered in the Costco, Evan creates a neighborhood watch program, which only recruits three misfits; loudmouth Bob (Vaughn), unstable Franklin (Hill), and offbeat Jamarcus (Ayoade).As the watch works in a rather disorganized manner, they soon discover that the town is home to rather unearthly creatures and, obviously, since the police won't believe them, they must take matters into their own hands.Ben Stiller gives his umpteenth rendition of the good-guy trying to do right, Vince Vaughn is a loud, obnoxious fratboy, who is struggling to maintain control as a single father looking after his rebellious teen daughter, and Jonah Hill is rather off-putting as an rejected police officer, mama's boy who continues to have trouble emoting and controlling his anger.
Had the film been more consistent in its writing, I doubt this problem would've even been so noticeable.Director Akiva Schaffer, one of the three members of The Lonely Island comedy troupe (the three make a cameo in the film) responsible for some seriously witty music videos and digital shorts on Saturday Night Live, definitely has passion for the weird and surreal, with his previous effort being the unsung cult classic Hot Rod. He simply does what he can with what he has, while The Watch scurries along in its screenplay of errors and its directions a plenty Starring: Ben Stiller, Vince Vaughn, Jonah Hill, Richard Ayoade, Will Forte, and R.
The reason why a film like The Watch falls flat on its face is because it thinks that just because that there's cursing, it's funny...
I went to see this movie with a male friend of mine, and I was so shocked and embarrassed at the content in this movie,I think they wrote it as a comedy,but I wasn't laughing, the language was so bad,I couldn't hardly stand it,theirs just to many movie's made with the F-bomb it's just simply not funny, I don't like hearing all that.
I have never written a review on here before but on seeing a review on here of this movie and them giving it 3 out of 10 I just had to put my 2 cents worth.This movie has one of the greatest comedy scripts out there and all the way through the film is just filled one liner's that are funny and very intelligent.The fun factor of this movie is the fact that it does not take itself seriously but still has moments of importance which makes your care about the characters.If you want an action comedy, with great visual CGI effects, heart warming moments and a laugh out loud script, then this is for you.Just remember that it is not being serious and don't get lost in the sarcasm..
Four suburban, beer-swilling stiffs discover an alien invasion and attempt to thwart it.Led by Costco manager Evan (Ben Stiller), the Neighborhood Watch team looks more like low-rent Keystone Cops than a parody of contemporary masculinity: Evan is a tightly-wound, blank shooting (as in sperm) husband of a sexually-frustrated, but loving wife (Rosemary DeWitt): Franklin (Jonah Hill) is a wired cop wannabe, Bob (Vince Vaughan) is an overly-protective dad, who, like most Vaughan characters, just wants to have fun; and Jamarcus (Richard Ayoade) is a likable Brit with a big secret, who doesn't always make sense.Most of the setups, such as a foul-mouthed curmudgeon neighbor with a shotgun and the teen-age orgy, are by now cliché's of slasher films and derivative teen comedies, and in this film fall flat.
Pity us.This will be my last venture watching "comedy" films with Vince Vaughn, and Jonah Hill.
With an all-star cast, Ben Stiller delivers the same, usual, and uninspired performance as Evan, he's a kind and "by-the-book" nerd, working as a general manager for a local Costco, who then forms a neighborhood watch after his friend was murdered.
Now, "The Watch" is not a terrible movie like everyone says it is, but it is a disappointing comedy that shares a few consistent laughs throughout.
But being a Ben Stiller and Vince Vaughn fan, I had to watch this film and see if it's bad as critics and plain viewers made it seem.
Finally, Richard Ayoade is pretty good even though did not expect much out of him.Overall, the Watch is a good, but could have been a way better film.
After checking out the trailer for THE WATCH it looked like it could've been a fun movie with a few good laughs.
For the most part the film was very annoying, at more than one occasion I was almost praying for the aliens to eat Ben Stiller as he was the most annoying and aside from him the other three characters played by Vince Vaughn, Jonah Hill and Richard Ayoade were morons and neither one of them were particularly likable.The only actor who was remotely funny was R.
Lee Ermey who seem to have been given the best lines in the whole movie but unfortunately he only makes a brief appearance.As far as the plot goes, its pretty badly put together because the trailer clearly suggested this would be four dimwit neighborhood watch guys taking on aliens.
Instead it turned out to be a non-funny comedy that was just annoying and didn't deliver on what I expected after seeing the trailer.All in all, this film is a waste of time, if I had a choice between this and the array of sitcoms on TV I'd go for the sitcoms..
i saw it last night at an advanced screening with my girlfriend we both loved the movie vince vaughn is extremely funny and jonah hill is great in it.
Many of my doubts about the awkward pairing of buddy movie and serious alien invasion were certainly justified, but to my surprise the experience was overall fairly enjoyable.Okay the plot makes very little sense and the characters behaviour makes even less but ultimately any film which stars such a bizarre ensemble cast is never going to win any awards for realism.
Some say it's too vulgar (but vulgar in an innocent,childish,silly way) but I think that's what makes it so funny and everyone watching it with me in that movie theater seemed to agree with me, because everyone laughed so much, it was great!.
What you see is what you get and that's basically four guys all with pretty good comedy creds (outstanding work from Richard Ayoade of the IT Crowd), great comedic interaction and bucket-loads of action-movie wish-fulfillment.
Vince Vaughn and Ben Stiller play their role in the movie of ordinary suburban extremely well and Jonah Hill is just the funniest character and cracks the funniest one liners the whole way through the movie.
Kind of looked like they were making the story up as they went and were trying to cover the lack of direction with extreme over acting and the desperate use of base sexual humour to distract viewers from this.To be fair the trailer pretty much says it all, just watch that and you pretty much have the whole movie bar three of the weakest jokes and one of the most nonsensical plot points.
I felt this movie had so much more potential,the idea of Ben Stiller,Jonah Hill,Vince Vaughn and Richard Ayoade starting a neighborhood watch together and fighting against aliens sounded like something that could have been a really funny movie.However,I did think there were plenty of funny parts in this movie but nothing really that you would laugh twice at but I did find the dialogue between these four actors very enjoyable.I would recommend the Watch to anyone looking for a quick comedy but just don't expect to be laughing out loud.When his friend is murdered,Evan (Ben Stiller) starts a neighborhood to catch the culprit,but they soon find it myth be more than just a human being..
This movie takes unlikely heroes who join the neighborhood (actually the town) watch, each for his own reason and with his own issues, throws them together into the unexpected where they are forced to work together to save mankind from aliens and deal with their personal life while they are at it.The movie combines American humor (Ben Steller, Vince Vaughn and etc.) with Sci-Fi, with a little (not too much) slap-humor, in a way that is more common in British Sci-Fi.The result - a fun movie to watch for people that love to laugh about their Sci-Fi..
When a comedy fan sees this preview it sends shivers down their spine: Ben Stiller, Jonah Hill AND Vince Vaughn all in the same movie?
While this movie is not as funny as Wedding Crashers or this summer's comedy blockbuster Ted, it still provides some comic relief for the viewer while maintaining an easy storyline to follow and some relate-able moments that any father, husband and friend can appreciate.What I didn't enjoy about this film was that Vince Vaughn came out of the role he's so firmly planted himself in these past 10 to 15 years.
Ben Stiller, Jonah Hill and Vince Vaughn all come together nicely and the addition of Richard Ayoade pulls everything together well; after all, everything's funnier with an English accent.+3 for the comradery between the four main characters+2 for the laughs +1 for simply not being a disappointment.
That is quite gross and otherwise unneeded in the movie but i was expecting such considering it had Jonah Hill and Vince Vaughn in it.Overall the movie has some unexpected twists good, satisfying ending with some action and laughs.
'The Watch' has four strong lead actors, Jonah Hill & Richard Ayoade being the strongest, Ben Stiller being the weakest and Vince Vaughn is better then usual.
It's rude, loud, fun and very funny, and if you don't mind this kind of comedy you should definitely give it a go.My expectations were low after seeing bad review after bad review, but when I saw the actual movie I did really enjoy it.
If you have watched at least one Ben Stiller movie, it most probably means that you have seen this one.
Stiller and Vaughn have passed the time, when they were funny and Jonah Hill just doesn't have any chance in this movie.
Was the combination of Ben Stiller, Vince Vaughn, Jonah Hill, and Richard Ayoade strong enough to make the movie fun, or has their comedy grown stale and weak.
Like most comedy movies, the trailer can ruin a good amount of comedic genius, and the Watch is no different.
In terms of performances, Ben Stiller played out his classic American comedy role, Vince Vaughn, I found quit annoying in this film; which was probably intended in the role he was playing where he would control the most idiotic of the group, Franklin, played by Jonah Hill who did a good job as usual just playing out some easy variable comedy styles.
'THE WATCH': Three and a Half Stars (Out of Five) 'GHOST BUSTERS' style Sci-Fi/comedy with Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade as four suburbanites who form a neighborhood watch group and end up having to defend the world from an alien invasion.
Every time Ben Stiller comes out with a movie I have to see it because its always loads of laugh.
While the trailers looked average at best, but with the cast of Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade it has the potential to really deliver something fun and entertaining.
After an employee gets murdered, Costco manager Ben Stiller forms a neighborhood watch with three local men (Vince Vaughn, Jonah Hill and Richard Ayoade).
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tt0120201
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Starship Troopers
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In the distant future, several hundred years after a revolution by Galactic War Veterans overthrew the world's governments and imposed a militaristic regime titled 'The Global Federation of Earth', humanity is at tense diplomatic relations with an alien race whose homeworld is the planet Klendathu (one of many planets inhabited by these creatures located on the other side of the Milky Way Galaxy) who are named the Arachnids, or 'Bugs'. John 'Johnny' D. Rico (Casper Van Dien), his girlfriend Carmen (Denise Richards), and best friend Carl (Neil Patrick Harris), who possesses psychic abilities, graduate from high school in Buenos Aires. Carmen and Carl enlist in the military to become citizens. Wanting to follow his girlfriend and friend, Johnny goes against his parents' desires and also enlists. But he finds that his grades are too low to join Carmen in Flight School and is assigned to the Mobile Infantry while Carl joins Military Intelligence.Johnny and the rest of the new recruits are drilled by the brutal Career Sergeant Zim (Clancy Brown). Johnny shows himself to be an outstanding leader and is made squad leader. He also meets a former high school classmate, "Dizzy" Flores (Dina Meyer), who has requested transfer to Johnny's unit ostensibly because the unit is the toughest but mainly because she's infatuated with Johnny. Over the next few weeks in boot camp, Johnny learns that Carmen is happy with her training and is working with his high school rival, Zander (Patrick Muldoon). Her decision to make the Fleet her career dashes Johnny's dreams as well as the future of his romance with her. Following a training incident in which one of his squad members is killed, Johnny is demoted from squad leader and publicly flogged in accordance with military law. As Johnny is telling his parents via videophone that he is quitting the Infantry the transmission is interrupted. The 'Bugs' have directed an asteroid at Earth, destroying Buenos Aires, killing his parents and most of the population of that city. As a result of this sneak attack, Earth declares war on the 'Bugs' and Johnny stays with the Infantry.The Federation's forces mount a large-scale invasion of Klendathu, which becomes an unmitigated disaster due to underestimation of their foes combat abilities. 'Bug plasma' energy discharges from the surface by huge 'Tanker Bugs' thought to be flame-spewing battle tanks on the surface now turn out to be giant artillery pieces capable of surface-to-space barrages creating massive damage to the Fleet in space.With much of the Fleet in space destroyed or badly damaged, the Mobile Infantry on the surface now cut off from air support is overcome by swarms of thousands of 'Bug' warriors. Over 100,000 troops are killed before a retreat can be performed and several of Johnny's fellow recruits are killed, Johnny himself being severely wounded.Later at the Ticonderoga Battle Station, where the remains of the Fleet dock, Carmen looks up Johnny Rico's name on a computer screen, (it shows 308,563 casualties from the one-day battle, most of them being KIA or MIA). Johnny's squad is almost wiped out and Carmen, due to an error in the casualty list, believes he is dead.Federation scientists are baffled by the Bugs' use of military tactics and postulate that there must be a caste of 'Brain Bugs' that serve as generals for the Arachnids.After a few days' rest, Johnny, Dizzy, and fellow squad member Ace Levy (Jake Busey) are re-assigned to the 'Roughnecks', a special unit of Mobile Infantry which is led by Johnny's old high-school teacher, Lieutenant Jean Rasczak (Michael Ironside), a veteran of the First Bug War several years earlier who has been brought out of retirement to lead the group. Back on Earth, a new Sky Marshal revises the campaign, using strikes on other planets in the Klendathu system to learn more about the Arachnids' tactics. After aerial napalm strikes against the planets, Lt. Rasczak's squad lands on Planet 'P' to mop up. Johnny's leadership and his skill in combat while destroying a tanker bug earn him a field promotion to Corporal. That night, Lt. Raszcak grants the unit rest and relaxation, during which Johnny and Dizzy wind up in bed.A few days later, the Roughnecks are assigned to investigate an outpost on Planet P; they find the garrison killed and learn that the Bugs have sucked out the brains of some of the dead. They find the cowardly Commanding Officer General Owen (Marshall Bell) still alive, rambling about the existence of some kind of leader bug responsible for the massacre. Suddenly, the outpost is ambushed by thousands of warrior bugs, with some tanker bugs in support. Most of the squad is killed, including General Owen, and Lt. Rasczak. Johnny takes command and requests an evacuation ship, which happens to be flown by Carmen and Zander. Dizzy is fatally stabbed by a warrior bug and dies in Johnny's arms.After Dizzy's funeral aboard a starship, Johnny and Carmen are joined by Carl, now a high-ranking colonel in military intelligence. Carl admits that the Roughnecks had been used as bait to test a theory, which enrages Johnny, but the theory has proven correct; the existence of 'Brain Bugs' that control much of the Arachnid behaviour. Carl assigns the Roughnecks to search for a 'brain bug'. Carl gives Johnny a promotion to Lieutenant and command of the Roughnecks.As the Roughnecks explore the surface of the planet, the Fleet in space is again fired upon by hundreds of planetary tanker bugs. During the attack the warship 'Rodger Young' on which Carmen is stationed as the pilot, is hit by Arachnid plasma energy fire. Cutting the ship in two, Carmen and Zander manage to evacuate in an escape pod that crashes deep inside a Bug nest several meters underground. Johnny learns of Carmen's situation and tells the rest of the squad to keep scouring the surface while he, Ace, and Sugar Watkins (Seth Gilliam) search for Carmen in the tunnels. Carl, who has telepathic powers, is able to provide Johnny some guidance through his mind. Eventually they discover Carmen and Zander just as Zander's brain is sucked out by the brain bug leader. Carmen saves herself by injuring the bug with a knife that Zander had handed to her earlier. Watkins, injured, sacrifices himself to wipe out the bug nest with a small nuclear warhead. Johnny, Ace and Carmen arrive on the surface and learn that the brain bug has been caught by the Mobile Infantry, led by former Sergeant Zim, who has been demoted to Private in order to take part in combat. As everyone celebrates, Carl joins Johnny and Carmen on the surface, explaining that they will be able to learn how the Bugs think and can turn the tide of the war.Concluding with another propaganda News Reel, it is shown that Johnny, Ace, and Carmen continue their service in the military as heroes. Prime examples to incoming recruits with Johnny as leader of the 'Roughnecks' and Carmen as Captain of her own ship as the war against the bugs continues.
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comedy, murder, paranormal, cult, violence, good versus evil, humor, satire, romantic, entertaining, sci-fi
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train
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imdb
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But guess what: it is fun (by the truckload - at least if you have a pitch-black sense of humour and you do realise what this film is and what it wants to achieve).Paul Verhoeven was a master at making Sci-Fi films which worked both as perfect mainstream popcorn cinema and as very intelligent social commentary on the direction - he felt - society was headed.
And despite the fact that the over-the-top satirical elements and highly political undercurrents in his two previous sci-fi extravaganzas Robocop and Total Recall were only appreciated by a few critics at the time, those two films became huge hits at the box office: because they also offered great action, amazing special effects and overall great entertainment.My guess is that Verhoeven felt encouraged by that success, and so with Starship Troopers, he didn't just sneak in some subversive parts: he went full-blown satire.
And much like another glitch in the Hollywood machine, David Fincher's Fight Club, films like that rarely get made (and not with such budgets), because more often than not, they end up as flops.Apart from the underlying themes, on the surface Starship Troopers also has a lot going for it: amazing effects that still hold up very well and insanely intense battle scenes with more blood and guts than even the meanest gore-hound could wish for.
It really is a shame that despite the squeaky-clean heroes plucked straight from the soaps, the Mormon extremists, the multiple-amputee mobile infantry retirees and the propaganda shorts masquerading as news, the vast majority still seems to regard Starship Troopers as a stupid action movie and, for some reason, absolutely refuse to consider that it might be something more.10/10.
Heinlein novel, Starship Troopers is set in a world of the future where militarism is the norm, largely because we've discovered alien civilizations of huge insect-like creatures and we're at war with them.
The film follows a quartet of high school friends as they make their varied ways through the military.Starship Troopers is both a tongue-in-cheek satire of society and an intense sci-fi/action/war film filled with horror-like insect monsters and a healthy dose of graphic gore.
Like Platoon, the basic training scenes show order and a clear sense of purpose, while the wartime scenes show comparative chaos.That the film could be compared to something like Platoon shows that although director Paul Verhoeven and screenwriter Edward Neumeier are aware that the material could easily be seen as absurd, they have the chops to make it believable and suspenseful at the same time.This is not to say that Starship Troopers is a rip-off of any other movie.
The truth is that this is a brilliant film that, like Verhoeven's earlier "Robocop", is an insightful satire and critique of fascism and at the same time succeeds as a sci-fi thriller.
That's the strange and wonderful thing about "Starship Troopers" and "Robocop" -- one viewer might totally not get it, while to another, the critical/satirical level is totally in your face and is what the film is really all about.I don't know if I'm describing it well, but watch it with the film-makers' commentary turned on (on the DVD version), and director Paul Verhoeven and writer Ed Neumeier lay it all out very clearly: the film is about how war makes fascists of us all.
The acting is excellent, and the balance between the characters' interpersonal story line, the bug war story line, and the underlying political satire and critique, is perfectly handled.A truly exceptional film, Verhoeven's best so far, topping even "Robocop" in my opinion, and fully deserving a 10 out of 10 score, which I rarely give..
I remember wait to see and action film about great space heroes, and even when I found heroes and action, I found a awesome and satirical story about the evolution of the human race and how the path of war falls in a road to hell.
More than that, Starship troopers it's that kind of science fiction films with great a big special effects but at the same time a terrific script.
After this you can read the book of Robert Heinlein founding how far goes Paul Verhoeven in every scene and every character creating.
Three, is a mix of the above, and it's the way I think a lot of people have started to watch this movie, at least that is the case for me.When I first saw this movie in the theatre, I loved the movie for really simple reasons(not bad, but simple) it was visually stunning for it's time, it had funny, over the top characters that you just can't help but to love, and a cast of really easy on the eye actors.Then I bought the DVD, and started to notice all the social commentary that I kinda missed the first time around, and now I hold this film as one of my all-time favorites, maybe even top 5.I see a lot of difference in opinion on these boards, and I can't help but to think that the people that do not like this movie, have not moved away from the first example I wrote on how to watch this film, and simply do not like sci-fi films, and don't want to give credibility to the genre.For people who DO like sci-fi, and are open to new takes on the sci-fi genre, this movie is a godsend.
But Starship Troopers is one of those great films that grows on you the more you see it.Verhoeven has said his life was changed by witnessing the violence of WWII up close and personal.
The opening TV news show even says that the conflict started when Mormons opened a mission on the bug planet (this is something I missed first time around.) But again, the relatively lame ending soft pedals this theme, so by the time Doogie Houser shows up wearing an SS trenchcoat, torturing the poor Brain Bug, people tend to laugh and dismiss the deeper meaning.Starship Troopers also has some of the best FX ever!
Taking a few names from Starship Troopers (the novel), the points that Verhoeven makes in his (IMHO) ham-handed manner are made at the expense of the points made in the book.
I've seen comments saying that "perhaps it wasn't close enough to the book." There is no perhaps in this case, this movie took a few proper nouns and the idea that the main enemies are "bugs," and that is the sum total of Verhoeven's theft.
I am a long-time Heinlein fan and have read Starship Troopers.Being a graduate of the U.S. Naval Academy, Robert Heinlein had a lot of respect for military service as a way to serve humanity in a cause bigger than yourself.
It is a pretty controversial book in that Heinlein makes the case that only those who have served in the military, i.e. served a cause bigger than themselves, should be enfranchised with the vote as they have demonstrated themselves to be responsible enough to think about more than just themselves.You won't get any of that out of the film.
Perhaps if you go to this movie looking for some good mindless action and some pretty faces you won't be disappointed; as I was, but make no mistake you are not seeing anything truly related to the book this film was allegedly based on..
Why don't they use artillery?They've got the capability of making these huge space ships, yet they are completely unprotected from the bugs' low-speed anti-spacecraft missiles.How can Ibanez take a 4-inch diameter bug leg through the shoulder and still be able to hold up one of those stupid massive automatic weapons, and apparently not lose any blood?I watched more of this movie that I should have, just because I couldn't believe how incredibly stupid it was.
If you hated this movie because of its thematic content, then I can honestly suggest you read the book because the book is very good and has exactly the opposite theme.The film stank for my friends because they like interesting movies with one or more of the following: a good plot, good acting, good character development, or a good visual show.
Ranking on my all-time bad movie list--right up there with Waterworld--Starship Troopers could not have disappointed me more than it did.
I'm not sure how many of you have read Starship Troopers the book before reading it, but I'd like to point out a few things.
An absolute waste of time and money which could have been better spent doing anything else rather than watching this apology for a film.Apart from the fact that it's an awful adaptation of the storyline of one of the best SF novels ever written, it's shallow, missing all of the depth of the novel and the characters were all far too easy to hate.
Of course it's a satire on multiple levels so congratulations to Verhoeven and the entire film-making team for doing this so well, yet also succeeding brilliantly at the shoot-em-up thrills and coming-of-age story aspects (which latter I thought were non-trivial despite some probably deliberate clichés).It seems to me that Heinlein was more ambivalent than Verhoven about fascism, although far from unaware of its dangers.
However, Verhoeven's apparent preoccupation with the lessons of the Nazi era may have obscured some of Heinlein's themes.Heinlein was an adult by the time of the war, lived in the US, and never served in the European theatre, so the war's emotional effects on him were different.The heart-rending nature of the screams of the dying arachnids is another of the subtle features of the satire - you may not notice this during a first viewing of the relevant scenes.Apart from that I've nothing to add to earlier reviews except no one seems to have mentioned the comparison that strikes me between the battle scene at the fort, near the end of the film, and at least one major scene in "Zulu".
Anybody who's actually read the great book by Robert Heinlein on which this movie is supposedly based will not help but give it a trash rating.
I'm not really going to say too much about this movie, I just wanted to give a little advice to writters and directors who plan to adapt a book to film.
Second Step, If you don't agree with the philosophy behind the book, don't do the movie!I will be first to admit that I don't really agree with Heinlein's military based society, but he presents a clear philosophy in a straight forward and fascinating story.
I haven't seen a film that has concealed that it's a satire in a better way, in fact it looks like as if it contains any message it is totally drowned in the gory, stupidly-patriotic, bad-acting parts, with the the blatantly typical stereotypes and the dumb sexual plot!
The Starship Troopers Film adaptation (Henceforth reffered to as "Nazis in Space") is the worst interpratation of Heinlein's novel.
Think "Top Gun" without the Fighter Jets, that's the same scenario you have with "Nazis in Space".In conclusion: If you want to check out Heinlein's work, go read the book or watch a "Fansub" of the Japanese Anime version (Yes there is one out).
No matter how much you try to explain it away you're left thinking of what a ridiculous idea it is to send ground troops to a planet to engage in pitched battles with literally billions of self aware homicidal insectsActually I've just realised why , because if humanity nuked the bugs then we'd be left with two hours of THE OC IN OUTER SPACE with the last two minutes composed of a couple of large explosions and that would have made for an extremely boring film .
Say what you like about the first sixty minutes of the running time ( And if you've nothing nice to say about it I'll agree with you ) but the second half of STARSHIP TROOPERS is very gory fun with Verhoeeven delivering the goods .
Eliminating the power armor and other advanced weapons aside, the true story of Johnny Rico was never touched in this movie and Neumier (sp?) should have left the script titled "Bug Hunt" and kept his hands off the Starship Troopers name because he obviously took the original work with a grain of salt, so why did the think he could do much better?
For those that would like to see a more truthful adaptation of this world and word of Heinlein with out the egregious and grandiosly innappropriate transformations of Verhoeven, then you really should check out "Roughnecks Starship Troopers Chronicles" which is out on a series of DVDs. Here the pretense of making a fascist statement where there really is none is dispensed with.
The fact that there are people who have talked themselves into believing Paul Verhoeven's "Starship Troopers" is a witty, satirical social commentary is a frightening example of how easy it is to delude yourself.
My title is a quote from director Paul Veerhoven who makes no attempt to water down his political views in "Starship Troopers", a merciless, satirical skewering of those superpowers throughout history who believe war solves the world's problems.That opening sentence is a mouthful, so let me explain a little further.
The rest of the movie is peppered with such dark comedic skits, a lot like Veerhoven's "Robocop" a decade earlier.Where the film is brilliant (or disastrous, see below) is in the way the battle scenes do thrill us, almost to the point that we lose ourselves in the hysteria of warfare, and only upon sober reflection do we realize that Mr. Veerhoven has just proved how easy it is to become a mindless minion of violence.
well, if you are going to try to tell me they hurled a rock thousands of light years, I suppose you can't expect me to quibble that on the way it might 'scrape' the Rodger Young.A lot of people have written about the fascist undertone of the society which was played up very strongly in the novel but actually only touched on in the film.
This is not an action sci-fi movie it's a satire of the society at the time of war.
Starship Troopers is a very clever and funny satire and even more than that: a big entertaining movie like you've never seen before.**** out of ****.
Heinlein at least suggests the possibility that humans attempted to settle a bug world, however this is lost in the xenophobic frenzy that this movie is.The movie isn't half of what it could have been had it followed the book more closely without a loss of any of the director's all too important action sequences..
The movie "Starship Troopers" lacks the book's character development, plot, motivation, terrene form of government, time line, character interaction, and literary merit.
Starship Troopers was a magnificent book and I was very excited to learn that a movie version of it was finally being made.
However, in the book, extradetails about the society that people live in are shown.The movie makes fun of the "fascist" government, whereas thebook tries to explain how things got to be like that.
It turned this book into yet another special-effects festival, with lots of blood, gore, and death, following a bunch of future teenagers having the same kind of fun killing bugs as they would at a high school football game.I have no doubt that the author will find a way to come back and haunt the producers, writers, and director of this drek fest for the rest of their natural lives..
Starship Troopers Is one of my all time favorite Science Fiction films and I've been hoping for a sequel.I am 58 years old and started watching Science Fiction in the 50's with classics like War of the Worlds, Earth v.
WWII movies could get away without supplying the premise for why we were fighting WWII, because it is to this day universally known why, but I'm afraid that the WWII formula won't work in the Starship Trooper context, we need a plot including the premises for why this war started in the first place.Next, let's look at the credibility of some of the things seen in this movie--Reporters standing in the middle of a combat mission?
It had the potential to be no more than a B-Grade Sci-fi monster movie with classy special effects, but for some reason Verhoeven decided he had to make it into a twisted version of Heinlein's excellent novel.Those who have seen the movie but not read the book may be shocked to learn that what Heinlein actually wrote was a story about a fundamentally noble human culture and the moral justifications for war against an implacable enemy.
I'm not sure if he ever affiliated himself with any political party, but I think that by the time he wrote Starship Troopers, he was a libertarian, which is about as far from being a fascist as you can get.Still, it's a fun movie.
You might be a bit disappointed if you're expecting it to be as good as James Cameron's Aliens, but I'd say Starship Troopers is definitely worth seeing if you like sci-fi action movies..
There are thousands of better SF or war films to chose from, so avoid Starship Troopers if you value your time.
Critics, some people and also as I know, the director, Paul Verhoeven say that the movie has a lot of political, social messages, it is a satire.
However, people love Aliens which is also according to them one of the best action movies, but the rating of Starship Troopers is one of the most bothersome ratings in IMDb history!
Paul Verhoeven is, obviously, a magnificent filmmaker (even if he directed the universally hated "Showgirls"), and he really knows how to make both a smart and fun movie!On the surface, it is an action-packed science fiction film.
Plus, it is a really entertaining action movie, so even if you aren't into satire, you still might really enjoy "Starship Troopers"!Highly recommended.
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tt0063522
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Rosemary's Baby
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New York City, fall of 1965: Rosemary and Guy Woodhouse (Mia Farrow and John Cassavetes) are a young married couple who rent an apartment in the gothic and splendorous Bramford building in Manhattan. At first, their friend and current landlord Edward "Hutch" Hutchins (Maurice Evans) tries to dissuade them from doing so: the building has a rather unsavory past. It has been occupied by cannibal killers, Satanists and witches, such as the Trench Sisters, Keith Kennedy, Pearl Ames--and the sinister Adrian Marcato, who created a scandal in the late 1890s by claiming to have conjured "The Living Devil."Rosemary and Guy ignore him and move in. Guy is an actor with a fledging career. He's done plenty of TV plays and commercials, which have made him good money; but he wants great parts. Rosemary is a gentle soul, originally from Omaha, Nebraska, where she had been raised in a Catholic home and had attended convent school.As it is, Rosemary is estranged from her family, since they don't accept her marriage to Guy, who is not only an actor, but is also of mixed Jewish/Protestant upbringing. So her life in New York is all she has: she is a young housewife dedicated entirely to making a good home for her husband, whom she adores. She has a good circle of friends, but is at core sweetly naïve and lonely.One day in the laundry room, Rosemary makes the acquaintance of Terry Gionnoffrio (Victoria Vetri), a young former drug addict who was "rescued from the gutter" by an elderly, eccentric couple, Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon). The Castavets's apartment had formerly been the front part of theirs, but is now separated by a partition.Her friendship with Terry is short-lived. A few days after Rosemary meets her, Terry plunges to her death from the bay window. She and Guy are walking home when they see the police surrounding Terry's corpse. The Castavets happen to be walking home, too. Presumably distraught, they strike up an acquaintance with the Woodhouses and later invite them to dinner. Rosemary becomes suspicious about their new elderly friends, particularly the way that Roman insists on speaking with Guy in private. Other things trouble her, too, such as when Guy's career gets a jump start when his main rival, Donald Baumgart, suddenly goes blind. Now all he cares about is his new play.But then suddenly, he decides he wants to become a father. Rosemary is thrilled.Evidently having studied her ovulation cycle himself, he announces the ideal "baby night." That evening, Minnie drops by to give them some chocolate mousse--or mouse as she calls it. Rosemary complains of a chalky undertaste, but Guy gets angry over her ingratitude. She eats part of it, and then furtively hides the rest in her napkin.Suddenly feeling disoriented after dinner, she passes out and has a bizarre dream. Rosemary is floating on a mattress in the sea, visits a cruise ship with the Kennedy's, has her wedding band removed, is carried through the Sistine Chapel, a brief shot of the linen closet with guy saying "easy, you got her too high" then she's back on the cruise ship naked and told by the skipper go below the deck and passes by a burning church and lays down on a mattress. The unsettling dream becomes a nightmare when she finds herself surrounded by naked elderly people, a statue figure of a bearded man staring down at her, and two men tie her to a bed. Then Jackie Kennedy soothes her for not feeling well. Guy approaches her bed, but then something that looks and feels inhuman brutally rapes her. "This is no dream!" she cries. "This is really happening!" Pope Paul VI, then visiting NYC and having mass at Yankee Stadium, comes to offer her absolution.When she wakes up, Rosemary is sore and scratched. Guy half-heartedly apologizes for having had her while she was out. Rosemary is angry, but "baby night" later proves successful. Dr. C.C. Hill (Charles Grodin)--referred to her by her girlfriend Elise Dunstan (Emmaline Henry)--confirms it.Upon hearing the news, the Castevets persuade Rosemary to go to Dr. Abraham Sapirstein (Ralph Bellamy), a prominent obstetrician who delivers all the upper crust babies in the city. Rosemary entrusts herself to him, accepting his odd advice and his recommendation of Minnie's strange "vitamin drinks." She develops pain during her first trimester, which causes her to lose weight and look emaciated, alarming Hutch--but not the doctor, Guy, the Castevets or their Saturday night gang of quaint old timers, including Dr. Stan Shand (Phil Leeds) and the obnoxious Laura-Louise McBurney (Patsy Kelly).As her pregnancy progresses, Rosemary feels a mounting sense of dread and angst. What is wrong with her? Why won't anyone acknowledge it? She decides to throw a party for her young friends, a qualification she insists upon. Her girlfriends--including Elise, Joan Jellico (Marianne Gordon) and Tiger Hoanigsen (Wende Wagner)--tell her she looks awful and that her pain is far from normal. She has to see a new doctor. Rosemary tells Guy, and they fight bitterly over it. But at the last minute she relents. The pain has suddenly stopped. And now she can feel the baby kicking.Rosemary's friend Hutch drops by for a visit; Roman and Minnie spot him, and suddenly Guy arrives home unexpectedly, as if they'd phoned him and urged him to rush back to the apartment. Hutch asks a lot of questions of Roman and Guy, and before he leaves the apartment, he realizes he's misplaced one of his gloves. Later, Hutch falls into a mysterious coma and dies. Rosemary receives a book from Hutch's companion, Grace Cardiff (Hanna Landy), which Hutch had intended to give to Rosemary personally. It's called "All of Them Witches," a study on witchcraft through the ages, featuring a chapter on Adrian Marcato (his appearance is familiar from the "dream") and his son, Steven. "The name is an anagram," is the final clue Hutch had left for her. Rosemary uses her Scrabble tiles to learn the horrible truth: Roman Castevet is Steven Marcato.Now she suspects Roman, Minnie and all their all-too-helpful friends are Satan worshipers. She visits Dr. Sapirstein and tells him she'll have no more to do with them. It's just as well, Sapirstein informs her: Roman is dying and would like to go away to Europe on a farewell tour. Rosie feels guilty about her suspicions, and when the time comes, bids them a fond farewell.But not all is what it seems. As her due date--June 28, 1966--nears, she learns one strange thing after the other. Could it be that Guy is involved with witches? Witches use babies for their rituals. Has he promised them the baby? She also learns that witches use the belongings of their intended victims to blind or kill them. On a hunch, she contacts Guy's former rival, Donald Baumgart, and gets him to reveal that Guy swapped ties with him just before he went blind.Distraught, Rosemary packs a suitcase and goes to Dr. Sapirstein to tell him what she's learned. But his secretary's off-hand remark reveals something horrible--the good doctor sometimes smells like tannis root, which she has learned is more commonly called Devil's Pepper. Dr. Sapirstein is a witch, too. He must be part of the plot against her. Next, Rosemary persuades Dr. Hill to see her. When she reveals her suspicions to him, he seems to take her seriously, and he gives her a sedative to help her sleep, but she is horrified when she awakens and find that Guy and Dr. Sapirstein have arrived to take her back home. She manages lock them out of the apartment, but before she can call for help, Guy and the others appear in the apartment, having entered by some other means. Rosemary tries to fight them off and she goes into labor. They have to force her down on her bed, while Sapirstein injects her with something to make her sleep.When she wakes, Guy tells her she has had a boy and that he's fine. But later, Sapirstein tells her that the baby is dead. The coven members sit with Rosemary, collecting her breast milk, and she thinks she can hear a baby crying through the walls of the apartment. She knows they have taken the baby, and she thinks they are planning to sacrifice it for one of their rituals.After a few days of pretending to cooperate and take her sedatives, Rosemary arms herself with a sharp butcher knife and finds the partition between her apartment and the apartment of the Castavets. Removing the closet interior, she finds the hidden doorway to the other apartment and goes inside. She looks at an oil painting of a burning church whispering "you got her too high", apparently having a flashback of the "dream". She discovers the entire coven sitting in the living room around a bassinet, including Minnie and Roman. A photo of Adrian Marcato is up above the mantle. There are others there, too, that Rosemary does not recognize, people that seem to have come from as far away as Japan. She approaches the bassinet and sees the baby for the first time, horrified that the baby has strange eyes. "He has his father's eyes," Roman tells her, and the coven tells her that Satan is the baby's father, not Guy. Guy tells her that he made an agreement with the coven to allow them to impregnate Rosemary with the spawn of the Devil in exchange for a successful acting career. Rosemary spits in his face. Now totally beaten, she collapses into a chair and Minnie brings her a cup of tea. Roman speaks more gently to her and encourages her to be the baby's mother, and although she hesitates at first, her maternal instincts win out, and the film ends as she rocks the baby's cradle and sings to him.
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murder, horror, atmospheric, good versus evil, psychedelic, suspenseful
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train
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imdb
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Roman Polanski knows this and utilizes it brilliantly, opening the film with stunning aerial shots of the skyline and focusing in on the ornate castle amongst the skyscrapers and tenements.The acting is fantastic, particularly Mia Farrow, who is the only person I can envision as Rosemary.
Horror as we know it came into being with the slasher flicks of the late 1970s and early 1980s; "Rosemary's Baby" is rather the kind of thing that the term "dark fantasy" was coined to describe, by people of taste who noticed that the word "horror" promised audiences something distinctly unpleasant and nasty.The film's construction is marvellous.
1968s "Rosemary's Baby" is a more sophisticated, less elegant thriller of the kind that Alfred Hitchcock patented, but it displays much more class and intelligence than the horror movies that would come out in its wake.
His earlier films like "Knife in the Water," "Repulsion" and "Dance of the Vampires," display the talents that would come to such a controlled mastery in "Rosemary's Baby."Polanski very faithfully adapts Ira Levin's novel to the screen so that the viewer is, just as the reader was, free to interpret the eerie events of the story as either reality or a depiction of an isolated woman's decent into madness.
That is where films really come alive and remain so.The Paramount DVD presents an excellent print of the movie that looks as if it were shot yesterday, along with extras that include new interviews with Polanski, executive producer Bob Evans and production designer Richard Sylbert, and a featurette from the time of the film's original release that really works as a good time capsule..
But for one thing, Polanski was not interested in making a shock-and-gore horror Rosemary's Baby is all about the eerie atmosphere, the tension and the mystery.
There maybe moments that are not scary but as it goes on and you keep watching you start to get more and more creeped out-the atmosphere is what does it-even if someone were tuning in and didn't know this story already-the creepy feeling that something's very wrong is still there strongly from the beginning, strengthening in tone as you get deeper into the picture until by the end and the final few scenes your blown away.This is definitely more subtley and atmospherically creepy then a "boo" in your face scare fest like "scream".
It must mean that no part of the film could possibly(!) be better: the characters must be three-dimensional and engage the viewer (whether it be sympathetic or antagonistic); the performances must then bring these characters to life; the script must carry the plot without stale verbiage or cliché; the story itself must be believable or, in the case of horror or science fiction, create the conditions wherein the story can be seen as believable; the editing must make it not a scene too long nor a scene too short; the music must be
and you get the point, right?
On each of these points, as well as any other you care to mention, 'Rosemary's Baby' easily qualifies.Having established himself as an up-and-coming European director in the 1960s with the likes of his debut 'Knife in the Water' (1962), Roman Polanski was brought to America to direct this horror movie about a secret society of Devil worshippers composed of wealthy and distinguished citizens manipulating a young woman into giving birth to the child of Satan in late-60's New York.
The film is the second part of Polanski's so-called "apartment trilogy" (the other parts being 'Repulsion (1965)' and 'The Tenant' (1976)) and as such begins with a shot of the Bramford apartment building (in reality the Dakota building which would later be the building John Lennon was shot in front of) which struggling actor Guy Woodhouse (Cassavetes) and his beautiful young wife Rosemary (Farrow) manage to bag a sizable apartment in.
Not long after (and with the "help" of a dizzying dream/nightmare sequence which is far more authentic than the famed Dali sequence in Hitchcock's 'Spellbound') Rosemary becomes pregnant
but her jubilation is short-lived and soon transforms into a disturbing paranoid nightmare.For a horror film it is refreshingly free of gore or ridiculous "jump-moments", and instead slowly chills the viewer through an atmosphere which becomes increasingly unnerving and claustrophobic as Rosemary discovers various clues which suggest that the Castevets may be involved in the darkest of dealings, and may have lured Guy into their ranks.
All it does it reinforce the moronic nature of the main character, and everything wrong with the movie to begin with.For this to be considered a classic, I can only assume there are a bunch of old timers reminiscing about the good times and living in denial about films like this.
"Rosemary' Baby" has to do with the most darkest fears one can conjure up in a movie book as well as in one's own mind; The return of Satan-the Devil-on earth and everything that goes along with him.It's early October 1965 and the Pope, Pope Paul VI, has made a historical visit to the US and is in the process of giving a sermon, to some 60,000 people, at New York's Yankee Stadium.
It's also the time designated by a coven of Devil worshiping witches for the Devil's offspring, to be named Adrian, to be conceived by the unsuspecting and Catholic observant Rosemary Woodhouse, Mia Farrow.Since Rosemary and her actor husband Guy, John Cassavetes, moved into the creepy Bramford Building they've become very friendly with the elderly couple who lives next door to their apartment Roman and Minnie Castevet, Sidney Blackman & Ruth Roman.
Feeling that something just isn't right Rosmary has been haunted since her night of conception, October 5/6 1965, it that she feels that it's wasn't Guy who fathered her now soon to be born child but the Devil or Satan,played by Clay Tanner, himself!Despite the movie's many subplots, all centered around Rosemary's pregnancy and birth to her child, the film is never confusing in that they, the subplots, all come together in the film's final and shocking ten or so minutes!
As for poor Rosemany in the end after seeing what her new born son really looked like, and what he represented, it was both her goodness, in Rosemary's Christian beliefs, and maternal instincts that eventually overrode her horror and revulsion in what she was forced, by her husband Guy and the Castevets, to unknowingly participate in.
And as such it's outstandingly playful, entertaining and well crafted.Most notable of course are the character portrayals, and those many special moments one immediately realizes were created not to drive the story, further the potential success of the movie or the fame of anybody involved, but to plainly create atmosphere and entertain us.Just take the suicide sequence, the outfits in which Ruth Gordon and Sidney Blackmer come strolling down the street and the following dialog about cleaning windows at night, all in face of a dead body.
Ruth Gordon rightfully deserved that Oscar for Best Actress in a Supporting Role.So, if you're looking for a horror film with real scares, top-notch performances, a creepy soundtrack and a hell of a twisted ending look no further than Rosemary's Baby.5/5.
Rosemary's Baby is also very sexually aware of itself, and one could say with all validity was the bridge between censorship issues and what would follow in the glorious 70's.The movie was shot in the Dakota Buildings, and looks dreadfully eerie, director Roman Polanski makes New York like that too, which all fits with the mood of the film.
Until recently, it had been many years since I'd seen the film, and upon revisiting it (with a newfound appreciation for director Roman Polanski), was thoroughly impressed.The story is simple and ingenious, and hooks us from the start: Rosemary Woodhouse (Mia Farrow) and her actor husband, Guy (John Cassavetes) move into an upscale New York apartment complex attract the attention of their kind yet invasive neighbors; shortly after, Rosemary becomes pregnant and grows increasingly concerned that the residents are plotting against her.
Polanski would revisit this type of paranoia (albeit through male eyes) in "The Tenant"; "Rosemary's Baby" takes a similarly subjective approach to the story, telling it largely through the perspective of the title character--and Mia Farrow is incredibly good at conveying pain, sorrow, fear, and submission.In addition to structuring suspense well, Polanski also gives the film a sense of patriarchal commentary: the husband is cunning, cocky, self-centered, and manipulative; ditto the loathsome Dr. Saperstien (Ralph Bellamy) who insists that Rosemary stop reading books that might cause worry.
I won't go into detail about the plot (though many people have probably heard about it without seeing it, like I had), but I will say that Rosemary's Baby is a good example of the horror film that doesn't rely on blood and gore to make an impression.
The Satanists, into whose complete power she is delivered by her husband, possess a wonderfully concealed menace, particulaly the obstetrician, a smiling, cold-eyed fascist.The once infamous scenes, such as Rosemary eating raw liver, lack the shock value they once had, and are filmed in such a documentary style that whatever horror they could have conveyed is lost on modern audiences.
Ira Levin's Rosemary's Baby was adapted by Polish director Roman Polanski, who in his American directing debut, created a horror film that contained no gore, practically no blood, no characters with knives and other weapons.
Then one night, after having a drink that the "friendly" neighbor brings over, they make love to concieve, though that may or may not be how Rosemary sees it "this is not a dream, this is really happening!" From then on, the film develops as Rosemary gets pregnant, is recommended a doctor (Ralph Bellamy) who may or may not be giving her the right medical advise, and as she enters her thirs trimester, she starts to realize something is fishy about her neighbors, and her un-born child.Like Polanski's 1965 film Repulsion, the viewer gets a feeling of something that one could feel in such horror films as Texas Chainsaw Massacre or, more appropriately, the Blair Witch Project- we feel scared or in a state os suspense not because of what we see, but of what we don't see and can't figure out.
Overall, Rosemary's Baby is a remarkable achievement in the genre, and in the very last moment in the end, the sense of acceptance Rosemary achieves is possibly the most scariest thing about it.As I mentioned in the one line summary, there are two shots that to me represent the kind of startling and, bizarrely, even funny double edged sword Polanski can pull in films like this (see also John Huston in Chinatown): the one shot of the "devil" on top of Rosemary will make some drop their mouths open in shock, as did I, but I was sort of laughing at it too, in the manner of how she's so calm in the scene.
The characters, so well acted, are timeless types of horror: The nosey old lady (Ruth Gordon) who eventually grows on you and, even after you find out what she's all about, you can't help but find her funny; the benign grandfatherly figure (Sidney Blackmer) and the trusted doctor (Ralph Bellemy) who surely wouldn't harm a fly; and the innocent Rosemary who becomes victim to a justified paranoia.
Once Rosemary's Baby takes off, it becomes a brilliant psychological and claustrophobic horror film.After a woman gets pregnant, she becomes increasingly suspicious as a result of bizarre coincidences and occurrences.
The events start off a bit slow at first but once the movie picks up, it keeps us on the edge of our seats and we're left on our seats dying to find out what happens next.This is definitely one of the more atmospheric, subtle, and creepy horror films out there.
Mya Farrow and John Cassavetes are terrific in the leads, probably delivering the most powerful performances in their careers; and their show is nearly stolen by the irritating, charming, creepy, lovable Ruth Gordon (who won a very deserved Oscar for her part).Very few films are as timeless as Rosemary's Baby, and few are as absorbing and effective.
Director Roman Polanski channels the best of Hitchcock and French New Wave cinema to come up with a new, ever-so-perverse, retelling of the Greatest Story Ever Told.That Rosemarie's baby has something to do with Evil Incarnate is what everyone knows about this film going in.
He really nails a deeper sense of evil on offer, with his callous comments to Rosemary and his nasty way with a joke, at peace with a world that can ask, on the cover of Time magazine: "Is God Dead?" Existential dread is at the heart of this film, and Guy presents a post-Christian figure that Cassavetes nails down from beginning to end.Polanski and Farrow give the best work.
It's like this film had some kind of curse on it.Of course, talking about curses and "Rosemary's Baby" makes you realize Mia got off rather lightly in comparison.
There, Guy and Rosemary Woodhouse (John Cassavetes and Mia Farrow) are befriended by Mr. and Mrs Castevet,(Sidney Blackmer and Ruth Gordon) an elderly couple who take an abiding interest in their new neighbors.
If I had to pick the main reasons why this movie is so scary, and why it makes my hairs stick up so tall, it would have to be the camera work and directing, the story and script and how brilliantly it's played out, the simple feel and atmosphere, so unpredictable and creepy, the acting, done with malice and originality that I am still afraid to think about, and finally, the music.Krzysztof Komeda composes the most haunting, and definitive horror film score, a lullaby that produces goosebumps and that gets the mind racing through tunnels of fear, through darkness, acting as almost a prelude to what is to happen in the film.
Quite simply, one of the best horror movies ever made."Rosemary's Baby" is terrifying, and it remains terrifying every time I see it.
And the musical score, all plucked strings and jangling piano chords (except for the sinister lullaby that opens the film), is nerve-wracking.Because every element of the film comes together so well, this supernatural tale feels as realistic as it could possibly be, and one feels that if there is indeed such a thing as the coming of an Anti-Christ, it would happen something like this.With John Cassavetes, superbly slimy as the sell-out husband; Ruth Gordon and Sidney Blackmer, as the Jewish grandma and grandpa from Hell (literally); Ralph Bellamy as a crooked doctor; and, most effectively, Maurice Evans, poor Rosemary's only ally.Any number of scenes could qualify as creepiest, but my personal favorite is the one in which Rosemary uses a Scrabble game set to make sense of an anagram.
This looks and feels like a seventies film but it's not!The role of Ruth Gordon as Minnie Castavet was played to perfection to once again give the audience that feeling that such nice neighbours would not be capable of doing something so horrible and give us the dilemma in which we are driven to thinking that it is Rosemary who is dillusional and is making all this up.
A masterpiece of horror""Polanski proved his film-making talents with Rosemary's Baby" "Terrifying"9/10.
Based upon the likewise-flawless novel by Ira Levin and virtually unaltered by Polanski, Rosemary's Baby is a work of art, a classic which stands alone to this day, never to be surpassed.Everyone knows the story by now; Mia Farrow is the sweet and innocent Rosemary Woodhouse who, along with her actor/husband Guy, finds the perfect apartment in New York.
And Exhibit A is Rosemary's B.Not enough fantastic things can be said about this work of cinematic art, which, from its opening sequence of rooftop credits, pans its way through your paranoid entrails, digging up dread for the true creepiness lying beneath -- the rooftops, your neighbor's smile, your husband's kiss and your own skin.Yes, it's perfect casting, with John Cassavetes' acting matching the brilliance of his directing, in his most sympathetically detestable screen performance, and Mia Farrow reaching a superbly nuanced balance of heartfelt fight and fear that, in retrospect, confounds, considering her Woody work, which was mostly limp and never came close to matching what she touches on here, at only 23.
That's partly why it consistently scores Top 10 rankings in the "best of" horror film lists regurgitated this time of year.But I'm here to tell you that Roman Polanski's Rosemary's Baby has a well-earned stake in the claim for "best of" and "top ten", no matter the genre or holiday.
Just like The Exorcist five years later, it knows exactly where to strike: our progeny.The directing and the atmosphere are all thanks to Polanski, but a lot of the film's excellence is due to the chillingly good performance from Mia Farrow, playing the role of Rosemary.
The best way I can describe this to horror fans is imagine this as a quasi-prequel to The Omen and you'll pretty much have this movie in a nutshell.Rosemary and her husband Guy find a beautiful new apartment to live in, they have nice neighbours if they're a bit nosy and they seem to get along all things considered.
Her performance is really good and the fact that she manages to balance her own doubt for most of the film is very effective.The music is also very memorable and creepy.Overall, this is a perfect adaptation of Ira Levin's book, Rosemary's Baby remains today one of the best horror movies, not for its use of gore, but for its use of tension and surprise..
Rosemary's Baby is one of the greatest horror film of that times.
Rosemary's Baby is often cited as being one of the best horror films ever made, and there is a good reason for this.
Great fun: a film that takes the best part of any horror movie and makes it the whole show.
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tt0069293
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Solyaris
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This is the summary for the 169-minute English-subtitled dvd version.During the opening credits, the chorale-prelude in F minor by Johann Sebastian Bach is playing.Part One:Plants move gracefully through a flowing stream of water. A man, Chris Kelvin (Donatas Banionis), stands silently amidst lush plant life and a rippling lake, observing the living beauty of nature. He walks back through a field, past a lake next to a free-standing wooden house. He washes his hands in the lake as he hears a car approaching. An older man, Berton (Vladislav Dvorzhetskiy), and his young son (Vitalik Kerdimun) get out of the car and are greeted by Chris' father (Nikolay Grinko), who tells them that Chris makes an hour-long walk each morning. While the boy starts to play with a girl already present, inside the house, Berton explains he wants to discuss something with Chris: they are getting confusing messages from a station in orbit around the planet Solaris, to which Chris himself is scheduled to leave the next day. It begins to rain, but Chris remains outside, immersing himself in the falling drops with a background of singing birds and dripping water.While drying himself in the house, Chris is shown an old video from Berton, one which his father has already seen many times. In the video, a board of inquiry discusses an exploration mission on the planet Solaris. After 24 days, two scientists, Vishnyakov and Fechner, went missing over an ocean in their air vehicle. Due to adverse weather conditions, a massive search was called off, only Berton's craft carried on. When Berton returned to base, he arrived in deep shock, refusing to get near the ocean ever again. The next part of the video shows a young Berton giving his testimony: due to the adverse flying conditions, his craft had entered an extremely dense fog bank. When he finally cleared the fog, he noticed the ocean became still and transparent. A boiling substance arose from the water, and reshaped into many forms and colors, among which an elaborate garden. A film is started, made by Berton's craft, briefly showing the planet's ocean and some boiling white foam, but to everyone's surprise, the rest of the footage shows only the fog that Berton mentioned. One of the scientists on the board mentions that the bio-magnetic current of the ocean, which is hypothesized to be the planet's cerebral system, may have interfered with the camera, but others imply that Berton may have been imagining things. The next part of the video shows an apprehensive Berton describing a twelve feet high shape of an unknown newborn infant appearing on the water surface. The scientists, however, explained away this experience as an elaborate hallucination caused by the atmospheric influence of the planet; however, one of the scientists, professor Messenger (Georgiy Teykh), contends this explanation, and calls for additional probing of the planet. It is implied by his argumentation that many years of study of the planet (called Solaristics) have actually yielded very little understanding of Solaris, as the researchers are painfully confronted with the limits of their knowledge. Despite professor Messenger's argumentation, the board decides to discontinue all research activities on the planet.Berton stops the tape, stating that his story is still ridiculed. He requests to talk to Chris alone, and will be waiting outside. Chris' father laments that he and Chris have seen each other so little over the years, but Berton insisted on coming on this final day before Chris is leaving. Berton's son, playing outside, is scared by the sight of a horse, a species he has apparently never seen before. Chris goes outside to talk to Berton. Berton claims that Solaristics has stalled since all that is done is theorizing. Chris is not interested in speculations, only in facts; all research should either be stopped, or more extreme measures taken to advance the field of Solaristics, like bombarding the planet with high-intensity radiation. Berton disagrees, as he is concerned how immoral science could destroy the planet. When Chris says that all science is, in essence, immoral (referring to Hiroshima), and suggests that Berton may have indeed been hallucinating that day, Berton angrily leaves by car. Father berates Chris for his cold attitude towards Berton, and reminds him that Chris will probably not be back before his own father's funeral.Chris' mother (Olga Barnet) is watching a program about Solaris; the ocean is still theorized to be a thinking substance, despite lack of conclusive evidence. Although there used to be place for 85 scientists at the station, all but three still remain: astrobiologist Sartorius, cyberneticist Snaut and physiologist Gibarian. The program is interrupted by a video call from Berton's car. Berton has one thing he wants Chris to know. After the incident, he and professor Messenger visited the widow and orphaned son of the deceased scientist Fechner. Fechner's son looked exactly the same as the child that Berton saw on Solaris' surface. Chris is listening in from the next room. Berton disconnects the call, and during his long car ride through a futuristic city, he seems mesmerized and visibly haunted by memories.Back at his parents' home, Chris is burning all books and papers related to his research which he no longer needs. He will be taking some personal videos. Chris' mother is crying as he puts a picture of a young woman in the fire. He makes one final round through the house as the horse walks by.Chris makes the trip to the planet, finally arriving at the circular space station that hovers miles above the ocean surface. Once inside the landing bay, there is no one to greet him. He proceeds, to find that the station is in disarray: wires are sticking out of the walls, some of the panels seem to be short-circuiting, and there is junk everywhere. He sees the door to Dr. Snaut's quarters, but there is no response to his knocking. He looks down a hall, and sees a human figure walking away; a children's ball is rolling towards him. He then finds Snaut (Jüri Järvet) in another room, singing. Snaut seems startled at the sight of Kelvin. He tells Chris that Sartorius is in his quarters, and Gibarian is dead by suicide. Chris knows Gibarian and is skeptical, but Snaut says Gibarian was suffering from a profound depression since an unnamed mysterious disorder began. Chris insists on meeting with Sartorius, but Snaut replies that Sartorius is in his lab and is unlikely to let Chris in. He shows Chris out, urging him to pick a room and come back tomorrow; he also warns him not to lose his head if he sees other people on board, but refuses to elaborate. Just before the door closes, Chris sees another man lying in a make-shift hammock.After picking a room, Chris goes to Gibarian's quarters. There is a child's drawing titled "human being" on the door. Gibarian's room is a giant mess, but there is a note addressed to Kelvin taped to a video screen. Chris starts the video and sees a recording of Gibarian (Sos Sargsyan) speaking to him. Gibarian assumes that the others have already informed Chris about his death. He has a warning for Chris, but can't explain what is happening; he fears it is only the beginning, and everyone will be affected. He assures Chris he has not gone mad; as for the research, he agrees with Sartorius that they can only break this deadlock and communicate with the planet by bombarding its oceans with high-powered X-rays, before it draws Chris in too. The door of the apartment starts to open; Chris becomes anxious, getting aware of another presence, takes the recording out and goes into the hallway towards the lab. He is drawn to a window and looks outside, but there is nothing in the vast darkness of space. He proceeds to the lab and knocks on the door, trying to reason with the doctor. Sartorius (Anatoliy Solonitsyn) agrees to come out, on the condition that Chris not enter. Sartorius is as nervous as Snaut, mentioning that Gibarian may just be the first victim. He had expressed his wish to be buried on Earth, in the dirt. Sartorius mentions that Fechner died a magnificent death in his search for truth, whereas Gibarian died a coward. Chris scoffs that such courage is mere inhumanity. Suddenly, the lab door opens and a dwarf runs out; Sartorius quickly picks him up and puts him back into the lab, stating that Kelvin is overemotional and should adapt.Kelvin leaves, noting that the windows, which were dark just before, are suddenly filled with light. Through them, he can see the ocean swirling below. A young woman in a short vest (Olga Kizilova) suddenly passes him by. He follows her through the station into a refrigerated room where he finds the dead body of Gibarian on a slab. He leaves again and returns to Dr. Snaut's quarters, telling him about his unfriendly talk with Sartorius. Chris asks if there are more people on the station, and if the young woman he saw was real; Snaut seems paranoid and asks Chris if he himself is real, refusing to answer more questions. Chris assures the doctor he doesn't believe him to be insane, but Snaut retorts that insanity would actually be a blessing.Chris leaves to his quarters, barricading the door from the inside. He resumes Gibarian's video message, in which the doctor voices his suspicions that the others think he is going mad. The young woman who Chris saw aboard appears next to Gibarian, but he pushes her away. He makes a paranoid impression, expressing his fear of the other two doctors and saying he 'has to do it'. When Snaut and Sartorius are heard knocking on the door in the video, urging Gibarian to come out, Gibarian picks up a syringe. He states he has not gone mad, his conscience is simply torturing him, implying the girl has something to do with it. He finally laments that Chris did not come earlier and stops the recording. Chris lies down on the bed, keeping a gun next to him, falling asleep. When he wakes up, he finds a woman (Natalya Bondarchuk) sitting in a chair nearby. She wears a mantle which she takes off, and puts it over a chair. She walks over to him and they kiss, but Chris is confused, unable to believe what he sees and asks her how she found him. The woman seems unaware of any problem with her presence. She finds a framed picture of herself among Chris belongings, and only realizes it is her while looking in the mirror. She seems not to remember having this picture taken. She asks if he loves her, but Chris, calling her 'Hari', says she already knows that. He asks her to stay behind for a short while, but she wants to stay with him at all times, despite his objections. She says he is as nervous as Snaut, confusing Chris even further. He invites her along, but asks her to put on a suit. She asks him for help with her dress: Chris finds that the dress won't open, and there is a tear in it at the arm, with a puncture mark in Hari's skin. He uses scissors to cut the dress open. Hari notices Chris' anxiousness as he sees that his door is still barricaded from the inside.Part Two:Chris takes Hari to the landing bay, where he readies a rocket from the station for departure. He urges her to enter it first under the pretense that he has to enter last to close it. After she has entered, he quickly traps her inside and starts the lift-off sequence. Despite her screams and pleas, Chris tries to leave but finds that he is locked inside the room. He tries to take cover underneath a blanket, but sustains some burns on his suit and face from the launch. Disturbed by his own action, he returns to his room and douses himself under a shower. Snaut enters, implying that he knows Chris had company and probing him about his response to the event. He seems to know fully well what Chris did with Hari and tells him not to panic 'next time'. Chris tells him the woman had died 10 years earlier. According to Snaut, she was a manifestation of his perception of her. The manifestations started after an experiment where X-rays were applied to the surface of the ocean. Snaut says that Chris is fortunate that his manifestation is a figure from the past, because it can also be an imagined person. Apparently, the ocean has probed the scientists' minds and extracted isolated parts of memory from it; more Haris will probably appear. Chris asks why Snaut did not warn him this would happen, but Snaut replies he would not have believed him anyway. Chris admits he was scared and acted wrongly, but quickly focuses on his task of liquidating the station, asking for Snaut's support. Snaut implies that this encounter with Hari is just what Chris may have always wanted. He attaches some paper to the air vents, an idea of Gibarian to simulate the sounds of leafs, as on Earth. He urges Chris to rest and meet him in the library later, to give him some books.Chris goes to sleep and has vivid dreams. He awakens thinking Snaut has entered the room. However, it is Hari who is back. She takes a pair of scissors and opens her dress herself, and puts her mantle over the chair, seemingly not surprised by the mantle and dress already present. Chris takes her in bed and acts as if everything is normal. Sometime later, Chris takes her mantle and dress, and exits the room, leaving Hari sleeping. He closes the door, but Hari immediately starts to pound on it from the other side, pushing herself through the metal door and severely lacerating herself. Chris quickly stuffs the dress and mantle in a corner and carries Hari onto a bed. He picks up something to tend to her wounds, but to his astonishment, the wounds on her arms have already closed within seconds. She sits upright and says that she panicked when she noticed that Chris was not around. There is a call on the phone from Snaut: he asks about the situation and says that Sartorius has summoned everyone to the laboratory. Hari has also noticed that her wounds have already healed, and is deeply disturbed by it.Snaut and Sartorius see Chris approaching as he shows Hari around the station. He lets her introduce herself. Sartorius explains that, while people are made of atoms, the Visitors are made out of neutrinos. Neutrino systems are inherently unstable, so the planet must send out a magnetic field that keeps them stable. Sartorius calls Hari an 'excellent specimen', but Chris really considers her his wife. Sartorius suggests that Chris take a blood sample from his so-called 'wife' to clarify some things.Chris finds out that Hari's blood keeps regenerating itself, as if she is immortal. Sartorius implies that Chris should try an autopsy on Hari, reasoning that the Visitors are inferior to lower animals on Earth. Chris is shocked, indicating that Hari feels pain as any human being, and warning Sartorius to stay away from her. Sartorius admits that he is somewhat jealous of the emotional contact between Chris and his Visitor. Chris sarcastically comments that this makes him feel guilty, and leaves.The liquid surface of Solaris is swirling violently. Chris shows Hari a home video made by himself and his father. It shows Chris as a boy, a woman and a man in a snowy landscape around their house. The film jumps several years ahead, showing an teenage Chris and his mother in the same setting during spring. It then shows Hari in winter, wearing the same dress and mantle as the Visitor Hari. After the film is finished, Hari looks in a mirror and says she does not know herself; as soon as she closes her eyes, she cannot remember her face. She suddenly remembers that the woman in the video hated her. Chris tries to assure her that this woman already died before he met Hari, but Hari is not fooled, as she remembers vividly how the woman told her to leave the house. Chris reveals that after that event, he was transferred for his work, and Hari refused to come with him; something she also remembers.Hari sleeps, but Chris can't. Snaut knocks on the door, and while bandaging his hand, he tells Chris that the rate of regeneration has slowed down, so they will be rid of the Visitors for 2 or 3 hours. He reasons that since Solaris extracts the Visitors from the scientists' minds during sleep, they should send their waking thoughts towards the planet by X-rays, which will hopefully stop the apparitions. Although Chris does not like the experiments with X-rays, Snaut proposes modulating the beam with the brain waves of Chris. However, Chris fears that the planet may read that he wants to get rid of Hari, and it will kill her. Both men do not realize that Hari is awake and hears everything. Snaut mentions that Sartorius is working on another project, something called the 'Annihilator', which can destroy neutrino systems. Chris feels this is blackmail, to get him to cooperate with the brain wave project. In order to make up, Snaut mentions tomorrow is his birthday, and that all are invited. He notices that it is worrying that Hari already knows how to sleep. He invites Chris to come with him to Sartorius, leaving Hari to sleep. As Chris leaves, Hari seems to sob under her blanket. At the lab, Chris suddenly says he forgot something, and returns to his quarters. He grabs Hari, hugs her passionately and asks her to forgive him. They kiss as clouds roll over the liquid surface of Solaris.Hari is standing next to the bed as Chris is waking up. She is apparently confused about her origin and claims Chris does not love her. Chris does not understand, so she explains that the real Hari poisoned herself, meaning she must be someone else. She is saddened that it Sartorius who told her the night before, and not Chris himself, and she does not want to continue this way, fearing for Chris' well-being. She asks him to tell her about the real Hari. Chris explains that at the end of their relationship, they quarreled a lot, and Chris left, even though he often thought of her. Chris implies that Hari threatened with suicide, but he left anyway, until he remembered that he had left an experimental liquid in the fridge. He went back, but Hari had already injected herself with this poisonous liquid. Visitor Hari is distressed when she sees a needle mark on her arm as well. She asks Chris why real Hari did it; Chris believes that she incorrectly thought he did not love her anymore. Visitor Hari says how much she loves him; he urges her to sleep, but she says that even her sleep feels unreal.In the library, everyone is waiting for Snaut. Sartorius, who is immersed in his books, says Snaut may be delayed due to more Visitors. Snaut arrives an hour and a half late, much to Sartorius' chagrin, and once again makes a very incoherent impression. He hands Chris a book from a pile for him to read out loud, while giving Hari a kiss on her hand. It is an excerpt from Don Quixote, where Sancho praises the blessings of sleep. Sartorius proposes a toast to Snaut's courage and devotion to science. Snaut responds that science is a fraud, and claims their present scientific problem won't be solved. He says mankind has no ambition to conquer the cosmos; Man simply wants to extend Earth's borders, wanting no others worlds, but only mirrors to see his own in. Attempts at contact with extraterrestrials is doomed to fail, as the goal is one mankind fears and does not need: "Man needs Man", he concludes. Instead, he proposes a toast to Gibarian, who was fearful. Chris does not agree, stating that he thinks Gibarian committed suicide because he thought he was alone in what happened to him, seeing no other way out. Sartorius counters this, claiming that nature created Man to gain knowledge in search of truth; he criticizes Chris for only showing interest in lying in bed with his ex-wife all day, and Gibarian for being contemptible. Snaut quickly quells the argument. Hari is visibly disturbed by the exchange of words; she claims that Chris is the only one displaying some humanity under inhumane conditions, whereas the other two do not seem to care and regard their Visitors as external enemies. She claims the Visitors are their conscience, and Chris may indeed love her, or show a humane reaction at the very least, unlike the others, who she resents. Sartorius becomes confrontational again, questioning her right of existence, as the real Hari is dead and she is a mere reproduction or copy. Hari acknowledges this, but says she is becoming human; she can feel and love, and can exist independent from Chris. She walks away, hurt by Sartorius' cruel words, and knocks over a chandelier. She tries to take a drink, but cannot swallow it, breaking down in tears. Chris tries to comforts her, much to Sartorius' disgust, who leaves. Snaut says that all the quarreling makes them loose their humanity and dignity. In tears, Hari says that each of them is human in his own way, and thats why they quarrel. Chris thanks Snaut for his continuing kindness. Snaut is inebriated; he says he is completely worn out and starts a walk with Chris. He says that he is entitled to get drunk for all the sacrifices he has made for the mission. He likens Sartorius with Faust, as he is seeking a way against immortality. They walk through the station, Snaut singing and talking gibberish about communicating with the planet. Chris wants to return as he left Hari alone in the library. Snaut warns him that the station is shifting orbit, so there will be 30 seconds of weightlessness at 1700 hours.Chris returns to the library, finding Hari sitting and smoking, lost in thoughts. She thinks of voices as she looks intensely at a painting in the library, depicting a lively winter landscape back on Earth. She has a brief memory of Chris as a boy, standing in the snow as well. Chris awakens her from her trance. Objects as well as Chris and Hari start to float due to weightlessness. They share a short moment of happiness amidst the art in the room as the gravity comes back.The planet surface starts to make boiling movements. There is a sound of something shattering as Chris finds Hari lying dead on the floor in the main corridor, having immersed herself with liquid oxygen. When Snaut enters the corridor, Chris tells him she killed herself out of desperation. Snaut says that it will get worse as she gets more human from being around Chris. Chris intends to wait until she revives, but Snaut warns him that Hari cannot live outside the station. Chris says he has no choice, as he loves her, but Snaut tells him that what he loves is just a scientific anomaly that can be endlessly regenerated, and implies he should do something about it. As he leaves, he says he could never get used to the continuous resurrections. The shock of the revival is apparently agonizing for Hari, as she convulses and realizes to her horror that she is alive again. Chris tries to calm her down, assuring that even if her presence is a torment from the ocean, she means more to him than all science ever could; but Hari goes into hysterics, repeating that she should not exist. Snaut suddenly runs past them with a box.Clouds evaporate from the swirling ocean. Chris puts Hari on the bed, and assures her he will stay with her on the station. They embrace and Chris falls asleep. He awakens, soaked in sweat. As if in a dream-like state, he wanders through the central corridor, finding Snaut looking outside. He says that the ocean seems to be more active due to Chris encephalogram. Chris makes some incoherent philosophical remarks about life, souls and suffering, and the nature of love as something inexplicable and perhaps the reason of human existence. Apparently feverish, he stumbles on, supported by Hari and Snaut. He surmises Gibarian did not actually die out of fear, but out of shame. "The salvation of humanity is in its shame", he proclaims. He is put to bed and has feverish dreams of his parental home, Hari, his mother as a young woman and his dog aboard the station. He has a conversation with his young mother in her home, as if he has just returned to Earth. The painting in the station's library is hanging on a wall in the house, and there are plastic sheets covering some of the walls. Chris tells her he almost forgot her face, and says he is unhappy and alone; his mother asks why he never called them. She asks him why he is seemingly neglecting himself. She notices stains on his arm, which she washes off. The reunion causes Chris to cry. He then awakens to the sound of Snaut boiling water. Snaut gives him a letter, saying Hari is gone. Snaut reads out her letter: she is sorry for deceiving Chris, but she saw no other solution. It was her decision, and none of the others are to blame. Snaut adds that she did it for him. Chris is shocked and asked how it went. Apparently, the Annihilator caused an explosion of light, and then a breath of wind. Chris tearfully reminds himself of all his quarrels with her the past few days, and asks why they are so tormented. Snaut replies that it is because Mankind, unlike his primitive ancestors, has lost his believe in greater Cosmic powers, and draws a parallel with the myth of Sisyphus (a Greek king punished by the Gods for his treachery and cruelty by having to do a task that he could never complete). Since Chris' encephalogram was sent down to the planet, the Visitors have stopped appearing, and now, islands are appearing on the ocean's surface. Chris believes that the planet may finally understand them now.Chris and Snaut continue their philosophical talk in the library. Chris asks if Snaut feels a clear link with the life below after so many years on the station. Snaut cryptically remarks that the meaning of life and other eternal questions only interest unhappy people, and such questions should be asked at the end of one's life; Chris still sees Hari's cloak hanging on a chair, and mentions mankind is always in a hurry since they never know when their life will end. The happiest people are the ones who never ask such questions; we question life to seek meaning, yet to preserve all the simple human truths like happiness, death and love, we need mysteries. Not knowing the date of your death practically makes one immortal.As clouds roll by, Chris is immersed in thought, narrating that his mission is over. There is now the option to go back to Earth and let everything be normal again, to resume his life. But he also thinks that is no longer a reasonable option. The other possibility is to stay, even for an imaginary possibility of contact with the ocean, which his race is desperately trying to attain. And perhaps hoping for Hari to return. But he has no more hope and can only wait for a new miracle.In the station, Snaut tells Chris that he thinks it is time for Chris to return to Earth. Chris questions this opinion, smiles and looks at the box which Snaut was carrying earlier. It contains a growing plant.Once again, plants are gracefully moving through a flowing stream of water. Chris is back on his parents' land, observing the lake which is frozen. He returns to the house where his dog is running to him. The fire outside where he burnt his books is still smoking. Looking inside the house, there is water dripping inside the living room. Chris' father is sorting books; as he moves under the drops of water, smoke comes off him. The old man notices Chris and goes outside. As Chris gets on his knees and hugs his father, the camera pulls back through the swirling clouds, revealing that the house, the lake and the surrounding land are lying on a small island amidst the vast ocean on Solaris.The End
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mystery, boring, psychological, cult, atmospheric, flashback, psychedelic, romantic
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train
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imdb
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Two truths drive this film: the inadequacy of human-kind to understand the Universe, and the inadequacy of human-kind to understand the human heart.As such, using Lem's original idea, Tarkovsky successfully, explores these themes.We are drawn in, through hauntingly beautiful imagery, to the internal struggles of Kris Kelvin as he attempts to understand feelings of love for his suicided wife, who has been mysteriously resurrected, presumably as an attempt by Solaris to communicate, or torture.Of course Solaris is probably the most original alien ever concocted, (no phone-homes here) and as must be, utterly enigmatic and beyond communication.Be warned, this film is very long, and sometimes slow, but for those who consider themselves science fiction addicts, it is a must view.One of the top 5 sci-fi films of all time..
every additional minute that separates you from the gorgeous opening shots of nature makes you long for Earth.Solaris is many things but above all it is simply more than entertainment: it is a voyage for the senses, like a favorite song that binds countless disconnected feelings and thoughts.
If this movie is intended to be an "answer" to "2001" (I'm not convinced that it is), the main contrast is that "Solaris" concerns itself with real human emotions, whereas the most interesting character in "2001" is the computer.
But if you're able to sit still for 3 hours without squirming, and if you're able to enjoy a movie without having every idea spelled out in giant neon letters, then you just might like "Solaris", and find that it haunts you for years to come..
Those who hate it largely describe it as too slow-paced; boring.What matters to me about this film which I first watched as mesmerised 15 year old is that it is almost entirely the antithesis of Classical Hollywood cinema.
It was completely free of the kind of 'good triumphs over evil' motif that riddles Hollywood film-making, where 'good' is white-ness, wealth, youth, Westernness and so on.The pleasure of Solaris was that I didn't know what I was watching.
Stanislav Lem also disliked the way Tarkovsky changed the book's theme of optimism in exploring space to one of scepticism in the film.
The beginning of one's journey which one always returns to in one's mind which was evocatively shown in the film's climax by the lake, surely one of the great movie moments ever and terribly moving.
Ultimately he hoped man would reach a stage where he would solely be able to explore his spirituality.I think with all this polemic Tarkovsky missed the fact that this film works as a beautiful love story.
It's very beautifully shot, such that I think it would be worth purchasing, even if I never sit through the whole thing again, just so that I can have scenes like "City of the Future" on hand as a reference for my own film-making endeavors.Speaking of which: "City of the Future" is a very long scene consisting entirely of one character driving through the streets of Japan.
I have the strangest feeling that, if I were indeed to watch the movie again--without the subtitles--it could become one of my all-time favorites.I don't know if I can recommend this film to others or not, because I have no idea if anyone else will share my sentiments.
The main character of this film is an ocean on a planet called Solaris, about which we have reason to believe that it owns some sort of intelligence, which then makes itself apparent to us by apparitions.
The book has been translated so many times and each of the translations have given me a different insight into the story and the philosophy of Solaris, but this only creates a literal equivalent of schizophrenia, strangely with this film i have found a dynamic that is similar to horror movies, the stillness creates anxiety, the slowness almost brings fear and the sheer beauty of the imagery causes conflict.
I guess that it is in that conflict that Tarkovsky scores because I found the journey through this story emotional, ( who knows maybe my ancestors were Russian?)All in all as a fan of the book i expected this to be a let down but was really shocked to almost find yet another translation.So even though this film is in my personal top twenty I really do not know if I can recommend it to others, possibly because one of its issues is that Humanity wants mirrors not aliens, but if you want an alien experience then I can recommend this..
This movie requires you to think for yourself...and some people find that difficult.I enjoy a rip-snorting entertaining action movie as much as most people, but rare films like Solaris leave me feeling so much more fulfilled.
The meditative nature of this film is likely beyond the attention span of many viewers who are accustomed to Mission to Mars and Avatar type movies but in my mind, this film is the essence of science fiction-the search without to find the truth within.The acting is top-notch.
"Solyaris" has got to be one of the most boring, and pretentious, movies ever made.Ostensibly a sci-fi film, the first 43 minutes take place in a most mundane, earth-like setting, with visuals that do not in any way suggest anything cosmic or other-worldly.
Throughout the film, sound effects are amplified, apparently to keep viewers awake.With a ponderous and painfully slow plot that runs nearly three hours, no humor, melodramatic dialogue and acting, and an abstruse theme, "Solyaris" comes across not only as tedious and utterly lacking in entertainment value, but also extremely pretentious.
But the uncut version of this already dense, metaphysical sci-fi parable (drastically cut by its first American distributor in the early 1970s) at least restores some narrative clarity (if no actual answers) to the Stanislaw Lem story of a sentient ocean planet and its unnerving effect on the crew of an orbiting space station.
Like every other Tarkovsky film it can be ponderous, enigmatic, intellectually fascinating, visually stunning, and incredibly slow: not exactly easy entertainment, but if patience is a virtue here's the reward..
Trust me, if you watch this film, you'll fall asleep long before having to watch the subsequent freeway scene, the most boring scene in cinema history and a benchmark in sleep inducement.I can understand Tarkovsky's desire to draw the viewer into the film, and it is a sincere effort, but scenes which could have taken a few seconds are drawn out like taffy.
This is a highly conceptual film, appealing to two groups: either that minority of people who have actually read the novel and can understand every scene, and that other minority of people who pretend to like this film just because its Russian and just because it's well-loved by the other minority of people who continuously point out its profundity.
When he encounters his wife Hari (Natalya Bondarchuk), who died ten years ago, in the space station, the scientists explain to Kris that the Solaris Ocean has the ability to materialize the innermost thoughts in neutrons beings.
The story is disclosed in an extremely low-pace through a flawed screenplay (at least for those like me that have not read the novel) that uses many ellipsis and poor art decoration, but beautifully raises philosophical questions about love, death, understanding, communication, fear for the unknown, origin of life, and Solaris Ocean might be the Paradise or even God. The intriguing story is open to interpretations and not recommended for those viewers that expect to see a conventional sci-fi movie.
But, as has been put forward more times than need be to count from reading reviews and comments, this is the Russian equivalent of Kubrick's 2001 really only on two fronts, the pushing forward of boundaries in experiencing visions of what can truly never be known, and letting its characters find out what it means to be without Earth so far out in space (and equally what can stick around).But Tarkovsky is not interested in the same obsessions that had Kubrick and Clarke, and so the comparisons can only go so far before it's really just time to take the film on its own terms, or at least in relation to other science fiction films.
When Kelvin arrives at the Solaris station, around two weary and worn scientists for the cause, he gets the effect of a resurrected person- his deceased wife Hari (Natalya Bondarchuk, the other one)- who's own ambiguities and connections as real or copy start to bring the real psychological panic to the film.All of this is done in such a way that is easy to assume as boring.
It might leave little parts that are imperfect, but overall like some big epic poem Tarkovsky's film sinks deep into its subject matter that for those who can grasp enough of it in one or two viewings can take that in tow with the style.
Let's take a point at the beginning - everyone who could try to criticize, write, direct or even be casted in the sci-fi movie, should read Stanislav Lem novels, and most of them, Solaris.
There is a view of the Solaris Ocean, but looks more like water spiraling down a drain.There may be lots of subliminal stories going on here, but this movie is sure not compelling or interesting to me (could you guess by this time?).
My wife felt like she was watching a David Lynch film as there were unexplained dwarfs, incomplete and poorly executed plot, and just not a lot of story making sense.
It forces you to ask questions about the very make-up of human life.Solayris is, simply put, one of the top Science-Fiction films of all time.
Whatever Lem says but those who have read his book and watched the Tarkovsky's film probably will prefer the latter.
(The "futuristic" city has freeways and tall buildingswow!) Rewatching the movie on DVD (an excellent transfer), I see now what I didn't see then: how slavishly it tries to mimic Kubrick's 2001 (the theme of first contact, the deliberate pacing, the overloaded soundtrack, the attempt to evoke a sense of wonderment and to probe high concepts); but Tarkovsky lacked the resources, technical skills, and artistic vision of Kubrick, and the result is very flat.Tarkovsky did not lack for great source materialthe remarkable novel by Polish author Stanislaw Lembut he couldn't summon the special effects know-how to reproduce the phenomena of the planet Solaris, or the writing skill to transfer Lem's mind-blowing ideas to the screen.
There's a lot of pretentious dialogue, with characters namedropping Dostoyevsky and Tolstoy; if only the director had been as respectful of Lem!The later Soderbergh version of SOLARIS is essentially a remake of this movie, not a fresh interpretation of the novel (probably Soderbergh didn't even read the book).
Based on the novel by Stanislaw Lem, Solaris has been filmed twice: once by the great Russian director Andrei Tarkovsky in 1972 and recently by Steven Soderbergh in a much more condensed version, though the idea can be traced to the 1962 film, Journey to the Seventh Planet.
Tarkovsky's film is exceedingly slow-paced with his trademark long takes, static compositions, and mood of solemnity, yet it contains haunting images of cinematic poetry.Set at an undisclosed time in the future, the film opens with psychologist Kris Kelvin (Donatas Banionis) gazing at a lovely image of underwater reeds rising and falling in cadence.
Some of its visuals are incredible, though many are dull, and at nearly three hours in length, there's too much fodder to make the movie even approaching of a masterpiece (Tarkovsky has stated this is his least favorite film, too).
Never have I seen a film deal with the big questions of love and life in the way that "Solaris" does.
There's no question that this film (based on a novel by Polish author Stanislaw Lem, unread by this reviewer) about a mysterious planet supplying life forms to occupants of a Soviet space station that replicate individuals from their past is handsomely (if a little cheesily) mounted and Tarkovsky's sharp camera and slow tracking shots are beautiful.
But there's so much discourse, particularly in the film's early sections, and so little happens over the course of nearly three hours (just under five full minutes are dedicated to the view from a car windshield) that you begin to wonder why you're watching it and to feel that the whole thing was conceived in a stifling university lecture hall.
If you've never heard of Tarkovsky, this film is a good place to start to understand and experience/enjoy the genius behind this filmmaker/philosopher.
It's often said that author Stanislaw Lem didn't like Tarkovsky's film because it became different from the story in the novel.
However, if Tarkovsky shot Solaris according to the novel it would not have been a great film.
This is the second movie of Tarkovsky I've seen, and I think his films are slow intentionally, to leave time for you to think throughout the movie.
This review contains a lot of compliment first of all.After i watch this movie i told myself 'Wake up!'.Andrei Tarkovsky was a human who had used his brain for good things.
So is the symbolism and deeply philosophical dialogue, which asks so many questions to the audience that the film needs multiple viewings to be fully appreciated.The film, based on the novel by Stanislaw Lem, follows psychologist Kris Kelvin (Donatas Banionis) who is sent to a space station orbiting the planet Solaris to evaluate the mental state of the remaining crew members after mysterious occurrences have caused some members to go insane, in order to determine whether the operation should continue.
Solaris, directed by Soviet filmmaker Andrei Tarkovsky, was released in 1972 and remains a unique, emotionally powerful film.The story revolves around psychologist Kris Kelvin, played by Donatas Banionis, who is sent to a space station orbiting the alien planet of Solaris to determine whether the station should be shut down.
Tarkovsky's film is slow, thoughtful and 166 minutes long.
Wow, what an experience my wife and I had tonight seeing "Solaris", based on a novel by one of my favorite science fiction writers, Stanislaw Lem. As we knew from reviews we had seen, it is a very long film at 165 minutes with many drawn-out but compelling scenes.
It is such a complex film that it probably takes at least two or three viewings to feel that one has understood much of it.The basic story is that a Russian spaceship in orbit around a planet has been sending back confusing status, and Kris Kelvin (Donatas Banionis) is sent to investigate.
The scientists in fact want to experiment on sending an annihilation sacrificial pulse of radiation to the ocean below, and imply, it seems, an interest in using Hari for that purpose.The film is unlike anything that I have seen before, and begs many philosophic questions about the nature of reality and existence, the meaning of love, time and timelessness, and much more.
But what ever you do, never try to watch a Tarkovsky, if you're tired or cannot be fully concentrated on it.Solyaris may be the greatest science fiction film ever made.
But the movie can be watched also as a series of beautiful images and fascinating cinematography, but it has pretty much more going on, that everybody may not understand the same way.I think the film has some same themes as Ridley Scott's Blade Runner, which is a great science fiction movie too, in more traditional way than Solyaris.
Cinematographer Vadim Yusov's delicate compositions are among the most beautiful ever created for the silver screen.The screenplay by Fridrikh Gorenshtein and Andrei Tarkovsky (the director), based on the novel written by Stanisław Lem, probes all the dilemma's that the situation involves and the final, hauntingly ambiguous image of Solaris making an island for Donatas Banionis fantasies(?) is up there with Kubrick's afore mentioned masterpiece as the greatest ending ever.Of course, Andrei Tarkovsky directed this astounding film, so he should take the credit for letting the actors and all concerned do the best work they ever did.
The acting was good, but I just don't care how Solaris ended or what it was about.A lot of people compare it to 2001:A Space Odyssey, but there is absolutely no resemblance between the two films.
Yes, I fell asleep too and bitterly resented my time wasted when I saw it at the local Film Society.Interestingly, the local student radio station allowed listeners to vote for a movie to watch on DVD at the local large-screen cinema and bewilderingly this turkey won.
There are only two film directors in the world whose every movie haunts me and causes insomnia every time I watch it.
Kelvin tries to understand what does the planet wants from them, what makes human a human and many others scientific, moral and philosophical problems.A. Tarkovsky's masterpiece has to be watched more than just one time because of its complex themes and problems.
Moreover, the whole story can be seen as an attempt of humankind to understand and to be understood by the higher intelligence (or even God if you want to name it).Another thing that makes this movie so special is its visual beauty and eerie mood.
The original 'Solaris' from director Andrei Tarkovsky is almost twice as long as the 2002 remake from Steven Soderbergh, which is a good thing for the movie but a bad thing for most audiences.
I didn't find the movie boring, although I have to admit there are scenes that seem to go on forever, one with a freeway in particular.The story is about a planet named Solaris and a space station in an orbit around it.
He knows she is not his real wife, she even knows it, but still she loves that what he sees.Like I said, there are very slow parts in the movie.
Sergei Tarkovsky's Solyaris is one of my all-time favorite science fiction films, but it is not for everybody.
Based on Stanislaw Lem's novel of the same name, Solaris is a science-fiction film like no other.
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tt0302297
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After School Special
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Three highschool teenagers are sex obsessed, without being able to get it. Instead, Matt keeps peeping into the women's gym class dressing room. Fred can't talk to girls but their sight prompts him to constantly masturbate in the school's toilets. Deacon attends sex education, but instead of listening to the older teacher he just stares at the pokey nipples of her large breasts.The guys adhere to Scarface's Tony Montana: "First you get the money! Then you get the power! Then you get the women!" However, Fred gets fired from a video store for supplying them porn to duplicate and sell. Thus they fail Tony Montana by having neither cars, girls, money nor even porn. Matt and Fred go online but can't bypass Fred's online censorship software.After Deacon's class visits the zoo and the teacher videotapes monkeys mating, Deacon convinces his friends to film porn themselves. Fred steals credit card records from one of his father's patients to purchase hosting for After School Special - a site by virgins, for virgins. For credibility, but to still remain anonymous themselves, they post on the Front Page an image of their braces wearing classmate Roger. Masquerading as Hawaiians vacationing in Cleveland, they cast local strippers. Jake, their popular classmate and Deacon's neighbor, sees the strippers dropping them off at Deacon's. He demands the truth and then his casting. Yet Jake can't perform on cue. The main porn actress, Ashley (Sarah-Jane Potts), agrees helping and casually gives him a handjob. Jake has a premature ejaculation on her hand, and gets replaced with Coop, an everlasting grown student.Meanwhile, Deacon takes the courage to talk to the popular Naomi (Amy Smart) during a party. In a following party, Jake, who she recently dumped, tries to humiliate Deacon in front of her. But Deacon says she was too good for Jake and kisses her. They then sleep together.A fire in the shootings sends everyone - including a topless Ashley - out of Deacon's basement right into his family. Deacon says Ashley is his girlfriend. To his surprise, Ashley agrees to stay for dinner. Naomi soon arrives and introduces herself as Deacon's girlfriend. She leaves upon meeting Deacon's "other girlfriend", but Deacon tells her the truth. She asks to add a female perspective. She thinks the purposely nerdish character of Coop should be well dressed and perhaps a foreign exchange student. This causes a rift with Matt and Fred. The fighting causes Ashley to leave.Naomi takes Deacon shopping for more appealing clothes and says he doesn't need "the boys" anymore. Deacon then apologize to his friends. They consider stop filming, but Ashley shows up saying she needs the film in order to have a reel. They can't resist her charms.The site becomes popular and Roger has no idea why his hairdresser thinks he can get her roles. She assumes he just wants something in return. Therefore, she fills her hand with hair mousse and suddenly shoves it down his hair apron to give him a reach-around handjob, which makes him scream in panic.Completing the hard filming, the guys decide to quit porn filming. In a following party, Ashley says the reel she now has got Coop and her a contract proposal. Deacon gently breaks up with Naomi. Roger shows up with his hairdresser. An angry Jake then says he mailed his scene to Deacon's parents. The guys rush out, but two local porn producers kidnap them. To avoid bodily harm, the guys promise to hand over everything. All they want in return is a lifetime supply of porn and retaining the youthful spirit of After School Special.Deacon's parents' mail contains just his report card, which bad grade in Biology they attribute to having two girlfriends. The taping was stolen by his brother, who blackmails Deacon for it.At school, Fred and Matt say they again failed Tony Montana by having neither money, power nor women. Alas, Deacon gets back with his returning old girlfriend Rachael. Two attractive girls hit on Fred and Matt due to their new rumored sexual knowledge. The local porn producer/actor compensates them with convertibles. Jake refuses to stop humiliating Deacon and therefore has his embarrassing scene played over the school's monitors.Deacon's parents watch porn and recognize their portrait and basement.
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pornographic, home movie
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train
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imdb
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This movie was almost extremely entertaining.
Nevertheless, the movie does manage to draw you...kind of...to the plight of the protagonists.
There were many areas for improvement, but you got what you came for with this movie: hot teen breasts and bad acting.
It just fits(it is a movie about making pornos).
Yes, the acting wasn't the best and the jokes were halfhearted and cheesy, but at least that's what the movie was going for.
this film was meant to be a dumb comedy.
the whole point is so that you laugh and are offended and think, "man this is stupid" all at the same time.
i thought it was hilarious, raunchy and dumb-funny.
not a movie for kids, or people who are offended easily by crude sexual humor.
the plot was so incredibly far fetched, thats what made it so funny and stupid at the same time.
i mean come on, what kind of movie did you expect with tom arnold in it?
i think i have made it clear what kind of movie it is....love it or hate it, at least you know what to expect..
I totally disagree with the other review posted about this film.I really enjoyed this movie.I recently rented this movie on DVD and I thought it was funny and entertaining.Certainly better than American Pie 3:The Wedding.Erik Von Detten,Tony Denman and Daniel Farber who played the three main characters give impressive performances as three high school geeks who decide to make their own porno movie.I thought that Erik Von Detten who plays the part of Deakin Lewis was the best of the three.
OK its certainly not in the same league as American Pie and American Pie 2 but it is a fun entertaining movie.See it if you enjoyed the movies Road Trip or Eurotrip..
It is mildly entertaining at the very most and does not come close to other teenage or high school movies.
Gross-out comedy.Have you seen American Pie?
Have you seen National Lampoon's other stuff?
Of course--wait...
Well that's okay, I got the point.Did you like those films?
Well, whichever way you answer the above question will determine what your enjoyment of this film will be like.
I myself don't really think those films are THAT BAD, they're just not THAT GOOD.
I think if it weren't for the fact that the father figure tries to pull a Eugene Levy, the stupid high school bully is trying to be a Stifler, and sometimes the characters seem to do things that not only don't fit with their character in the film, but don't match anything that happens in real life, this would be a pretty good movie.Even despite those details (which are actually minor in the way they were presented), the film does its job and does it right.
Scenes like the porno actress having dinner with the family when the girlfriend walks in, or the fact that said girlfriend isn't what he's looking for in the first place, stuff like that is enough to relax and enjoy the film if you're willing to not worry too much about wasting your time.I would have to say that, if anything, the whole competitor storyline and all that Scarface stuff really got to me the most, considering I find the Scarface dream to be an utterly banal and hideous allusion for everyone to always make, and the competitor was just kind of stupid overall.--PolarisDiB.
Although most National Lampoon movies save for Van Wilder haven't been been any good in recent times, the tag-line and cover of this DVD proved just too tempting, and when faced between the choice of watching this and some Chick Flick Drama (Derailed i think)) the obvious choice was made.However in view of the recent movies I automatically reduced my expectations and expected nothing more than a few laughs a bunch of hot nude women and nothing out of the ordinary.And thats exactly what I got!!Every thing about this movie is run-of-the-mill and formula based but when you factor in the target audience (ME and others like me who like to escape reality once in a while indulge in a bit of immature fun and fantasy) then the formula assures a decent product (Most of the Times).This movie is pieced together using cast from other National Lampoon movies and the best part is apart from the women (who all look over 20-25) the guys look like they could still be in high school (or thereabouts).Decent performances are given from everyone but Tom Arnold was completely wasted in this movie.The jokes were formula based but some of them were hilarious and continued in the gross tradition of others, the monkey mating scene, the hairdresser scene, the 2-3 hilarious porn shoots were too good and make this movie worth the rent.Other than that this movie is filled with loads of chuckles and the regular stuff such as the quest for true love, nerds becoming cool etc etc which was in fact handled so badly that any potential that his movie had was ruined.
WHEN YOU THINK ABOUT IT THE TEEN EMOTIONAL STUFF IS THE ONLY THING THAT BRINGS THIS MOVIE DOWN.
Not because it there but because it been handled so badly.The sound effects of this movie were actually quite good but there was no soundtrack to speak of.A few people who stood out in this movie were Daniel Farber and Horatio Sanz as the hilarious Vic Ram-a lot.Direction production etc was not really important but was decent.Writing could have been way better in both the emotional and the comedy scenes but the emotional scenes were badly handled (comedy was good but not up-to its potential, teens in porn is full proof formula).In all a funny movie with just a couple of scenes making the entire movie worth it.However keep this movie in the Back-up list as it doesn't warrant a trip to the store on its own merit.(As always if you don't like such movies then don't rent them).-s PATHETHIC EMOTIONAL SCENES, Tom Arnold wasted, Nothing out of the ordinary (as expected) +/s meets lowered expectations, so so casting +s a bunch of hilarious scenes, lots of chuckles, Vic Ramalot.total 6/10 (absolute and factoring in expectations).
When I happened to stumble across this film, it was entitled Barely Legal and not After School Special.
Truth is, the film is barely watchable and feels more like a drunken after dinner daydream than an after school special.
Are there people that will enjoy a film like Barely Legal?
The film isn't really about anything as much as it is a documentation of producing pornography or the meek attempt at making pornography and all the hassle that it involves.
What really grates, and this is an underlying theme, is that watching a really bad film is one thing but watching a really bad film about people attempting to make a really bad film within the universe of what we're seeing is just painful.The film, a part of the National Lampoon series (whatever that is), was directed by David M.
Evans (answers on a postcard as to what the 'M' might stand for) whose previous crimes against cinema include the 3rd and 4th Beethoven outings some years ago and who is also scheduled to direct the up and coming 'Ace Ventura Junior' film.
That should be, if Jim Carrey sequels/prequels not starring Jim Carrey are anything to go by in the form of Son of the Mask and Dumb and Dumberer, utterly unwatchable at the very best.This particular little travesty however follows three young American boys at high school as they attempt to feed off Tony Montana's ideation of 'getting the money, getting the power and getting the women'.
Yeah, trouble is Tony Montana had nothing to do with making pornography and Barely Legal has nothing to do with chasing the American dream: it's just clueless, horny kids using porn as a front to get closer to girls.
Any film entitled 'Barely Legal' which revolves around people making pornography and still manages to worm its way into a realm of the '15' certificate over here in Britain instead of the '18' certificate has to have done something cataclysmically wrong during the making process.
Clearly, the BBFC deem it not all that bad in terms of gratuity and I just wonder if that was the certificate the makers were aiming for I doubt it.The boys making the film are Deacon (von Detten); Fred (Denman) and Matt (Farber), three hapless individuals given mercilessly unfunny introductions about their relationships toward girls and some of their 'habits' when it comes to communicating with them.
The film totally disregards women from the off but the sad fact is that's an absolute given in this genre.
At one point in the film, a character whilst making the porno exclaims something along the lines of "Women's points of view don't even matter in these sorts of movies" and he's sort of hit the nail on the head for all the wrong reasons when he says 'these sorts of movies', is it the real film actually recognising how rubbish it knows it is?
Thus, the messy and dull narrative that opens up to do with Deacon loosing his friends as the project falls apart is silly and doesn't work; it feels thrown in and manufactured out of the primary story about kids wanting girls so they make porn.
When will people learn that pornography is not funny?
When will people realise that films about pornography are not funny?
Glimpses or very quick cuts of bras, nipples and so forth do-not-make-people-laugh, simple; they are an on screen visualisation of someone's fantasy writ down and writ large across the screen for others to see it's not funny and it's a waste of everyone's time.IMDb has this film on its 'release dates' page opening at Cannes, in May 2003 it's one of those screenings at Cannes you just wish you were there for, purely for the reaction and the witnessing of the mass walkout I'm sure there was, that is of course if the fact it was shown there is true in the first place.
Supposedly, Irreversible is the most walked out of film at Cannes ever, but that's only because no one was paying any attention to the screenings of this junk.
When the friendships have been broken down and patched up in doubly quick time, there's time for local porn king Vic Ramalot (Sanz) to waltz around in public complete with gun drawn hunting for the kids who he assumes to be up and coming rivals threatening his business.
I really don't know where to begin when describing a film of the calibur of Barely Legal(AKA After School Special).
Describing it as a catalogue of errors does a dis-service to films that fall in that category - because usually although they failed spectacularly for various reasons, there's some evidence that they did so whilst trying to do something of note.
You never really get the sense that anything was really attempted here.National Lampoon, apparently meant something in the field of comedy at one stage in time, but I can't help but feel that it's reputation and stock nowadays is somewhat diminished given this showing.
Barely Legal tells the story of 3 teenage guys who are inept with the girls and perpetually short on cash.
Reasoning that they need money to get girls in the first place, they come across the idea of making their own porn film (not exactly an original concept).
It's quite obvious he's the one going to be getting the most screen attention, and inevitably the girls.
Portrayed as unintelligent and personality-lacking is one thing, buts it's another to imply woman are simply a means to an end - one that I don't think needs elaborating.
I've really got to applaud the film in that regard though, if it can make a mostly apathetic laid back guy take up near feminist views on character portrayal, then it really must excel in it's field.
But the biggest question of all - I found myself wondering; is who exactly is this film suppose to be aimed at?
A juvenile story and overall stupidity would make you assume youngsters but with soft-core porn scenes, nudity and masturbation jokes you find yourself at a loss to it's target audience.
If you really want a teen sex-based comedy then you have a whole list of better alternatives; Superbad, American Pie and Road Trip to name but a few - comedies that actually had some substance to them as well as being a lot more humorous.
Barely Legal was meant for no one it would seem, and conveniently enough that is exactly what I would recommend..
A total waste of film, time and money.
I cannot think of another movie that was so excruciatingly bad that it hurt as much to watch as this hunk of crap.
These writers, producers and director do not have a clue of what is funny.
Saw to movie in Europe very funny.
It's filled with crude funny sex related humor.
Go see it for what it is a funny laugh a minute movie.
The cast in the movie works from Amy Smart to Vince Vieluf and Eric really make you laugh.I thought that they should have kept the original title.
National Lampoon's Barely Legal.
I think that title would draw more box office attention to the movie.There is a particularly funny part in the movie, with Vice Vieluf and a DDR game that made me chuckle.
What I don't understand is why they took so long to release the movie in the US, after all it was made in 2003..
The movie should have been stupid, I know.
This effect was even enhanced by plot holes: people jumping in and out of the story, characters jumping in different directions, scenes ending halfway, not going far enough.
Even more disturbing were the three main characters: being so stupid that I hoped them to leave the film; the girls were too similar; the sex scenes had no sex; the boys kept their trousers on; everything was too ashamed.
Fun way to waste some time.
This movie was just what I expected - nothing more , nothing less than a fun way to waste an hour and a half especially if you don't have anything else to do , or just don't feel like watching something more serious.
For one thing I thought that it was really funny - and at the same time some of the scenes were hot but I guess you will have to be like the characters starring- a horny teenager or something to appreciate that.
The soundtrack isn't anything special but you won't notice that if you don't pay attention to the music in the movies.
To summarise it was one of the good comedies around there and if you enjoy movies such as "American Pie "you will enjoy this one as well..
This was not a great film, but to call this a rip off of Porn 'n Chicken is just laughable.
(It would be kind of like the Yankees ripping off the Devil Rays.) Second, this was filmed BEFORE Porn 'N Chicken.
Yes, this movie was bad.
If you go into EITHER of these movies expecting to be entertained, then you have no one to blame but yourself..
Teen porn producers.
Three dumb clucks in high school decide that the best way to get women is to
skip it...National Lampoon's continue trend to disappoint dates way back this film, Spring Break, Gold Diggers, please i'd rather not continue this list National Lampoon's used to stand for smart, sexy, outrageous comedy to me...what happened?
i mean i did not laugh a smile once throughout this film if it can be called that anywho, hope things go up from this and other horrible films that should have never been made...TV Reality comes to mind...absolute garbage...i'd really rather see them try to make some quality films instead of trying to mass produce a bunch of junk, shoddy films with fancy looking covers and titles that don't deliver in anyway but just drag on same old tried jokes and progress in the same manner since the 90's...sorry National Lampoon, but this film, like many other unfortunate opportunities i've given due to the name, reputation, and heritage...well, looks like somewhere, somehow, something went terrible wrong.
Barely Funny.
In a teaser, we see three young men hung up on meat hooks get their pants removed by a pornographic film actor.
Around his 17th birthday, good-looking blond Erik von Detten (as Deacon Lewis) is watching porn with his two nerdy pals.
The trio agree the movie is terrible and decide to make one of their own.
"Adult films by virgins, for virgins," is how Mr. Von Detten presents the idea.
They think this will make a lot of money, leading to the purchase of a car and an end to their virginity.
Evans' better scenes is when the trio don computerized facial hair and go to the "Pretty Kitty" strip club to find a sexy female lead for their movie.** National Lampoon's Barely Legal After School Special (2003) David M.
Evans ~ Erik von Detten, Tony Denman, Daniel Farber, Sarah-Jane Potts.
A typical National Lampoon movie.
Sex starved young men, some nudity,and it tries to be funny and generally succeeds.
Three loser nerd types get the bright idea to produce a porn film.
They try to find a stud who turns out to be a local high school hero.
Continuing to try and film they have problems all along the line.
At the end of the film this leads to some of the high school girls going after two of the guys and the third hooks up with his old girl friend.
Don't really know what happens to Amy's character or the porn star wanna be Ashley but this is not a bad show all in all.
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Inkheart
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A voiceover tells us that storytellers have always existed, but there are the rare few who are "Silvertongues" who can bring characters to life. Often, they don't know they possess the gift.Mortimer Folchart (Brendan Fraser) is one of these "Silvertongues." In an opening shot, we see Mortimer (or 'Mo' as he's called by some) sitting with his wife, Resa (Sienna Guillory). They try to calm their baby girl down for bed, so Mo picks a book to read: Little Red Riding Hood. As he is reading aloud, things shake and move slightly (only noticed by Mo), and a red riding hood falls into the back yard onto their clothesline.Twelve years later, Mo and his daughter, Meggie (Eliza Hope Bennet), are on their way to another old bookshop (as always, because Meggie expresses the wish to go to modern bookshops where they can have hot coco, etc.) in Germany. But Mo loves old books. Meggie says that maybe he will find the old book he is always looking for. Apparently, he always scours every corner of old bookshops looking for a very specific old book that he has never been able to find. Mo heads into an old shop while Meggie waits outside in the street looking at other books.Mo introduces himself to the shop owner, who recognizes him as "that famous book doctor!" He brings out one old book for Mo to fix, which he says he can. The owner invites him to look around at all the old books that he has, and Mo wanders off to the back. As he wanders, he hears whispered lines coming from the book. He hears a specific voice, one he obviously recognizes, and he finds and pulls a copy of "Inkheart" from the shelves. He opens it up, and begins to skim through the book's pages.Outside, a ferret shows up at Meggie's feet. He has tiny horns, and he tries to bite her when she offers him a piece of her sandwich. Behind her, a man, standing next to fire, calls the ferret (named Gwin) to him and talks to Meggie for a moment. When she explains that she doesn't speak to strangers, the man shocks her by knowing her name, claiming they met before when she was very young.Mo comes running out of the bookshop and upon seeing the strange man, calls him Dustfinger (Paul Bettany), to which Dustfinger calls Mo "Silvertongue." When Mo asks what he wants, Dustfinger says he's been following him for a long time, and he wants Mo to fix what he did nine years ago. Mo says that if he wants him to read for him, he's out of luck. Dustfinger asks to take a walk with Mo, and as he walks away he blows on his hands to warm them, and they glow with fire.Dustfinger says he wants to be read back into the story of "Inkheart," and he asks for the book. Mo says he doesn't have it. Dustfinger then explains that there is a man named Capricorn who is looking for him, and that Capricorn has agreed to read him back into the book. Mo hits Dustfinger with his "book doctor bag" and takes off running. He meets up with Meggie and they get in their van and take off. Meggie keeps trying to ask what is going on, but Mo won't say anything other than that they are on their way to Italy to see Meggie's great-aunt, Elinor (Helen Mirren).At Elinor's mansion, they go through a gate with a sign on it that reads, "Don't even think of wasting my time. Just go way" in several different languages. Mo says Meggie will like her; she just takes some getting used to. When the ring the doorbell, Elinor yells "Quit ringing the damn bell!" and finally answers, begrudgingly. But she is excited to see them, and the next scene is them in the garden having tea.Elinor asks if they have heard from Resa, which Mo says they haven't. Elinor offends Meggie by saying that Resa abandoned their family. Meggie says, "She loved us" and gets up and walks off.Mo and Meggie take a walk, where Meggie again asks what really happened to her mom, and what is going on. Mo confirms that she didn't abandon them, and Meggie says that she makes up stories about her mom and writes them so that she can be alive to her. Mo tells her not to do that; "There is a power in words."Back in Elinor's MASSIVE house, which is filled floor to ceiling with books, Meggie is exploring and finds a room with lots of old books. In a large glass case, she looks at a very old, illuminated book. She leans up against it and Elinor bursts in screaming at her to not touch anything! "Do you have any idea how valuable that manuscript is?" Meggie says she does (shes bookbinders daughter, of course she knows!), and identifies it as a Persian manuscript that, based on the illuminations and the colors used, is probably from the 1200's. She asks if Elinor has ever been to Persia? Elinor says that she has, and so many other placed around the world, as wells as Middle Earth and Oz, and she never had to leave her home to go there, implying that she lives through her books. Elinor lightens up and gives Meggie a book, "The Wizard of Oz", which was her (Meggie's) mother's favorite. Elinor tells her that Resa used to curl up in the window seat and read all day. So Meggie curls up in the window and reads all day. Late in the evening, she begins to hear whisperings like Mo hears.Suddenly, we see the ferret crawling back to Dustfinger. He breaks in on Mo and says that he had no choice, he turned to Capricorn. Mo freaks out and takes off looking for Meggie and Elinor. They are in the library, and there are men in there with writing tattooed on their faces that are destroying the library. Elinor grows angered when one of the men rips of a valuable Persian book, and punches him. Mo recognizes one of the men as Basta, and Basta laughs and pulls back Mo's sleeves saying "I'm sure you remember me" and reveals three deep scars on Mo's arm. Meggie, confused, asks what is going on when Dustfinger takes "Inkheart" away from Mo, who says it is the only way to get his wife back. Dustfinger asks her if her father has ever read aloud to her. They lead the three outside where they are burning all of Elinor's books. Meggie sees "The Wizard of Oz" in the flames, and wants to take it out. Dustfinger gets it for her, but Meggie won't take it from him.They're loaded up into the back of a truck and taken to a large castle on a hill far away. There are men with writing on their faces everywhere. They are taken to the barn (that's the best way to describe it) that is full of mythical creatures: a crocodile that is ticking, monkeys with wings, and a unicorn, all with writing on them.Elinor asks where all these animals have come from. Mo says that they came from books, and Elinor laughs it off, but Meggie asks what that means. He says, "Here's the story you've been waiting for." He tells her that when she was very little, they were visiting Elinor. Elinor was gone to a book fair, and Mo decided to read the new book he had gotten earlier that day, "Inkheart." As he was reading, Capricorn suddenly appeared out of nowhere. Basta followed him, and Dustfinger immediately after that. Capricorn was about to kill them, but Dustfinger stopped them and saved Mo and Meggie. It was only then that Mo realized that Resa had disappeared in to the book when the other three had come out. Mo explains that this is a trade-off that always happens when a 'Silvertongue' reads a book: when a character comes out, something else goes into the book.They're then taken to the main hall, where they are introduced to Capricorn (Andy Serkis), having shaved off his scraggly black hair and now wearing a finely-tailored black suit. Capricorn then introduces the group to Darius, his current reader. However, while Darius is also a 'Silvertongue,' his stuttering causes a problem for Capricorn's plans. Capricorn demonstrates this by having Darius read a passage from the story "Rapunzel," which causes the girl to appear before them, though with writing tattooed on her. After having Rapunzel led away, Capricorn threatens Meggie so that Mo will read aloud for him.Mo is given "Arabian Nights," with Capricorn intent on claiming the riches from the story of 'Ali Baba and the Forty Thieves' for himself. Mo gives a disclaimer that he can't control what comes in or out of the book, but Capricorn tells him to continue. Sure enough, along with the fantastic gold he reads out a boy, Farid, who falls out of thin air to the room's floor. Dustfinger jumps up and says it is his turn, implying that Capricorn said that Mo could read him back after he'd produced the gold.But Capricorn simply replies, "I lied," revealing the copy of "Inkheart" that Mo had found and that Dustfinger delivered to him. Mo explains that he can't read him back, but Capricorn laughs at this, claiming he would not want to go back to his rotten life in the book, where he worked for the character named Adderhead, and roamed the forest with the beasts. Capricorn explains how he moreso prefers the amenities of our world, and then throws the copy of the book into the fireplace.Dustfinger attempts to retrieve the book from the flames, but only ends up burning his hands. Capricorn then sends Mo, Elinor, and Meggie back to their "barn stall".Dustfinger goes to the kitchen to see a kitchen maid, who he calls Resa (who can't talk), who is trying to escape, again. He talks to her about wanting to be home, and how he never burns his hands at home in his world. Resa gets a bowl of ice for him to cool his hands in. He thanks her and falls asleep. He dreams of his home, and his wife asking him to come home. He wakes up, and asks Resa what he can do to repay her. She shows him a picture of her family that she had drawn. Dustfinger realizes that Resa is Mo's wife, and Meggie is her daughter, but he won't tell her what he knows about the two of them, even though she realizes that he knows something. Even so, he promises to help her.We follow Dustfinger's ferret, Gwin, into the Magpie's (Capricorn's mother) room. She is asleep, and Gwin sneaks up and steals a key that is hidden in her corset. The key is needed to unlock Resa from the chains keeping her in the kitchen, and Gwin returns the key to Resa.In the "barn", Meggie is trying to comfort Farid, who is saying that this is all just a dream, and trying to get her to stop talking to him because it is bad luck to talk in a dream. Dustfinger shows up and overhears Mo, Meggie and Elinor talking about reading Resa out. Given that the majority of the copies of "Inkheart" are a rarity, Meggie suggests that the original author might be the only person who has a copy of the book left. Dustfinger suddenly reveals himself to them, and tells them he's going to help them escape. Mo asks how, and Dustfinger hands him "The Wizard of Oz" and has Mo read the tornado out of the book. They get away, but not before Resa, who has fallen through a floor and into a cellar and gets trapped, sees them. She and Dustfinger see each other, and she realizes that he did know where her husband and daughter were. She asks for help, but Dustfinger simply turns and runs away. Mo and company climb into a truck and take off, headed for Alassio to find Fenoglio, the author of Inkheart.Once in Alassio, the group separates: Elinor hands Farid some normal clothes (he's been in "Arabian Nights" clothes this whole time) then gives Mo directions to Fenoglio's and heads for the train station because she wants to go home 'where books stay on the page.' Dustfinger refuses to accompany Mo to find Fenoglio, afraid to know his fate (since he's never read the rest of the book and has no idea how his story will end). Farid stays with Dustfinger, while Mo and Meggie head off to find Fenoglio.At Fenoglio's, Mo has a hard time explaining what is going on and why they want to see him, but Meggie just says it like it is. While she is explaining how the characters have come to life, Dustfinger is in the market square observing a fire-eater. He remembers being in his world in the castle putting on a fire show, and once again remembers his wife.Fenoglio, Meggie, and Mo are on their way to the market because Fenoglio wants to meet his character. Mo is trying to explain that he just wanted to get the book so that he could read his wife back into this world and read Dustfinger back in. Fenoglio says, "You've just given me an idea for a new character, someone like a blue jay who takes things from the rich to help those around him (alluding to the sequel to "Inkheart"). In the market place, Dustfinger is putting on a magnificent display, playing with fire magically. Farid asks him what the finale was called, and Dusftinger says it was "dragon's breath." Farid asks, "Can you teach me?" Fenoglio says he (Dustfinger) is just like he imagined him. Dustfinger sees him and flips out a bit, trying to hide behind Mo. Mo explain that he's afraid to meet him because of how his story ends. Fenoglio says, "What? Because he dies?" Dustfinger looks shocked, and Meggie is surprised, too. Fenoglio explains that every story can't end happily. Dustfinger says that Fenoglio isn't in control of his fate and tells him to get a copy of "that book."Up in Fenoglio's attic, he explains to Mo and Dustfinger that the book has been out of print for decades and that his last copies had been stolen at an exhibit. The old author chalks it up to 'bad luck,' but Mo believes the copies on exhibit were stolen and destroyed by Capricorn's men. Finally, the author finds the original manuscript, and Mo says he's going to read Resa out. However, Dustfinger lets slip that Resa doesn't need to be read out because she's already been read out of the book by Capricorn though explains that due to some problems, she was read out but lost her voice. Mo and Meggie are furious that he hasn't told them that yet, but Dustfinger defends that if Mo had known that he wouldn't have agreed to go get the manuscript, and it was the only way for him to get back to his family. Mo promises to read him back once they have rescued his wife from Capricorn's stronghold.At the train station, Elinor decides not to get on the train, but heads towards Fenoglio's.Mo and Dustfinger leave Meggie and Farid with Fenoglio while they head back to Capricorn's castle to rescue Resa. Halfway there, Gwin tells Dustfinger that they need to stop. In the trunk is Farid, who didn't want to be left behind and really admires Dustfinger and wants him to teach him how to play with fire.Back at Fenoglio's, Meggie is in her room when she decides to read aloud from "The Wizard of Oz." Suddenly, Toto appears in the room. Fenoglio knocks on the door, and when she answers he says, "I had no choice!" Basta then appears with a knife, along with another henchman. Fenoglio once again shows excitement at seeing his creations have come to life, and also is surprised to see Toto on the floor next to Meggie. Surmising that Meggie has inherited the skills of a "Silvertongue" from her father, Basta decides to take Meggie with them back to Capricorn because he would definitely like having another reader.Mo, Dustfinger, and Farid arrive at Capricorn's castle. Dustfinger helps them get to the maid's quarters, and Mo sneaks in and finds Resa's room; the walls are covered in Resa's pictures, and Mo recognizes her sketches, but not his wife. Mo continues to clamber about looking for her.Outside, Dustfinger is getting impatient, and Farid stops him from leaving too soon and getting caught. But Farid then breaks something that fell out of his pack, and the guards come back and catch Dustfinger and haul him off to the dungeon. On the way, they pass Resa, who is hanging in a net over the courtyard. She grabs his hair, and he apologizes for not helping her out when he had the shot. He tells her that Mo has returned to rescue her.Fenoglio and Meggie are being taken to Capricorn, and Fenoglio is absolutely amazed; he says, "I'm walking into my imagination." One of the characters that was read out of the book asks Fenoglio if he could rewrite part of the book, to make his large nose smaller. Fenoglio surmises a plan with Meggie, thinking if he can rewrite part of the story, they can finish off Capricorn and his men.In Capricorn's hall, Meggie reads all sorts of things out of books: Cinderellas slipper, a gingerbread house from 'Hansel and Gretal,' even the boat from 'Huckleberry Finn.' Capricorn is convinced, and decides that Meggie is going to read something out of "Inkheart," of which Capricorn kept a hard-cover copy of the book for his own personal use. His witch-mother pulls a copy of the book out of a chest that is filled with snakes. Capricorn wants to read out the Shadow, a creature that is feared in his world, and can completely destroy an entire village on its own. Capricorn intends to use the power of the Shadow to take control of the real world, but Meggie refuses, until Capricorn shows her a captive woman, who Meggie soon realizes is her mother! Hoping to save her mother, Meggie gives in to Capricorn's demands.He wants to control this world: "write his name on every page of this world." Meggie says she won't read anything for him, but he takes her to see her mother, and her tune rapidly changes. She's taken down to the dungeon where she and Fenoglio begin to furiously work on an alternative ending to what Capricorn has planned. But Fenoglio has writer's block and it is getting hard to write anything. He recalls writing out his "inkworld", with the water-nymphs, the great castle of Ombra, the Adderhead, and the Black Prince. He really wants to go there.Dustfinger is in the next cell. When Basta comes down to taunt them, Fenoglio teases him about ghosts (Basta is VERY scared of ghosts), and Dustfinger steals his protective charm. Dustfinger tricks Basta into the cell and lock him in. He tries to get Meggie and Fenoglio out of their cell, but the key won't fit, and his magic fire isn't working right and he takes off. He runs into the woods, but realizes what a coward he is being and sneaks back in to the fortress where Mo catches him. Farid is there, and apologizes for getting him caught, and they formulate a plan to get Meggie and Resa out of the castle after Dustfinger tells them that Capricorn is planning on using Meggie to read the Shadow in to this world.Elinor is on her way to the castle, yelling and talking to herself about how she's crazy for heading back to such a dangerous place on the back of a motorcycle!Down in the dungeon, Fenoglio is still struggling, and Meggie offers to help since she wants to write. He finally gets something that might work, just as the Magpie comes down to get Meggie so she can put on her party "frock." He covers up what all the paper is by saying it is what he wants people to remember him as. She says that is appropriate because he's going to be fed to the shadow. Meggie is hauled off and forced into a monstrous, white, medieval gown that look horribly uncomfortable.The party is getting started as Mo, Dustfinger, and Farid nab black outfits from the random goons running around. Dustfinger and Farid go and get gasoline to start a fire to distract Capricorn's men, and Mo heads off to find Resa and Meggie. He finds them, but Meggie is being walked down to a podium to read from Inkheart, and Fenoglio, Toto, and Resa are all in a cage. Capricorn orders Meggie to start reading, which she does.Dustfinger and Farid start dumping gasoline in the hallways in Capricorn's castle.Mo is trying to tell Meggie to stop reading.The Shadow begins to appear, made of dust, smoke, and flame. Fenoglio throws a crumpled piece of paper and Toto runs and gets it. He runs it to Meggie.Capricorn is just commanding the Shadow to eat Resa and Fenoglio when Meggie starts reading the words that Fenoglio wrote. It begins to take effect, and the Shadow begins to turn on his master.The Magpie grabs the words from Meggie.Farid and Dustfinger begin blowing fire in the halls, and they catch fire.Elinor frees Darius from the barn, and they start releasing all the animals. She comes riding in to the middle of the "reading" on the back of the unicorn.Mo tells Meggie to keep reading. She says she doesn't have any words. He says, "Then write!" He tosses her a pen, and she begins scribbling on her arm, reading as she goes.Capricorn begins to crumple like paper, and the shadow finally dissolves as Capricorn turns to dust. His henchmen all turn to dust, and Meggie reads that all the characters within her sight who had been read here against their will go back (which gives Resa her voice back). The mystical creatures and Toto disappear, and she then read Fenoglio into his own story.Dust finger is afraid he is going to miss his chance to get back into his home, so he is running to get to the courtyard, but he just misses it.Resa, Meggie, and Mo finally get to be reunited with nothing standing in their way. They start to leave, when Meggie notices that the book, Inkheart, is not in its place. But they keep going, just all wanting to get home.Dustfinger is standing on the bridge, when Farid shows up wondering if Dustfinger was just going to leave him. Dustfinger says he would be better off without him. Farid hands him the copy of Inkheart he had nicked from the podium. He says that they could find someone else to read the book and Dustfinger back since Dustfinger doesn't think Mo will read him back. As they are leaving, Mo catches up and says, "I promised." So he reads a section from the book where Dustfinger (in the story) sees his home for the first time in a long while. Dustfinger (in our world) closes his eyes and suddenly he is home.Mo smiles, and tells Farid he can't read him there. Resa and Meggie catch up, and Meggie invites Farid to stay with them. They head home.Dustfinger looks over the meadow ahead of him and sees his home, and his wife working in the fields in front of him. He runs up and they embrace.Roll credits.
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fantasy
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train
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imdb
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One night he brings out various characters named Capricorn and Basta from Inkheart , a book written by Fenoglio (Jim Broadbent) whose story is set in Middle Age and plenty of magical beings.
I thought he was a good actor anyway, but the moment he came on I had to stop and think "wow!", and I continued to be impressed throughout the film, as his character development just got more and more interesting.
I felt far more sympathy with his character than Brendan Frasers (even though I think he's fantastic!), and I felt that he was the true 'main character' of the film (in the same way as Sam is to Lord of the Rings).If anyone is unsure about seeing Inkheart, I would suggest that it is a must-see if only for Paul Bettany's absolutely stunning performance; he is intense, emotional, funny, troubled, heroic and just plain brilliant.Also high praise for Helen Mirren and Jim Broadbent, who were very refreshing.
But honestly, if you're looking for something that bears more than a slight resemblance to the book, you still may be disappointed by the omissions, rearrangements, and substitutions.But do let me say that Brendan Frasier is a wonderful Mo. The casting choice of Eliza Hope Bennett as Meggie was a bit of a surprise, but she is lovely and does very well as Meggie.
Then read the book and find a hundred new reasons to love it again.It's still fun, it's still wonderful, and it's still enchanting.It rates an 8.2/10 on the movie scale.It rates a 3.5/10 on the adaptation scale.It rates an 8.4/10 on the fantasy scale from...the Fiend :..
It's a alright film, but does't have that special something to make it rise above others that have been released that are basically the same action adventure fantasy thing.Acting: Fraser was decent playing his typical 'hero' role, but the surprisingly natural performance came from Bennet playing his daughter.
The camera shakes slightly anytime something is read out of the book.Score: Pretty generic, really, didn't notice any themes.Overall: A good, if repetitive family escapist fantasy film that presents an interesting concept, but does't always execute it as well as it could've.
And really, after watching this movie, maybe it's a good thing because if they did the 'goofy lighthearted predictable' thing on books number 2 and 3, I would have been really disappointed.I would only recommend this movie to people that have read the series and are interested in seeing what Hollywood did with the source material.
Unknown to him until he starts reading a story to his daughter, (my one gripe is that he never found out earlier
with the horrible things he lets in later, you'd have to think something more than Red Riding Hood's cape would have come through in his past), the danger of his power isn't felt completely until two villains and a street performer from this obscure novel arrive, sending his wife Resa, (Sienna Guillory in a role I wish would have let us see more of her), into the abyss, trapped.
It takes many years, but finally the copy is found; yet with it comes the rediscovery of them by that trapped street performer, Dustfinger, and the realization that Capricorn, the book's main villain, wants Folchart captured to find him power and wealth by reading aloud.What I really enjoyed about the film is that the retrieval of Resa is not the only thing it has going for it.
"Inkheart" is based on Cornelia Funke's novel about a character who can bring anything or anyone he reads in books to life.
When his daughter was a small child, he read her the book Inkheart, unleashing the fire-juggler Dustfinger (Paul Bettany) and worse, the bandit Capricorn (Andy Serkis) and his posse.
Now 9 years later, Mo is traveling with his daughter Meggie (Eliza Hope Bennett) to live with an Aunt (Helen Mirren), but more importantly to find another copy of the book so he can set his wife free.
The tornado ripping through Capricorn's castle offers non-stop excitement, and The Shadow, a villain composed of dust and fire for a mouth and eyes, is both suspenseful and frightening and is one of the best-looking fantasy characters i've seen since Ralph Fiennes as Voldemort.Fraser basically plays Rick O'Connell again here, just with a different name but the same likable presence he always brings.
On the other hand, while Helen Mirren and Brendan Fraser also turn in adequate performances, the movie's main saving grace is Paul Bettany's turn as the fire-wielding Dustfinger (who, by the way, was my favorite character in the book and also the most well-developed).
In the end, I cared more about him than about Meggie or Mo, her father.All in all, while it was sufficiently enjoyable and occasionally stunning to look at, there is little that sets Inkheart above any of the other fantasy novels recently turned into movies.
Went to watch this film last night, now I'm not a big fan of Brendan Fraser but I enjoyed him in this film, he plays a loving father who just wants to protect his little girl, don't worry I haven't given anything at all away about this film.
It could've been a lovely, enjoyable family film if it had been given any amount of extra thought.The movie tells the story of a man who finds out too late that when he reads aloud, it brings parts of the books he reads into the real world while it randomly sends real people into the book being read.
They took some of the most fearsome characters from the book and made them ridiculous, they made dustfinger into something less than he is in the books.I just don't understand where they went so wrong, it was almost as if they had 4 different directors each directing just a part of it without following the rest of the plot.The effects were good when they were in existence but they were so few and far between that it was almost pointless having them, they could have saved themselves a lot of money by doing some creative shooting and just axing the SFX.If you loved the book I beg you please don't go to see this.
Funke creates a magical world where books come alive, characters literally leap off the page, and the major characters have to do all they can to make sure normality, and justice, are restored.Paul Bethany as Dustfinger steals the film as the heroic/tragic character lifted out of the pages of "Inkheart" into the "real world".
Apparently author Funke insisted on Brendan Fraser as "Silvertongue", the man who can make books come alive by narrating them.Perversely, he is the weak link, giving a strangely insipid performance alongside Bethany, Broadbent as Finolglio the author of "Inkheart", and Helen Mirren playing a wonderful cameo as Aunt Elinor in a part which could have used more screen time.Eliza Bennett is a convincing child lead as Meggie, Silvertongue's daughter, and the cast of baddies looks as though it has been stolen from the cast of "Pirates of the Caribbean" extras!Interesting, and erudite, the film falls just short of classic status, mainly due to Fraser.Nonetheless,it remains a strong story, well told and will appeal to children of all ages, as well as adults who are young at heart..
They escape from Dustfinger heading to Italy to the manor of Meggie's aunt Elinor Loredan (Helen Mirren), where the men of the evil Capricorn (Andy Serkis) abduct them with the intention to force Mo to bring the powerful Shadow to Earth."Inkheart" is an enjoyable and pleasant adventure.
This film is about a man who possesses a magical power that can bring the characters of books into real life.The story is simple and predictable, which also means it is followable and understandable.
Brendan Fraser, Eliza Hope Bennett, Paul Bettany, Andy Serkis, and Helen Mirren are the featured actors, and they're all excellent, but the real star of this film is the written word in all its glory, joy, majesty, power, and beauty.
The film being an adaptation of a fantasy trilogy that I haven't read, and the movie itself promising an interesting story that just advertises for the old paper medium, I just had to rent it on DVD to give it a shot.
When it comes to the fairytale, whether it be in the form of a book or a film reel, one can usually make educated presumptions as to what the adventure is essentially going to consist of; the collision of good and evil, unrequited love perhaps, or maybe even some fantastical magic, but whatever ingredients are used, there nevertheless remains a certain bleakness about the whole ordeal- a sense of fatalism.
Detailing the journey of one man, Mo (Brendan Fraser) who in turn finds himself to be a "silvertongue" (one capable of bringing stories to life through reading them aloud)- in a quest to bring back his wife from a novel she was accidentally swapped into in place for some of the story's central characters, Inkheart is first and foremost like all good fairy tales- driven by love.
Playing father to young Eliza Bennett, this German penned fantasy takes a darker side whenever we hear Mo 'Silvertongue' Folchart (Fraser) reading out aloud from books.
While, as a child, Meggie Folchart's (Eliza Bennett) father read to her great stories, and in the process learnt the sinister side to this gift, what comes out of "the book", something, someone, must go in, here, it is Resa (Sienna Guillory), wife and mother to both Mo and Meggie who is sacrificed.
The main problem here is that this film is simply too long for what we see, it is at one level, visually nice and in concept fun and vaguely interesting, but it just does not bite.Children will love the themes, the fun of Dame Mirren, the niceness of Jim Broadbent and the callousness of Mr. Serkis and his amusing henchmen, the fantastic creatures' from the imaginations of the greatest stories ever written, but adults may find it a little long in the tooth, maybe.
Inkheart is an adaptation of a book released at a time when fantasy films aimed at families have been doing great box office.
However the magic of great storytelling cannot be passed on to all adaptations and certainly not Inkheart which has an appalling screenplay.Brendan Fraser plays Mo Folchart, a silver tongue who has the ability of bringing book characters to life just by reading aloud.
Andy Serkis plays Capricorn who along his henchmen uses these special readers for his own meansPaul Bettany plays Dustfinger a character from the book Inkheart and wants to be read back into the book.There is plenty of European location filming and some notable actors.
Mo 'Silvertongue' Folchart (Brendan Fraser) has the ability to bring characters from books off the pages when he reads aloud.
This transference from the book page to the real world creates all manner of fun and havoc when of course evil character Capricorn (Andy Serkis) wants to take advantage of Mo's 'gift' and use it to his own wily ways.
The shadow looks like the Balrog of Moria (Lord of the Rings) - which made my day because I could laugh about the (i guess) unwilling parallels to LOTR - Gollum/Balrog - Capricorn/Shadow....apart from that the effects are OK - but not comparable to other fantasy movies.positive: 1) there is really just one aspect I want to mention and that is that it may inspire young people to pick up a book and read.
Meggie finally learns that her father can bring characters to life out of books by simply reading the story out loud.
On that fateful night years ago, Mo had read Inkheart and Dustfinger, Capricorn, and Basta came out while his wife Resa (Sienna Guillory) got read in.The story is convoluted and needs a good long explanation to set things up properly.
The acting is decent, the special effects are pretty good, and there are a couple of ideas I like, one of which is apparently not from the original book Inkheart.
Brendan Fraser sleepwalks through this production half the time, or at lest it looked it it, and you know things aren't as good as they seem, when a child actress|aka Eliza Bennett| carries most of the film.
In "Inkheart," based on the best-selling novel by Cornelia Funke, Brendan Fraser plays what is known in literary circles as a "silver-tongue" - a person with the rare ability to make characters he is reading about come miraculously to life.
For one night, while reading a fantasy novel called "Inkheart" to his little girl, not only does Mo inadvertently unleash all the disreputable villains and creatures who reside within its pages onto an unsuspecting world, but his own wife becomes trapped inside the story (the rule, apparently, is that for every person who comes out of a book, another must go in to take his place).
The trouble really begins when the characters Mo unleashed earlier finally catch up with him and Meggie, kidnap them - along with Meggie's mouthy Aunt Elinor (Helen Mirren) - then cart them off to an isolated castle so Mo can read more characters out of the book for them.As written by David Lindsay-Abaire and directed by Iain Softley, "Inkheart" isn't as captivating as the recent and somewhat similar "The Fall," but the movie has enough energy and imagination to allow even the most cynical among us to suspend our disbelief for the duration and join in the fun.
There's a sentence that lacks explanation, for during the film many times Mo reads from the book as does his daughter Meggie who turns out to have inherited his gift and nothing is taken into the book.Because of this weak but complicated starting point the film calls for talent and dramatic special effects to distract the audience from the enormous gaps in the plot.Major characters are portrayed by a variety of accomplished actors including Jim Broadbent, Paul Bettany and Andy Serkis who as always deliver a performance to the best of there ability and which do fortunately breath life into there otherwise weak and confusing and in unnecessarily complicated characters.However in the central role we have Brendan Fraser a man who never fails to irritate me from the moment he appears on screen.
It works better in a book where characters have more development room but in a movie things ought to be a bit tighter.All the family with the exception of the very young well enjoy Inkheart.
Inkheart had a lot going for it: a large group of A-grade actors fully willing to make fun of themselves; beautiful Italian scenery; a clearly talented sfx crew; an enjoyable villain; and a concept with immense entertainment potential (the ability to call story characters to life).But sadly director Iain Softley (K-Pax, Skeleton Key); and screenwriter David Linsay-Abaire (Robots) present us with an unfocused, uninspired journey - filled with boring middle-distance shots, repetitive gimmicks, and scenes that look like they needed just one more take, or sound like they needed one last re-write.Energy, or lack thereof, is the main problem here.
Not once throughout the entire film does it manage to make us fear for the safety of its central protagonists and, as it takes place in the real world, lacks the element of fantasy required to lift it above the pedestrian.Journeyman actor Brendan Fraser plays a man who literally brings literary characters to life when he reads out loud.
I think things that needed to be explained were explained well, and nothing would have confused me if I hadn't read the book beforehand.This is a very good film which hopefully will delight all fans of Inkheart as much as it delighted me.
There are some great ideas and moments in the film, along with some brilliant performances - Bettany's interesting "selfish" character, Eliza Bennett doing very well in her first feature that I've seen her in, and it's always good to see Andy Serkis.
Brendan Fraser is pretty good, but Paul Bettany absolutely acts him off the screen as Dustfinger, proving yet again what a versatile actor he is.I expected more fantasy action scenes and got the feeling that the film was building up to 'get going' but never really did.
Fortunately, "Inkheart" was a quite enjoyable fantasy, with an interesting premise and likable (if not very original characters) While the performances and the visual aspect of this movie are just adequate, it's the funny and charming story that makes this work.
While Funke was definitely right in being inspired by the actor, the book deserved a far better adaptation worthy of its rich material."Inkheart" is a fantasy adventure that tells the story of a father and his daughter and their quests through worlds both real and imagined.
Fraser stars as Mortimer "Mo" Folchart and his 12-year old daughter, Meggie, is played by newcomer Eliza Hope Bennett.Mo and Meggie not only share a passion for books, they also share an extraordinary gift for bringing literary characters to life when they read aloud.
He has a teenage daughter, Meg (Eliza Bennett), and a wife who disappeared when he last read aloud a decade previous; y'see, when you bring something into this world from a book, part of our world trades places with it.So a series of adventures ensues with Fraser at first trying to protect his kid and not use his powers and later joining forces with one of the less-evil characters he's brought over, Dustfinger (Paul Bettany in the only interesting performance in the film).
I have read the ink heart books a while ago, and while the storyline was very interesting, i thought Cornelia Funke had failed to live up to her former greatness (i.e. The Thief Lord.However, when i found out there would be a movie, i was excited, especially after learning that some of my favorite actors (Brendan Fraser and Paul Bettany) would be in it.
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tt2650986
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Nordvest
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Northwest is one of the most impoverished multi-ethnic areas of Copenhagen. 18-years-old Casper lives in Northwest with his mother, younger brother and his little sister. Casper struggles to make ends meet based on selling stolen goods to one of the neighborhood pack leaders. When organized crime hits Northwest the hierarchy of the neighborhood shifts and Casper is offered a chance to climb the ranks. Soon he is hurled into a world of drugs, violence and prostitution and as things escalates, his childhood playground becomes a battlefield. Consequently Casper finds himself and his family dead center in a conflict that threatens to destroy them.Northwest is a film about youth crime, the price of greed and a rootless, young man's longing for a sense of belonging and to show the world hes a real man.
The film is about Casper who, for his own gain, drags his younger brother Bastian into organized crime to get the young king and childhood friend Jamal down with his neck. But power is not something you get, it's a position you have to take and Casper realizes he does not have the ability to go from being a thief to a murderer and thereby he inadvertently presses his brother to commit murder.
Casper is driven by money and power but Bastian is driven by much stronger forces; the desire for a sense of belonging and longing for a father figure.
Northwest is a film about brothers, brother cabinet and how childhood friends end up fighting each other for power and glory.
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violence, murder
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train
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imdb
| null |
tt0088680
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After Hours
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New York City. Paul Hackett (Griffin Dunn) is a lonely and bored computer word-processing consultant who wants more in his life than just going to work and going home every boring day of his life. One day involves teaching a new trainee, named Lloyd (Bronson Pinchot), the works of the computer. Paul leaves the office building when it closes at the end of the day and goes to his Upper East Side apartment on East 91st Street where he wastes the evening away watching TV and reading Arthur Miller books.Venturing out in search of carnal pleasures, Paul meets the sexy-but-quirky Marcy (Rosanna Arquette) in a coffee shop near his apartment building and begins chatting up a conversation with her. Paul asks for Marcy's phone number before she leaves and she tells him that he can call her anytime. Back at his apartment, Paul works up enough nerve to phone Marcy. She invites him to come down to SoHo where she is staying with Kiki, and artist friend of hers. The time is 11:32 p.m.Paul jumps into a taxi cab outside his apartment... and then the weirdness begins. The burly cab driver whisks Paul through the streets of New York at 80 mph as if being chased by the hounds of hell. During the wild ride, Paul loses a $20 bill, the only money he has on him when its whisked out the car window, and he is forced to stiff the driver. Paul finds the loft and meets Kiki (Linda Fiorentino) for the first time, who's wearing nothing but a black bra and leather miniskirt, working on a paper-maché sculpture that resembles painter Edvard Munch's 'The Scream'. Kiki forces Paul to help her work on the sculpture in which he stains his suit jacket and Kiki gives him another one to wear.Eventually, Marcy shows up and they go out to a nearby diner where they talk about their favorite movie which is The Wizard of Oz, among other things. When offered to pay the bill, the strange diner waiter (Dick Miller) tells Paul that it's on the house. ("Different rules apply when it gets this late, you know what I mean? It's like... after hours.")At 1:40 a.m., Marcy and Paul return to the loft, where she ushers Paul to her bedroom. Marcy prattles on about events in her tragic life, delivering her lines with a staccato rhythm punctuated by a nervous laugh. Marcy turns out to be a hyperactive mass of contradictions, and Paul decides that swaying her emotions are a bit too weird to handle. After smoking a joint of Marcy's which she claims it's from Columbia, Paul, for some reason, begins begins acting like a jerk and leaves.When he on the street, it begins raining, and he gets soaked walking a block to the nearest subway station. He picks out about 97 cents in change, all the money he has on him. But the attendant tells Paul that the subway fare for a token has just gone up to $1.50 that very midnight, and the time is now 2:15 am. Paul begs the attendant to give him a single token, but the attendant refuses saying, "I can't do that. Id loose my job." Paul looks around the station, sees no one and sarcastically states, "Well, who would know... exactly?" The attendant responds, "I could go to a party, get drunk, talk to someone... who knows?" When Paul threatens the attendant, a burly transit cop appears and scares Paul away.Paul runs through the rain and into a nearby bar, which is nearly empty, save for a bartender, a middle-aged waitress, and a teenage dancing couple. Paul sits at a table and asks the waitress Julie (Terri Garr) if he could just sit there for a while without buying anything. She agrees. After Paul uses the men's room, he returns to his table and finds a note sliped by the waitress which reads: "Help me! I hate this job!" Sensing that the weirdness is starting again, Paul asks the friendly bartender Tom (John Heard) if he can borrow money for a subway fare to get home. Tom is glad to help. But Tom cannot open the cash register. Tom asks Paul to go to his apartment a few blocks away to get the cash register keys as well as to check if the alarm is turned on because there have been a rash of burglaries in the neighborhood over the past several days. As a sign of trust, Paul leaves his apartment keys with Tom and rushes off with Tom's apartment keys to earn his $1.50. Paul lets himself into Tom's apartment, checks the alarm which is on. After using the toilet, it overflows, and Paul leaves. But on his way out, Paul gets hassled by two neighbors, a gay couple, who suspect that Paul is a burglar. Paul manages to get away from them.On the street, Paul spots two Hispanic men (Cheech Marin and Tommy Chong) trying to stuff Kiki's paper-maché sculpture into a van. Paul gives them chase, forcing them to drop the statue and drive off. Paul brings the statue back to Kiki's loft nearby and finds her gagged and tied to a pillar. He unties Kiki thinking that they robbed her, but she tells them that the men are Pepe and Neil, friends of hers who just bought the stature and that she's tied up because she and her boyfriend Horst (Will Patton) are playing a sex game. Kiki and Horst tell Paul that he should apologize to Marcy who has been in her bedroom crying since Paul left. Paul goes to Marcy's bedroom to apologize only to discover that Marcy has committed suicide by taking an overdose of sleeping pills. He runs to tell Kiki, but she and Horst have gone, leaving a note saying that they have gone to a nightclub.Paul sees a $20 bill left behind by them and instinctively takes it. Paul calls the police to report the body, and then dashes back to the bar so he can get his apartment keys back from Tom, but finds the place closed. Julie the waitress approaches him and invites him to her apartment just across the street to wait for Tom to show up.Julies apartment looks like a shrine to the mid-1960s replete with the music of the Monkees playing in the background. Paul soon discovers Julie to be even stranger than Marcy, for Julie has a shelf full with cans of Final Net hair spray and a dozen or more mousetraps around her bed. Julie asks Paul to let her draw a picture of him which he agrees.When Paul sees Tom coming back to reopen the bar, he makes a mad dash out of Julie's apartment and back to the bar. Tom tells Paul that he just left to check his apartment because it took so long for Paul to come back. Paul apologizes and gives Tom back his apartment keys. Just as Tom is about to hand over the $1.50, the phone rings and someone on the other line informs Tom that his girlfriend has just committed suicide. To his horror, Paul immediately learns that Marcy was Tom's girlfriend. Suddenly seized with the notion that Julie may follow in Marcy's suicidal footsteps, Paul leaves the bar and races back to Julie's apartment. She is fine, of course, and Paul, who desperately wants to get out of SoHo, makes a feeble excuse and leaves again.But when Paul retuns to the bar to get his apartment keys back from Tom, he finds the place closed again. Paul goes over to Tom's apartment, but he is not there either. Then the gay couple and another of Tom's neighbors see him and chase him away again. By this time, however, Tom's neighbors have become convinced that Paul is responsible for the rash of burglaries in SoHo and form together a vigilante group to hunt him down. But the real robbers are naturally Pepe and Neil, who are busy just blocks away ripping off another apartment right under everyone's nose.After going back to Kiki and Marcy's loft, Paul finds Marcy's dead body gone and yellow crime-scene tape over the entrance to the front door as the police apparently came and left with Marcy's body. Paul sees the small vigilante mob on the street armed with flashlights, baseball bats, and crowbars, and he knows they are looking for him. Paul waits until they pass by and leaves.Paul runs to Club Berlin, the nightclub where Kiki and Horst have gone, to inform them about Marcy's death. But after having trouble getting past the burly bouncer outside the club, Paul discovers that the place is a gathering of Mohawk-type punks who grab him and proceed to shave his head. Paul sees Kiki and Horst at a table and calls out to them, but they don't see or hear him through the loud music and crowd. Paul runs out of the club barely able to compose himself with only a line or two of his hair shaved off.Back on the street, Paul suddenly meets the same cab driver whom he was forced to stiff earlier for the ride. Paul gives the driver the $20 bill he took from Kiki's loft, but the driver just grabs the bill and drives off as payback for stiffing him. Paul by then has just run into another strange woman, coming out of the cab, named Gail (Catherine O'Hara) whom she feels sorry for and takes him back to her apartment.At Gail's apartment, Paul asks if he could use her phone so he can call a friend from his neighborhood for a ride. When Paul gets the number from information, Gail gleefully starts spouting out random numbers and Paul gets confused and forgets the number information has just given him. When Gail begins treating Paul's superficial wounds, she reads a newspaper article about a derelect found "beaten to death" the night before by an unknown mob as if she's facinated with the news. With mounting anger and frustration, Paul demands to the strange and hysterical Gail to leave him alone. Gail then blurts out that she drives a Mister Softee ice-cream truck nearby and will be glad to give him a ride home. But when they arrive at the truck parked in an alley, Gail spots a wanted poster of Paul (the same picture drawn by Julie) on a wall and uses a whistle to alert the vigilante mob which is numbering in the dozens. Paul is forced to run for his life. He gets away from the mob by running into an alley and hides atop a fire escape ladder. Then Paul witnesses a murder in the apartment just across from him where a woman shoots her abusive husband to death. "I'll probably get blamed for that too," says Paul mumbling to himself.Back on the street, Paul runs into a shy homosexual man, named Alex, (Robert Plunket) and allows himself to be "picked-up" to let himself into the man's apartment. Paul asks to use Alex's phone to call the police and then tries to tell the desk sergeant about wanting to report the vigilante mob that's been endangering his life. Unbelievably, the police officer on the other end of the line thinks that it's a prank call and hangs up on him. Frazzled, exhausted, and running on adrenaline, Paul launches into a frenzied monologe about the events of the night to Alex. Dissolve to 30 or more minutes later, Paul ends his story with the line: "I just wanted to leave my apartment, maybe meet a nice girl, and now I gotta die for it?!" Then Paul sees Julie on the street putting up wanted posters of him on a lamp post. Paul runs back out onto the street and calls out to her, but she just scornfully glances at him and rides off on a bicycle. Paul sees dozens of wanted posters of him on every street corner and begins tearing them off realizing that the insane Julie has set him up to get back at him for walking out on her.At 4:10 a.m., Paul goes back to the diner where he sees Tom sitting at a table. Tom tells Paul that he just got back from the local morgue where he was forced to identify Marcy's body. Paul demands that Tom give him back his apartment keys, but Tom says that he left them back at the bar. Frantic, Paul asks Tom to hide him for there is a vigilante mob looking for him. Tom goes outside to check if the coast is clear, but Paul sees Tom running right to up Gail and the vigilante mob passing by and he tells them where Paul is. Angered at Tom's betrayal, Paul runs out of the diner just in time.As a last resort, Paul dashes back to Club Berlin hoping to find Kiki and Horst there to ask them for help, but now finds the place deserted for it is closing since the time now is almost 5 a.m. The only patron there is a middle-aged woman, named June (Verna Bloom). Paul takes the quiet time to smoke a cigarette and use the last quarter he has on him to play a song on the nightclub's jukebox. June is very sympathetic to Paul and she senses right away that he's in trouble. Paul ask June if he's like to dance with her and have a casual slow dance. When Paul hears the sounds of Gail's ice-cream truck outside and the voices of the vigilante mob (now numbering in the hundreds) Paul asks June to hide him. June lives in a basement apartment below the club and she takes Paul to her home.When Gail and the vigilante mob break into Club Berlin looking for Paul, June, who also happens to be a paper-maché sculptress, hides Paul by dumping plaster all over him and making him a living sculpture just as the mob breaks into her apartment to look for their intended victim. Unable to find Paul, Gail and her group departs. Paul then begs June to stop encasing him in paper-maché, but she continues until he is covered from head-to-toe. When June leaves to see if the coast is all clear, the two robbers, Pepe and Neil, break into June's place from a sealed manhole to rob it. When they see the sculpture with Paul encased in it, they think he is the paper-mache sculpture they lost earlier that night and steal him. They load Paul in the back of their van now spilling over with dozens of stolen appliances from the SoHo apartments including Junes (Paul realizes that under these circumstances, he will probably get blamed for robbing June's place too).As dawn breaks, Paul sits helplessly in the back of the thieves van as it rides through Manhattan on its way uptown. At a street corner, the van hits a rather large pothole, the back doors fling open, Paul comes tumbling out into the street, and the hardened paper-maché casing breaks, freeing him. Paul then looks around and sees that he's standing..... right in front of his office building! A dazed Paul dusts himself off the best he can, and enters the building just as it's opening for business.In the final shot, Paul goes to the floor where he works, sits at his desk, and goes to work at his computer while the rest of the office workers arrive as the closing credits role. It's the beginning of just another boring weekday for him.
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comedy, dark, murder, cult, absurd, psychedelic, queer
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train
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imdb
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So if you were a fan of Scorsese's frantic camera work in Goodfellas and Casino, this film is for you.It really does put you on edge - as a viewer, you really want Dunne's character to get back home - but everything possible that could happen to him - happens.
All the rules go out the window for Dunne's character, because after all it is after hours.Scorsese really is the best living director at the moment - so do yourself a favour and watch this movie - it's fantastic..
Martin Scorsese is a master of creating atmosphere and exploring a specific setting, and he has proved that in movies like Taxi Driver and Gangs of New York.
'After Hours' is a really dark, nightmarish comedy and is one of Martin Scorsese's most enjoyable films.
Such a dark, ironic and uncomfortably funny string of events plus a large helping of bizarre, paranoid and unpredictable characters have never before been forged into one story.The film follows Paul Hacket (Griffin Dunne) on a date from hell, where from square one it all goes horribly wrong.
"All I want to do is go home" he says, running for his life from an angry mob.The story isn't complex, which you may think could bore, but the characters are so delightfully wacky that you can't help but be transfixed.We've all had bad days when we've said "Phew!
Fortunately we don't get too many of them, like we would in a Tarantino film, however.Griffin Dunne plays Paul Hackett, who is bound and determined to hook up with Marcy (Rosanne Arquette) whom he met in a restaurant earlier that evening.
After Hours, originally a Columbia thesis script by Joseph Minion tells the story of Paul Hackett's crazy adventure in Soho.A friend described After Hours as a movie he always saw the cover for at the video store back in the day, and always thought it was a silly 80s comedy.
Luckless Griffin Dunne chances to meet cute flake Rosanna Arquette one night in New York City, but a follow-up date is fraught with calamities, and characters apparently just sprung from a nuthouse.
The attractive supporting performers (including Teri Garr, Linda Fiorentino, John Heard, Thomas Chong and Cheech Marin) are not used to balance out the craziness in the material with their star-personas; everyone on-screen is just a little bit battier than the ones who came before, and once you've become attuned to the movie's intentionally-bumpy rhythm (the cinematic equivalent of Bumper Cars), the rest of the picture can be a very funny lark.
I tried very hard to like "After Hours," Martin Scorsese's surrealist head trip about a straight-laced word processor (Griffin Dunne) who ventures off into the SoHo night and gets trapped inside a frustrating nightmare.
In spite of all the weirdness and troubles the main character goes through during one night, the movie itself is quite watchable thanks to Scorsese's magical skill of creating action and fun wherever possible and impossible.
Since it's a favorite of national critics, you know it's not a movie that most normal people are going to like.I watched this movie twice, and found it to be one of those films that is very interesting the first time around, but tiresome and almost stupid on the second look.
What Martin Scorsese does in "After Hours" is a humored, provoking and dark challenge where his main character, the word processor Paul Hackett (Griffin Dunne, great performance) is a guinea pig tested to the limit showing how difficult it is to be sane in a place that doesn't invite you to be mad, it violently grabs you to the madness in a endless night heading to the initial starting point.
This minor work from Scorsese made right after "The King of Comedy" and still using of some twisted humor of the earlier film is a small masterpiece where he, master of his art, takes everything he knows about movies and composes an energetic, pulsating, funny and bright film.
It perfectly matches in a non official trilogy I name of "New York time bomb trilogy", started in "Taxi Driver" (1976) and finishing with "Bringing Out the Dead" (1999), all stories taking place in NY, featuring characters living in the thin line between sanity and madness, just trying to get through the night.
All of the main characters, Hackett, Travis Bickle in "Taxi Driver" and Frank Pierce in "Bringing..." are all creatures of the night, dealing with lot of pressure on a edgy, wild city that looks like a time bomb just waiting to explode at any moment and they need to decide which way is gonna be, to succumb to it or survive in it, and they're all stuck in a stressful and tiring routine.
Take a look at how close those three films are, not just in their theme but also the way Scorsese edits, photographs, captures small things like the objects in scene, the camera movements, the music, each particular shot.
After Hours is not typical Scorsese fare and one reason it works is because of the legendary filmmaker's deft skills- the atmosphere is amazing as is the pacing of the film.
A Dark Comedy by Master Filmmaker Martin Scorsese, that offers shock value, some engaging moments, but, it's dark tone, will not attract everyone.'After Hours' Synopsis: An ordinary word processor has the worst night of his life after he agrees to visit a girl in Soho whom he met that evening at a coffee shop.This Dark-Comedy is meant for a certain audience.
Perfect flawless black comedy with humor as dark as the night that caught Paul Hacket (Griffin Dunne), a nice guy, an everyman, an ordinary computer operator in its darkness and surrounded him by all kinds of weird strangers who very well could be the deadly creatures of night that inhabited SOHO of early 1980s every night after hours...
It takes place in NYC, and its dark scary streets come directly from Scorsese's earlier masterpieces, "Mean Streets" (the streets after hours are even meaner, are they not?) and "Taxi Driver", the horrifying descend to the real Inferno.Amy Robinson, the film producer calls After Hours "dark, funny, paranoid New York summer movie" - and it says it all.
After their first work together on After Hours, Scorsese and Ballhause would make The Color of Money (1986), The Last Temptation of Christ (1988), Goodfellas (1990), Gangs of New York (2002), and The Departed (2006).The journey through the worst night ever by Paul brought to mind another surreal journey, one of my all time favorites, "O Lucky Man" by Lindsay Anderson.
Try not to lynch me for saying this but it looks like it was directed by someone who has just left film school ten minutes ago Along with BRINGING OUT THE DEAD this is Martin Scorsese's least impressive movie.
What if Martin Scorsese (Who is one of the greatest directors of all time in Mystery, Crime and Thriller genres) would like to grab some comedy stuff?The answer is After Hours, brilliant and disastrous story from beginning to end..A script based on misfortune, this is a movie which flows rapidly..I don't remember any other movie character except Paul Hackett (Griffin Dunne), who had to face so much trouble in such a short period of time.This is a excellent black-comedy stuff..Because the script's delirious fiction and mind-blowing influence, it's nearly impossible to notice the time passed watching it..This movie is one of Scorsese's most hilarious and unusual works in 80's along with The King Of Comedy..I recommend it to all the people who enjoy the dark sense of humor...
Other highlight are of course small parts by favorites like John Heard and Catherine O'Hara.After Hours is arguably the most underrated of Scorseses film (despite the high IMDb and Metascore ratings).
An ordinary word processor (Griffin Dunne) has the worst night of his life after he agrees to visit a girl (Rosanna Arquette) in Soho whom he met that evening at a coffee shop.At this point (2015), i think I have seen everything that Martin Scorsese directed.
"After Hours" is a 1985 American black comedy directed by Martin Scorsese (Goodfellas, Taxi Driver).A New York office worker has a very strange night when he goes on a late night date with a woman he just met, which turns into nightmare when one bizarre problem after another strands him in a hostile neighborhood in his quest to return home before morning."After Hours" is a brilliant film, its a perfect midnight movie, date movie, stoner movie, light movie, comedy-horror movie, quirky movie, but most of all its a fun movie.I think its also a very influential film.
I also found the dinner scenes with the main character's date to be similar to the dinner scene in Pulp Fiction, but maybe thats just me.Apart from comparing it to other movies, the performances are great, the story is unexpected, I loved that Cheech and Chong are in it and I also enjoyed Martin Scorsese's Alfred Hitchcock- like cameo in it.I believe this is a classic because a movie like this could not be made today, because of the technology that exists.
"After Hours" is a dark comedy by Scorsese which tells of a NYC yuppie (Dunne) who has an innocent date with a woman in her SoHo loft which begins a night full of weirdness and creepy encounters.
This underrated masterpiece is the very movie that got me addicted to independent films in the first place.The setting: mid-80's, pre-Rudolph Giulianni era New York City.The story introduces us to Paul Hackett (Griffin Dunne), who works in the daytime as a low-level, word processor.
By receiving Marcy's phone number, Paul sets off a series of strange and cataclysmic events that forever alter his night senses.The film has many great supporting actors such as John Heard as the late night bar keep, Catherine O' Hara as the riot monger, and Linda Fiorentino as Marcy's artsy, mysterious roommate.After Hours is a wonderful film from start to finish, and is a must see for die-hard Scorsese fans.
After Hours (1985) *** (out of 4)Scorsese's black comedy about a simple man (Griffin Dunne) who meets a woman (Rosanna Arquette) in a restaurant and goes to meet her again that night but this leads to one misadventure after another.
Directed by, of all people, Martin Scorcese, it's the story of a young word processor, Paul Hackett (Griffin Dunne) who decides to go to Soho one evening rather than sit in his New York City apartment.
Most of the humor in "After Hours" comes from the characters that inhabit this particular night, played by some wonderful performers - Roseanne Arquette as Marcy, a complete looney tune who is staying in the loft of a sculptor (Linda Fiorentino) into S&M; Terri Garr as Julie, a waitress stuck in the '60s who hits on Paul; John Heard as a bartender who offers to give Paul subway fare, but fate intervenes; Catherine O'Hara as Gail, who sells Mister Softee and then leads a vigilante group against Paul in her truck; and June, who shall we say, incorporates Paul into her work.
I didn't say it was his best, but for my time and money, I'd rather watch "After Hours" once a month for the rest of my life than anything else he's ever directed.Unlike "Taxi Driver", the vehicle for hire here inspires a ridiculous, yet strangely believable idiotic odyssey through darkest Manhattan, as Griffin Dunne (never better) is simply looking for a nice woman to spend a few hours with and ends up fighting for his damn fool life instead.
The reason this movie is dated is because in 1985 there weren't any ATM machines around in SOHO (as far as I can remember)--so Dunne's inability to get a couple of bucks would really not happen today, since SOHO is no longer the dark, seedy, yet trendy artists' hangout it used to be back in the time Scorsese made this flick: there's a Swatch Shop, Club Monaco, Banana Republic, Zales Jewelers, Starbucks, and Chase bank all within a couple of blocks from the setting of this film!.
This is simply a story about a guy having the worst night of his life.Rating: 7.5/10Most Memorable Movie Moment: Griffin Dunne trying to make a phonecall at Catherine O'Hara's place..
However, he has no money for cab or train fare and things are about to get very weird, leading to a situation where his life is in danger.One of Martin Scorsese's least-known movies, and there's a reason for that.
The essence of her sculpting and moulding skills are then eerily transfered into real life when she tries to persuade Paul to remove his shirt and aid her in using the gooey materials to help finish off the outer-shell of the figure.Despite the setting of the film being the dark, dreary and rather grimy streets of New York in the late hours of night and the early hours of the morning, its comedic tone and overall light attitude to the things that happen and the situations Paul finds himself in are not exploited in any way.
As he tries to find the money to take the subway home, he meets several interesting and sometimes very strange people.Dunne's character seems to be the only normal person in this film and that is one of the reasons why it works so well.
The first time I saw references to punk rock culture, first time I heard Peggy Lee's "Is that all there is?", and the first time I saw a movie so unpredictably charming and creepy, but that wasn't in a blood and guts horror genre, but was more like an urban nightmare for a working class hero.I remember hoping that Griffin Dunne's character would make it home in one piece.
I was fortunate to see a showing of "After Hours" this past year at the New Beverly Cinema and was just blown away by it.So, that in a nutshell, is why I like this film and can watch it again and again and it gets my nervous system all jumpy...but in a good way : ).
Oh sure, I could review a film that some of you have seen, but where's the fun in that?In Martin Scorsese's After Hours, you will find a dark ride into the fashionable Soho district of New York City of the mid-eighties that leads Paul Hackett into enemy territory.Once this average word-processing, white, single male realizes he's in over his head, he just wants to go home.
But it's not that easy for him.He tells little lies that get him deeper and deeper into trouble until he's literally running for his life from the crazed denizens of the night, to whom "After Hours" do not apply.This film is a personal favourite of mine, but I really don't blame anyone for not liking it.
When people mention great Scorsese films, I rarely hear "After Hours (1985)" come up as one of them.
Following up The King of Comedy (1982), Scorsese created yet another offbeat story filled with tension and danger set against the juicy backdrop of New York street life in After Hours (1985).
Definitely NOT your typical Scorsese film.We've all had those bad nights; Maybe we missed that subway coming home from work or got showered with a puddle by that car driving by.
I've often found Scorsese's films to be loaded with pacing problems and while the final half hour or so here does drag a little bit it wasn't nearly as what I usually experience with his work.The trim 97 minute running time flies by in a breeze, piloted by Griffin Dunne as a mild-mannered word processor who meets an attractive girl in a coffee shop (Rosanna Arquette, aptly matching that description) and experiences the worst night of his life when he goes to see her at her place.
Dunne's Paul Hackett falls down a descent into the madness of late night New York, the city which Scorsese earned his reputation depicting.The director took on this film after his first attempt at The Last Temptation of Christ fell apart and you can really tell that he just wanted to let loose and have some fun, a feeling that translates easily to the audience.
Griffin Dunne does a good job in this Scorsese flick about a man who goes on a date and ends up in a series of adventures that wont let him get home to sleep.
Call me an ignorant Scorsese fan, but i had never even heard the name of this movie, nor had i ever seen any Griffin Dunne's work before, until now.
I wince but also enjoy seeing Griffin Dunne, who seems like a live action Leisure Suit Larry, just fail and it's the great kind of movie where you watch really late on a Saturday night – explaining its cult status.
After Mean Streets and Taxi Driver, Martin Scorsese decides to explore another side of New York in this indie gem: everyman Paul Hackett (Griffin Dunne) meets a girl, Marcy (Rosanna Arquette), gets her number and hopes to spend a nice evening with her.
Part adventure-thriller, part black comedy, this film is without doubt the best-hidden gem of the respected director's storied career.Paul (Griffin Dunne) lives about as plain a life as one can live.
Griffin Dunne is fantastic as frantic Paul Hackett, who seems to stick out like a sore thumb when compared with the rest of the characters he meets on that horrendous night in downtown New York.
'After Hours', starring Griffin Dunne, is one of the best movies I have ever seen.
Whatever the reason Paul Hackett chooses to remain in his SoHo nightmare, it simply adds to the character's sense of helplessness and frustration.After Hours is a strange little film, being both pulse accelerating and hilarious at the same time.
I really like After Hours because of the story and the characters.Martin tell us about a very particular night in one's life.
I think "After Hours" is the best film of Martin Scorsese..
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Myra Breckinridge
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Myron Breckinridge (Rex Reed) is already waiting at the surgery room to have his pinus removed by the surgeon (John Carradine). The scenery is a bit weird anyway, because there is public watching the surgery, clapping, making comments, and there is in the background a lady (Thordis Brandt) kind of dancing /cracking a whip. Myron can't wait to have it removed, and he is self-assured when the surgeon tells him that it's the first time he's going to perform the surgery, and tells him that once cut, it won't grown on him again. They compare the surgery to circumcision several times.Cut to Myron, walking by the street and pushing away a cigarette butt from the sign of Veronica Lake. He kind of dances with a girl dressed in a sort of very short and showy wedding dress. They both end up dancing on the street and they get onto a taxi together. This scene gets mixed with Shirley Temple dancing and singing in a black-and-white film.The mushroom top of a nuclear bomb. Cut to a scene of a b-series sci-fi film, where women are the only human survivors after the holocaust. Myron and his partenaire are at the rooftop of Chateau Marmon, staring at the scenery of a big placard sign with a plastic-model cheerleader scantily-clad advertising something.Myron becomes Myra Breckinridge (Raquel Welch), and moves to West Hollywood in a flashy car to attend her uncle Buck Loner (John Huston)'s academy. One of the teachers is hugging to a tree in a dramatic way, and telling his students that they should appreciate and become anything, including a tree. Buck tells Myra that she has the potential to become a star. When she tells Buck her name, there are images of houses being blown-up. Myra tells Buck that she's the widow of his late nephew Myron. Buck can't almost believe her. Myra tells him that there was no insurance money, so that she's got not a penny in the world. Buck would like to caress and shag her, but he tries to keep composure. Myra tells him that there was a lost will of Myron, and Myra wants a part of the business. Buck doesn't want to mix lawyers into the matter, so he finally welcomes Myra, who finally will accept a position in the academy earning 1,000 a month, which must have been a huge salary at the time if she keeps quiet about her salary.A student called Irving Amadeus (Calvin Lockhart) who has been in the academy for fourteen years tells her that teachers don't last long in the academy. Posture will be Myra's subject. The student will show Myra around.Buck admits that he gets turned on by watching Myra on tv. Irving shows Myron around.A mock acting activity which involves everybody laughing about a naked woman. Irving is asked whether he's gay, because of his mannerisms. Irving seems unconvinced, and says that the academy doesn't push students to go out and look for a life outside.During a session with a masseuse (Thordis Brandt), Buck talks to his lawyer about the Myra situation. Irving leaves Myra in the classroom, who takes special notice of a Polish student, very handsome but stupid. Buck arrives and makes everybody uncomfortable with his frank personality. Myra tells Buck that the students are inept in front of them. The cute student, called Rusty Godowski (Roger Herren) says that he doesn't like Myra at all. Some female students say that they like Myra, but that she's weird. Irving ends up the conversation because he says he needs to retouch his makeup.Leticia Van Allen (Mae West) is welcomed at the agency by plenty of attractive men offering her bouquets of flowers, presents.... She accepts to see one in particular. Leticia makes his secretary to choose one of them. He looks like an actor on a casting, a very attractive man (Tom Selleck), with a suit and a briefcase. But she shows him a huge bed in her office, so the casting becomes a kind of sexual transaction. Images of a black-and-white scene of Abbot and Costello in which they are moving very long logs from one place to another. As Leticia dismisses the young man saying that she'll use him as a summer replacement, the sexual imagery is clear, and she shouts "Next!". The last of the "applicants" looks like a cowboy. She asks him how tall he is without the horse, and he says six feet seven inches. She tells him to forget about the six feet and concentrate in the seven inches. More logs going back and forth.Chorus music for a radio commercial. Myra reminiscences about the Andrew Sisters and tells Mary Ann Pringle (Farrah Fawcett) that with voice training, she could become a star, but Mary Ann is only interested in getting married and having children. Myra gets flustered and angered by her ignorance and the population explosion she will create with those intended four children. Myron and Myra argue about Mary Ann's case. She tries to put him to bed, kisses him and they make love. He dreams of food and finally eats a banana. Suddenly, Myron is alone, jacking off until he comes.Myra tries to change the way students learn, forget about the truth and make a good performance instead. Buck interrupts her: he knows that all his students are bad, so he doesn't want Myra to rise their hopes. They talk in whispers, until she punches him in his face, and then, she uses that punch as proof that acting makes actions and feeling feel credible, e.g. Buck's face of pain, but that they don't have to be true. The students give Buck an applause for the demonstration.A police officer stops Leticia, who gives him her card, as it looks as though somebody is following her. Leticia makes a pass at every man she finds. Mario Giuseppe Lionardo Something Something Bistriani (Nelson Sardelli) waits for Leticia to give her a message from Italy. He kisses and praises Leticia's beauty, while giving her a letter to read. Mario, with his heavy accent, says that he's in love with her. Leticia Van Allen offers him a job, but he refuses. Mario leaves, and Leticia wants to have his blood test.Myra, dressed up as a jockey rider, talks to Buck, who has discovered that Myron was never married. Myra shows him a marriage certificate issued in Mexico. Buck gets angry.Buck and one of his accolites talk about the destruction of morals in America. Meanwhile, a couple is making out at the café, and the cops are hitting on some demonstrators.At the academy, most students look more interested in frolicking than in learning. Rusty goes to a private tuition with Myra, as Mary Ann has realised that Myra seems to pick on Rusty. Myra thinks that he's got a special talent. Rusty says because he broke four ribs years ago, it'll make it very difficult to succeed as an actor and his posture is horrible. Myra starts imagining that she can listen to Glenn Miller playing, and she tries to make Rusty dance, but Rusty is very awkward. Rusty can't stand up straight because of those damaged ribs, so Myra wants to see the damage for herself, and proceeds to tell Rusty to take off his shirt and t-shirt. She admires his physique. He faces a wall, and Myra pulls his jeans down.Rusty's girlfriend is jealous. Leticia arrives to an academy party with plenty of students naked or with body-painting (Luanne Roberts). Myron goes around checking everybody.Buck is buttoning up his pants. Myra arrives. She tells Mary Ann that she is going to recommend her for a job, but the young lady is not happy at all. Mary inquires, thinking that Rusty may be the problem.Leticia arrives with a full entourage. Buck butt-kisses her, but Leticia realises that everybody is smoking grass. Myra says that Myron used to write books about films. Mrs van Allen thinks that Myron must have been gay. Myra talks about students becoming stars, and Leticia likes what she hears. Myra recommends Rusty to her. Buck tries to spoil it all by mentioning that Rusty has violated his parole. Both Myra and Leticia get turned on by talking of studs (Michael Stearns).Judge Frederic D. Cannon (William Hopper) says that only the Riffle Association stands between the USA and its invasion by the USSR, and lets Rusty go free. He hugs Mary Ann, who was waiting for him. Myra hugs both of them.Leticia Van Allen's performance is diva-like and over the top. The three of them watch her. At the night club, an ugly Cigarette Girl (Toni Basil) approaches them, and Myra wonder aloud what normal is. Mary Ann says that normal is what the majority of society does. Myra doesn't like that answer, although she smiles. Rusty doesn't think about it much.Buck makes a pass at mature ladies. Images of Marilyn Monroe (herself), at a swimming-pool supposedly naked. Buck comes back to Myra with more one-on-one time.Dressed as a nurse, Myra measures him, and makes him get almost naked again. Myra tells him to pee on a bottle. Myra wants now to bend over so that she'll take his temperature. She finds it suspicious when he refuses until a doctor arrives. Myra ties him down and puts a termomether on his rear end. Myra insists that this is no joke. Myra undresses, insisting that she's going to educate him. Myra rides him like crazy, while he tries to resist. She uses a strip-on dildo to rape him. He's not enjoying it at all.Images to suggest sexual imagery, topped by another nuclear bomb mushroom. Myra unties Rusty,in crazy unkempt hair. Rusty leaves with her permission. He even thanks her for the trouble she's taken in educating him.Myra phones Mary Ann, and tells her to pop in. Myra thinks that her victory will be complete if she seduces Mary Ann. The girl arrives crying, while Myron tries to stop Myra to no avail. Mary Ann thinks that Rusty is sick of her, of women... Mary Ann is worried she won't see him again.Myra convinces Mary Ann in putting on a male pyjamas. Myra offers consolation to Mary Ann, while Myron goes into bed with them. Leticia phones to say that Rusty has performed wonderfully in bed.Charlie Flager Jr. (George Furth) has no job, and he offers Buck to help him to get rid of Myra. She arrives dressed in red. Myra first paints her nails and then cries.Dr. Randolph Spencer Montag (Roger C. Camel) will arrive at the end of the week as a witness of Myra and Myron's marriage which entitles her to half of the state. The renown dentist is working on a patient (Geneviève Waïte) which looks and speaks ridiculously.The dentist travels by plane, but he falls sleep. Charlie Flager Sr (Robert P. Lieb) tells his son to go straight to the point. Myra explains that Myron's body was never found. So, finally, Myra explains that she is Myron, Buck's fag nephew. She takes off her thong and throws it to Buck's face. Flager Jr faints.Mary Ann rejects Myra's advances. She doesn't want to have sex with her, but she needs her as a friend. Myra realises that it's still Rusty between them. Mary Ann says that Rusty was very gentle with her. Myra is rejected again. Mary Ann wishes that Myra were a man.Myron runs over Myra, who flips over and is sent flying. The ugly cigarette girl stares at Myron, left for dead on the road. The cig girl tries to flirt. Myron wakes up at hospital, with the surgeon and nurse of the beginning appear to check on him. He notices that he's returned to his male look, so he starts shouting "Where are my tits? Where are my tits?".Images of Myron and Myra dancing and getting into the taxi while ending credits roll by.
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pornographic, cult, satire
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train
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imdb
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(The later HBO series "Dream On" also used this technique but I think this movie did it much better.) Rex Reed is perfectly cast as Myron, a gay man who decides on having a sex change (though Reed vehemently insisted throughout filming that he *wasn't* playing a gay man...
The book "Myra Breckinridge" is marvelous, and so is its nutty sequel "Myron" (which takes place on the set during the making of the Maria Montez movie "Siren of Atlantis" and, in its original published version, is a diatribe against censorship and finds new ways to use the name Rehnquist).
The Fox Movie Channel showed the film recently in widescreen and I watched it (the latest in several viewings ) and I failed to notice exactly when it begins to unravel.In spite of its ultimately depressing and sleazy tone, the movie does have some lovely things in it: the winking girl who pops up in various scenes throughout, Raquel Welch's game, amusing performance, an intriguing visual style, the usage of old movie clips to comment on the action in a meta-cinematic manner (my favorite is the brief glimpse of Marilyn Monroe in the unfinished "Something's Got To Give," a glimpse that could have been furthered), a bizarre underused supporting cast of excellent Old Hollywood character actors (Jim Backus, Kathleen Freeman, Grady Sutton, Andy Devine, John Carradine, etc.) and a short appearance by Genevieve Waite, the star of the director's previous, and only, hit film "Joanna." Waite is also the mother of Bijou Phillips and the ex-wife of John Phillips, of The Mamas and The Papas.
But it's not all that bad, thanks mostly to some really clever casting (bringing Mae West into the film was a stroke of genius) and a wonderful, bitingly funny and dead-on performance by a young Raquel Welch.
The basic story is a *really* bizarre dark comedy involving a guy, Myron Breckinridge (Rex Reed), who has sex-change surgery--- or does he, really?--- to become his alter-ego Myra (Raquel Welch).
In her DVD commentary, star Raquel Welch says that she seldom had any idea of what Myra's motives were from scene to scene or even within any single scene itself, and that each person involved seemed to be making an entirely different film.
Raquel Welch, a significantly underestimated actress, plays the title role of Myra very much like a Barbie doll on steroids; non-actor Rex Reed is unexpectedly effective in the role of Myron, but the entire role is essentially without point.
He makes it very clear that he disliked author Gore Vidal and Rex Reed (at one point he flatly states that Reed "is not a nice person"), and to this day he considers that Vidal and Reed worked in tandem to sabotage the film because he refused to play into their 'homosexual agenda'--which, when you come right down to it, seems to have been their desire that Sarne actually film Vidal's novel rather than his own weirdly imagined take-off on it.Although he spends a fair amount of commentary time stating that the film is widely liked by the gay community, Sarne never quite seems to understand that the appeal of the film for a gay audience arises from his ridiculously inaccurate depiction of homosexual people.
The sight of an unattractive and elderly Mae West always gets the shaft by the film's critics, yet they rarely comment on the appearance of her male counterpart (played with great relish by John Huston) who also seduces (and I might add verbally abuses) women one-third his age.
It had more to say in its heaving breast about the cruel and elevated ways in which man treats his fellow man than every Oscar-winning picture since...and all while telling its story in the most absurd and drug-inducing manner possible.But what adds even more to the meaning of the film is how it destroyed the career of not just its director (who probably deserved it) but also ruined any chance of a career for Roger Herren solely because he played a character who was raped by a woman.
And THAT is where MYRA BRECKINRIDGE stands tall.Yes, the movie is a smash-up of styles and insane casting choices and baldly ludicrous dialogue and unintentionally funny acting, but so were more recent idiot movies like THE ROCK and TITANIC and SHAKESPEARE IN LOVE, and look how successful they became...and how quickly they will be forgotten.
TIME magazine aptly described it as being "about as funny as a child molester," but it's not nearly as sympathetic.For instance, poor Mae West bore the brunt of so much of the criticism aimed at the film, being described as looking like everything from an aging drag queen to a reanimated walking corpse.
Rex Reed is her alter-ego, John Huston is perfect as Uncle Buck, Mae West is dazed but ribald as a man-hungry talent agent, and Farrah Fawcett is a sweetly stoned ingénue.
This film was not long in theatres in the United States.Mae West in her last 'successful' performance (in my opinion) and well worth the making of the film if only just for her - Mae has everything we ever wanted her to have.With John Huston as a proper Hollywood creep - we love his candor, Raquel Welch is splendid as Gore Vidal's vision of her true self - Myron Breckinridge (played by Rex Reed) sex-changed into Myra Breckinridge.This gem features a very early Farrah Fawcett in her second ever film, and Tom Selleck in his first film.
I could not imagine that Hollywood could have produced a film of this amazing and bizarre novel; it's no wonder its screen life was cut short.I was already trying to imagine the quintessential scene with Rusty in the infirmary and the famous West Hollywood billboard which puts Wonder Woman to shame.I was lucky enough to have rented one of the few 'unabridged' versions which was 20 minutes longer than many other abridged versions I've seen since that have cut the flashes of Shirley Temple among other things.I find this film to be a fine example of all the things toward which Hollywood might ACTUALLY aspire which includes a sense of humour and poking fun at one's self.View with GUSTO!
Myron Breckinridge (Rex Reed) is submitted to a surgery to change his sex in Copenhagen and he returns to Hollywood telling that she is to be Myra Breckinridge (Raquel Welch) and claiming half the property of his uncle Buck Loner (John Huston).
It's fitting that it shared a double bill with Russ Meyer's "Beyond The Valley of The Dolls" as both feature colorful and decadent adventures in Hollywood, an insane array of characters, a contested inheritance as a plot motivation, unabashed omnisexuality, transgendered players with Goddess Complexes, and a renegade take on film-making.There's a reason this movie works against all odds and its name is Raquel Welch.
After Myron Breckinridge (Rex Reed) has a sex change, he becomes Myra Breckinridge (Raquel Welch), an Ber-feminist who seeks to rid Hollywood of its manhood.
Farrah Fawcett plays Mary Ann Pringle, Myra's friend at the acting school, and Tom Selleck appears as one of Leticia's clients.One more thing: I've seen many of Raquel Welch's movies, but until watching "Myra Breckinridge", I never realized how hot she is..
She hadn't made a film in 27 years and she does her thing.To my knowledge, the old time stars NEVER had a proper chance to come back, even for five minutes, in the movies.
Despite having a cool cast and some interesting oddball antics, BRECKENRIDGE is embarrassing for the viewer, the cast, the crew, even the VCR that is playing it!Rex Reed (good-looking, but horrible) is Myron, a gay guy who gets a sex change from doctor John Carradine (terrible) and becomes Myra (Raquel Welch, who is good).
Add to this mess clips from old films to help "narrate" the action, two songs by West, ludicrous dialogue, Rex Reed masturbating, and a pretty dumb ending and MYRA BRECKENRIDGE may be worth seeing for fans of extremely horrible films.Despite my love for so-bad-it's-good films (i.e., VALLEY OF THE DOLLS), BRECKENRIDGE didn't do it for me.
Starting with the source of Gore Vidal's screamingly funny and outrageous (but with very serious underlying messages on sex, identity, and movies of the 1940's)book we have the one and only Raquel Welch cast in a role nobody but she was born to play.
Raquel Welch, with an incredible body (and she's actually not very tall) in a lead role (except for KANSAS CITY BOMBER when she was quite good) playing Rex Reed's (bad movie reviewer; not critic) alter-ego, only to be surrounded by drag queen (great chick) Mae West, horny John Huston, a young and "naive" Farrah Fawcett (pre-Lee Majors; what a shame), and other various creep-azoids to pretend to spoof WAY too may things has nothing going for it except inter-spliced old films clips (i.e. Widmark in KISS OF DEATH, Lena Horne)...JUST so they can continue to bleed the life out of everyone.A 2 out of 10.
Instead of sitttin' wondrin' why, babe, did they cast Raquel Welch, John Carradine, Farrah Fawcett, and egad, Rex Reed; enjoy the lovely cameo appearance by a young mustache-less Tom Selleck, and annoyingly under-the-top performance by 75 y.o. Mae West.
This movie also has some increadibly funny random scenes, my favorite being towards the end when you see Raquel Welch on a giant swing wearing some Victorian looking dress while she yells the line, "God bless Mickey Mouse and Donald Duck!" The only problem I have with this movie is Mae West who commanded star billing but is only on screen for about 10-15 minutes and all the while she is making horrible sexual innuendo, keep in mind that this woman was close to 80 when she spoke such nightmarish lines as "Don't forget to tell me about the policeman's balls...um, i mean the police show." That line alone should make you shudder.
Myron Breckinridge (Rex Reed!!!) gets a sex change from a doctor (John Carradine--dead drunk) and comes out as Myra (Raquel Welch).
Yes, indeed, this one is a classic.Along for the ride (no pun) with Raquel, are studly Roger Herren (her southern-tounged victim of emasculation), Mae West (and her bevy of men...among them, a young Tom Selleck), Farrah Fawcett, John Huston (as the slimy Uncle Buck), John Carradine (as the smoking surgeon), and Rex Reed (as Myra's alter-ego, Myron).
I'm amazed that screenwriter David Giler actually went on to write good films, like "The Parallax View" and "Aliens." In fact, I'm amazed that he and co-writer/director Michael Sarne - or anyone else connected with this abomination - were ever able to find work in the industry again.I never read Gore Vidal's novel, so I can't compare that story to what I saw on the screen, but I'm guessing the book was just a tad more coherent.
I think it involved a man named Myron (Rex Reed) who had a sex change operation and became Myra (Raquel Welch), who then set out to redefine the rules of gender and sexuality while taking over her uncle's acting school.
On top of that, she's forced to wear incredibly garish costumes that even Jean Paul Gauthier on LSD would never dream of designing.John Huston, as Uncle Buck Loner, the owner of a failing acting school that for no discernible reason appears to be set up on an old Western movie back lot, looks and sounds drunk throughout most of the film.
However, the movie proved to be confusing at times, and it is probably in the viewer's best interest to read the Gore Vidal novel first -- to help fully comprehend Myra's intentions and the events taking place..
Despite Rex transforming through surgery into Raquel Welch (truly an impossibility), you keep seeing BOTH incarnations of the same character (Myron and Myra) as they set on adventures designed to bring him/her hot sex as well as irritate their hated uncle (John Huston).Now had any of this been handled with any degree of finesse, it could have potentially been an interesting sex farce--certainly NOT family material, but still entertaining.
Raquel Welch travels west and says that she is Rex's widow and that through her mother as sister of old time cowboy star John Huston who runs a phony acting school.
At the beginning of the film Rex Reed (Myron) gets the snip in front of an audience and changes into Raquel Welch (Myra).
Amazingly talented director & auteur, he goes low brow & just hams it up.The entire film is a Cult film fanatics wet dream...there were plenty of cinematic car wrecks from the 60's (Candy, Bluebeard come to mind} trying to cash in on the 'hip' times with movies that pushed the envelope but Myra Breckenridge is in a class by itself.Commentary by Welch is worth the price of admission alone.
Rex Reed (who has a rather sweet dance sequence with his alter ego at the beginning of the film) actually looks as if he has a potential woman in him, while Mae West -- whose screen persona was always a thoroughly artificial creation -- appears to have changed remarkably little from her last film appearance, with the exception of an obviously very fake wig and the loss of her singing voice; she still has her old timing with an innuendo.I thought the device of interpolating archive clips to make a satirical comment or illustration of events was a surprisingly successful one -- more so than the similar 'montage' effects introduced by Soviet experimentalists into silent films -- and of course for the old film buff there is infinite fun to be had in identifying the allusions as they rush by, as in recognising the famous faces on the walls of Myra's rooms or Uncle Buck's academy.
But I wouldn't agree with the comment that the film is wholly heartless or unrelentingly vicious; it's hard not to sympathise with Myra as she goes about her self-appointed mission of exploding the myths of contemporary Hollywood, or out-foxing the smarter-than-he-acts Uncle Buck, and there is a genuine poignancy to Myron's increasing confidence and enchantment as he begins to dance opposite his ravishing alter ego, and to the ironic realisation in the end that 'she' cannot find love without being a man.Despite a two-hour-plus running time the film never committed the sin of being boring, although it was sometimes hard to watch (the opening scenes had the audience discernibly squirming in discomfort!) According to the director, it was originally intended as a comedy about the Sixties, elements of which ultimately turned sour as the decade itself soured into disillusionment; much of it is still very funny, even if the humour is often aghast.
This picture opened in theaters June 24 1970, starring John Houston as Buck Loner, Raquel Welch as Myra Breckinridge, and Rex Reed as Myron.
But it's not all that bad, thanks mostly to some really clever casting (bringing Mae West into the film was a stroke of genius) and a wonderful, bitingly funny and dead-on performance by a young Raquel Welch.The basic story is a *really* bizarre dark comedy involving a guy, Myron Breckinridge (Rex Reed), who has sex-change surgery--- or does he, really?--- to become his alter-ego Myra (Raquel Welch).
There are a few side stories along the way, involving Mae West as a sex-mad Hollywood agent, Farrah Fawcett as a sunny-smiling dumb blonde, and Roger Herron as handsome young Rusty-the-Stud, who ends up being nothing much more than a boy-toy (both in the film and in real life.
There are a few side stories along the way, involving Mae West as a sex-mad Hollywood agent, Farrah Fawcett as a sunny-smiling dumb blonde, and Roger Herron as handsome young Rusty-the-Stud, who ends up being nothing much more than a boy-toy (both in the film and in real life.
The inclusion of these off-the-wall clips give the whole movie a slightly off-center, psychedelic feel that must have felt self-knowingly hip in the late 1960s and early 1970s.Two big highlights in this movie: the performances of Raquel Welch and Mae West.
The inclusion of these off-the-wall clips give the whole movie a slightly off-center, psychedelic feel that must have felt self-knowingly hip in the late 1960s and early 1970s.Two big highlights in this movie: the performances of Raquel Welch and Mae West.
It's almost as horrific as reading about it in the book was, and you have to feel sorry for Roger Herron as Rusty, the object of Myra's ugly power fantasy.) It was awfully hard to even put a story like this on film in the first place, but Michael Sarne did try, and he succeeded more than failed.
It's almost as horrific as reading about it in the book was, and you have to feel sorry for Roger Herron as Rusty, the object of Myra's ugly power fantasy.) It was awfully hard to even put a story like this on film in the first place, but Michael Sarne did try, and he succeeded more than failed.
The film revolves around Myra (Welch-the sexiest star of the last 30 years is stunning to watch s usual), the recipient of a sex change operation who is followed by her former male alter-ego Myron (film critic Rex Reed!) in a confusing little bit of storytelling.
Farrah Fawcett and Mae West are decent, and Raquel Welch also gives a good performance despite having some of the worst lines of the film.
Myra (Welch) is originally a gay Myron (Reed) who gets a sex change and spends the movie getting back at men in her life.
Joining Welch and Reed (who appears throughout the film as Myra's inner voice) are John Huston as Buck Loner, an old western star who now runs a talent school that is only interested in retaining rather than training students, and Mae West as Leticia Van Allen, an agent who sleeps with all of the leading men she represents (one of them being a very young Tom Selleck).
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tt0178130
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Cleopatra
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Passion. Power. History.For over two-thousand years, the legend of the beautiful Queen of the Nile has stirred the imagination. Ascending to the throne at a mere seventeen years of age, Cleopatra (Leonor Varela) ruled as Egypt's last Pharaoh for twenty-two years. Easily winning the heart of Roman Emperor Julius Caesar (Timothy Dalton), they embark on a two-month voyage down the Nile and quickly become devoted to each other. She bears him a child whom they call Caesarion.Keeping a close eye on the relationship, the Roman Senators conspire to assassinate Caesar. His death devastates Cleopatra. In her grief, she turns to Marc Antony (Billy Zane), a Roman she can trust. Their alliance angers Rome even more and war is declared on Egypt. Cleopatra and Marc Antony's fate becomes sealed in each other's arms as the Roman army closes in. Beautifully directed and stunningly photographed, Cleopatra reigns as one of the greatest love stories in history.
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violence, murder
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train
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imdb
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tt1657507
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Colombiana
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Bogota, Columbia. A man, named Fabio, is speaking to Don Luis, a drug lord and his boss. Fabio tells him he is quitting and handing over all the book keeping on the cartel to another associate. Don Luis smiles and says he will miss him and they toast to Fabio's life. Fabio leaves and Don Luis motions to Marco (Jordi Molla), his right hand man. "Kill him!," Don Luis says "No one leaves Don Luis's cartel".But Fabio is not stupid. He knows his boss will retaliate at anyone wanting to leave the life of drug smuggling... including him. Fabio takes three guards loyal to him and races home, knowing they have only an hour to leave the country. Fabio gets home and tells his wife, Alicia, that "it's time". He tells his young daughter, Cataleya, to pack but she says she is already ready. Fabio tells her in case something happens, she should go the American embassy and give them a microchip. It has all the information on Don Luis's illegal activities. "It's your passport." He also gives her an address for his brother. Fabio then gives his daughter his necklace that has the Cataleya flower on it. She was named after it, because his mother always grew them. "Never forget who you are." he says.Minutes later, Marco and numerous cartel members show up and slaughter Fabio's men. Fabio and Alicia grab guns and try to hold the men off but are killed off-screen. Cataleya sits at the table in shock and listens to the gunfire. She quickly swallows the microchip. Marco and the men come up to Cataleya. Marco pretends to be friendly saying he was a friend of her father but Fabio took something from Don Luis; the microchip. Marco asks if she knows where it is and she nods. Marco asks what she wants. Cataleya leans in close... and grabs a knife placed under the tabled and stabs him in the hand. "To kill Don Luis!" screams Cataleya.Cataleya scoops through a window and onto a ledge. Apparently her parents taught her skills to survive in case something like this happened. She runs off to escape while Marco's cartel goons give chase. Despite having parkour runners, men on motorcycles and in cars, Cataleya eludes them by escaping into the sewers. She opens a manhole cover and heads to the U.S. Embassy where she is sent to an agent who asks about her father. Cataleya says he is dead. The man asks if her dad had something, and Cataleya quick forces herself to throw up and gives him the microchip. It has the records of all Don Luis's activities. The agent looks at her in shock and asks if she realizes what she had. "My passport." Cataleya says.In exchange for the chip, they get her out of the country and papers. An American CIA agent is escorting her to Miami. Cataleya asks to go to the bathroom and escapes through the window. She gets a bus ticket to Chicago, where her father told her to go. She heads for a seedy neighborhood and asks for Emilio. The man Emilio (Cliff Curtis) is Fabio's brother, and her uncle. When Emilio sees her, he is overcome and hugs her. Cataleya is finally able to let go, and cries in her uncle's arms.The next morning, she wakes up in her uncle's apartment and comes down to breakfast. Her grandmother is there who makes her breakfast. Cataleya asks about whose room she slept in. Emilio looks sad and says it was his son's room and he is dead. Emilio asks her about a drawing she did and she says she used to want to be like Xena but not any more. Emilio asks what she wants now. "To be a killer. Will you help me?" says Cataleya. Emilio replies "sure".The next day, Emilio takes her to a private prep school and bribes the principal to accept her in the middle of the school year. As they leave, Cataleya is mad because she thinks she can learn nothing at school. She needs to learn how to be an assassin. Emilio suddenly pulls out a revolver and shoots at a person driving a car, causing it to crash. He tells her that hired killers are a dime a dozen, he could teach her and she'd be dead in five years. If she wants to do this and be smart, she needs to go to school. She needs to know how people think. Cataleya listens to him.PRESENT DAYTwo cops are sitting in their car, talking about their wives when they are smashed into by a drunk driver. A woman comes out, incoherently babbling. They quickly arrest her and we can see a flower necklace on the woman. It is Cataleya (Zoe Saldana) all grown up. They take her to the police station.There, she is booked on DUI and thrown into a cell for the night. She goes to sleep.U.S. Marshals show up that night with a prisoner. They take him to his cell. Cataleya wakes up. Her whole DUI was a ruse to get into the police station. The prisoner is the target. She changes her clothes into a skin tight black suit, and picks the lock. She grabs a spoon that was in a cup of coffee at her cell. She swivels the cameras away so she is not seen, and grabs some water from the cooler and heads to the electrical room. She rigs the cup and the spoon to cause a spark out and heads into the air ducts. After a few seconds, the water from the cup leaks out enough to short out the power. Cataleya gets through a now stopped fan just before the power is reset. She drops into the men's restroom.The cop guarding the prisoner notices he has no coffee and leaves the room. He goes into the bathroom and is knocked out by Cataleya. She drags his body in front of the camera so the door will be reopened. She opens the cell and hits the prisoner awake. She tells him to undo his shirt. He asks 'why' and she shoots him several times.The Marshals hear the gunshots and run to the cell to see the waking up guard with the gun in his hand. Cataleya framed him for the killing to buy her time to escape. The Marshals still search the entire building and Cataleya goes up to the roof to elude them. When the coast is clear, she heads back through the air ducts, finds her cell, locks the door, and changes back into her clothes. By the time the marshals find her, she is laying back down pretending to sleep again. The marshals have no clue what happened.Cataleya is released the next day after being fingerprinted. She leaves the jail and pulls at her hand. She was wearing fake latex skin that replicated another person's prints.Cataleya goes home and dances to some music. She gets a shower and washes herself for a long time.Cataleya heads to the apartment of Danny (Michael Vartan), a painter and her quasi boyfriend. Danny knows little about her, and only knows her as "Jennifer." Danny and Cataleya have sex and she leaves the next morning without saying goodbye. It is clear she is afraid to show who she really is to him.FBI Special Agent Ross (Lennie James) comes to the jail and realizes the victim is the latest of a string of murders they have been tracking for the past four years, 22 in all. They call the perp "The Tag Killer" due to the markings the killer leaves on the chest. We see it is the Cataleya flower.CIA Agent Richard (Callum Blue) travels to New Orleans to a heavily guarded villa. It is the home of Don Luis, who was not persecuted for his crimes. Richard shows him the hit from the jail cells, but Luis denies he had anything to do with it. Richard tells him that the CIA was very nice with him; he got Witness protection and got to continue to run his cocaine smuggling business in exchange for information. But Richard tells him he knows that something is up and Luis knows what it is. After Richard leaves, Luis tells Marco to handle the situation. Luis strongly suspects that Cataleya is behind the killings. As he didn't kill Cataleya the first time, now he must finish it.Ross holds a meeting about the Tag Killer and their numerous victims. He concludes that one of the people in the jail killed the target and they need to find out who. Ross also says they need to release the information about the case.Meanwhile, Cataleya goes to see Emilio. He shows her the paper with her calling card. He is livid, calling the action stupid. Emilio says he promised his brother to protect her. He never wanted her to go down this road. He is always funneling jobs away in order to protect her. Cataleya, defiant, says she CHOSE this path herself and she will not stop until Luis is dead. Emilio sighs and hands her the next job. A hedge manager created a ponzi scheme and stole billions and fled the country. People want him dead.Ross is at the FBI office going over security footage. Some of his agents think the killer is Cataleya seen on the tape but he cannot believe a woman would be this type of killer.Cataleya goes to her work office where there are two large dogs who happen to listen to her. She feeds them steaks. Inside, Pepe, a friend of Emilio is there. He handles her weapons and cars. Cataleya goes into a safe and pulls out her fake passports and finds one for Mexico.Mexico. We find ourselves in the mansion of the hedge manager who lives in opulence surrounded by stunning women he wouldn't have a chance in hell with if he didn't have billions. One woman mentions the sharks in the aquarium pool are ignoring her, but the man tells her one drop of blood and they would become her best friend as they ate her. The hedge fund manager tells his security he wants extra men tonight.Cataleya swims through the aquarium, the sharks ignoring her and pushes up a glass cover to enter the mansion. She pulls out a pistol and silencer.The hedge fund manager gets up and notices Cataleya wrote on him "Thief" and the flower design. He walks around his mansion and notices all his guards are dead. He picks up two guns and heads into the pool area seeing a flower. Cataleya is sitting in a chair and makes her presence known. He tries to shoot her but his guns are empty. Cataleya shoots him in the legs. The man pleads with her to not kill him, he will pay double what she was paid. "I'm not going to kill you." Cataleya says. The man realizes he is underneath the sharks and understands what she meant. He pleads not to let him die, but Cataleya shoots him in the chest and he falls into the opened pool. The blood flows and his sharks eat him alive in seconds.Back in the USA, Cataleya goes to Danny's apartment but he left to see about some galleries. She sleeps on his bed and holds his shirt close. It is clear she cares about him, but she is afraid to show it.Meanwhile, Ross is looking at the Tag Killer calling card when the mailman gives him a vital clue; it is the Cataleya flower that only grows in Colombia. Ross tries to tie it to open cases in Colombia but is denied access due to it falling under CIA jurisdiction.Ross calls Richard and asks for clearance but Richard dodges the issue. He calls Luis and tells him to handle the problem before Agent Ross starts to connect the dots. Luis sends Marco to track Cataleya down and interrogate every Colombian until it leads to her family.Danny comes home and Cataleya bought dinner. He is happy and Cataleya kisses him. Danny stops her and asks to sit, eat dinner, and talk some. She asks about his trip and he tells her they want to do a gallery of his work. Danny asks about her trip and she said it was hot and she swimmed some. Danny presses for more but she is reluctant. Danny tells her he just wants to know who she is. Danny asks what she likes for breakfast. "I don't eat breakfast." Cataleya says. Danny and Cataleya sleep together again.
It is now mid day. Danny takes a quick photo of Cataleya sleeping. He wakes her up with breakfast food and tells her they can eat it for lunch. Cataleya freaks out and says she did too much and she has to leave. Danny is flustered, wondering what the hell he did wrong.Cataleya meets with Emilio. He is livid, having seen the paper. Cataleya has not stopped with her calling card. People are looking for them, showing that eight people were gunned down in a bar, one being a friend of Emilio. "You're retired." Emilio tells her. Cataleya refuses to quit but Emilio says it is not just about her, it is about the family she has left, she is putting them in danger. When his son died, he killed many people, but it changed nothing and he put his family at risk. Emilio leaves her with a picture of her parents, a reminder of what can be lost. Cataleya sits and cries.Cataleya goes to church with Emilio and her grandmother. She seems to be ready to give up her quest for revenge.Danny is at a coffee shop talking about his girlfriend "Jennifer" to a buddy saying he is falling for her but he knows nothing about her. The buddy sees the photo and is shocked on how hot she is. Danny is distracted with his car being ticketed so his friend takes the phone with the photo and calls his sister in law who works at a police station. He asks her to check on "Jennifer" to make sure she is legit so Danny won't be hurt. The man has no clue what he has done.Ross is at his computer when it is pinged with Cataleya's photo. He traces the signal to the other police station, and has the technician arrested as they track the signal further. Ross compares the photo to the security footage at the jail and its a match. Cataleya is the woman who he is looking for.Cataleya goes home and calls Danny, trying to articulate how she feels about him. Danny mentions the photo and she freaks, asking who else saw it. He mentions his friend as Cataleya checks the perimeter of her apartment. SWAT is there to arrest her. She turns on the shower and climbs into a duct to escape out of her apartment.She runs through several apartments, and enters one. The tenant tries to make a fuss so she knocks him out. She recovers a harness and a sniper rifle in the man's bathroom, she previously planted it there. She plants explosives on the wall as Ross and his agents blow the door to her apartment. She uses the harness to slide down the pipes down to the garage. She shoots out the cameras and is able to slide into another air duct before SWAT finds her. She ends up in the subway and she sneaks away.Cataleya heads to Emilio's but finds the place ransacked. Pepe is on the floor dead. She finds her grandmother dead in the kitchen, making her break down. She looks for Emilio and finds him tied a chair dead. It was clear he was tortured. Cataleya tells him she's sorry and screams in a combination of sadness and anger.Ross comes home and Cataleya is there waiting with a gun. She motions for him to sit. She reveals that she has rigged his chair with a pressure senstive explosive so he shouldn't try anything funny. Cataleya tells him she's who he has been looking for. The Cataleya flower tag was a sign to call out Don Luis but it took till now to get his attention. Now he took the last part of her. Cataleya tells Ross he better get the information about Don Luis from the CIA or she will kill a family member once a week until he is as hollow as she felt all those years ago. She promises his bomb will be deactivated as soon as she is as gone which it is.
Ross goes to Richard and tells him the situation. Richard will not give up the info. Ross gets a call. It's Cataleya who tells him either Richard gives her the address or he will die. Richard scoffs since his windows are reinforced glass. Cataleya shoots off a round with her sniper rifle, breaking through the glass. Richard gives him the address. Ross asks about his family but Cataleya hangs up (but she had no intention of harming them anyway).Cataleya goes to Pepe's garage. She grabs some guns. She sees the two dogs and looks at them. She grabs the armor truck and drives off to Don Luis's location.At Don Luis's mansion, Marco is directing the men what they face with Cataleya. She is not to be taken lightly. Luis hears something. It is a rocket that is coming their way. Luis barely gets out of the way as it blows up the room. Marco pulls him up and they try to get him out of there.Four of the men get into a car in order to start a convoy. Cataleya busts through with her truck, crushing the car. She gets out and peppers the car with bullets, killing the men.In the climatic shootout, bit by bit, she kills off Luis and Marco's men. Marco place Luis in a safe room while he tries to kill Cataleya. After a few brief shootouts it is just Marco with one other man. Cataleya kills the man then faces Marco with her gun. They begin to fight hand to hand, alternately disarming each other with Cataleya's handgun. Cataleya turns to using a towel to try and choke him. After awhile, Marco grabs the gun and goes to fire, but Cataleya ejects the clip and rips the slide off the gun and stabs him the neck, killing him.Luis, realizing all his men are dead, but Cataleya doesn't know where he is, leaves the panic room and takes one of his vans. He runs into a dead end due to a garbage truck. He receives a call from Marco's cell. It is Cataleya. Luis tells her that she will never kill him, she never had him. "Actually, I have you EXACTLY where I want you." Cataleya says. Luis looks back and sees Cataleya two dogs. "Eat!" Cataleya tells the dogs. They tear Don Luis apart, making her revenge complete.Danny was taken into custody by Ross and the FBI. Danny knows little and tells them so. Ross says while he is not under arrest he still has questions to answer. Danny asks for coffee and Ross goes to get it. Danny gets a call from Cataleya. She tells him she's OK and they have 40 seconds before they trace the call, so that's enough time to ask three questions. He asks for her real name and she tells him it's Cataleya. Danny asks if his little bird will return one day (meaning her). Cataleya tells him that maybe one day she can.An agent tells Ross that Danny is getting a call from Cataleya, and they rush back in.Danny has only seconds now. "I love you." Danny says which makes Cataleya tear up. Ross orders him to give over the phone but Cataleya hangs up before he can get anything from her. Ross stares at the phone and tells Danny he's free to go.Cataleya puts her sunglasses on and gets on a bus for a destination unknown.
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murder, violence, revenge, action, comic, romantic
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train
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imdb
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A lot of action left to be seen and overall it's a good intro to the movie.2 - Cast & Characters: Ahhh Zoe Zoe!
Among his most famous films are Léon: The Professional (which introduced American audiences to Jean Reno and Natalie Portman), Nikita (which has been remade into an American film and two American TV shows so far) and The Fifth Element (which nearly 15 years later remains one of the most famous science-fiction films as well as one of the 10 most expensive French films).At the dawn of the new millennium, Besson started his own production company, EuropaCorp, which in the last ten years or so has funded its fair share of diverse movies, both in the French and English language.
When the FBI decides to divulge her "serial killer" status, Don Luis and his men know what's up, and all hell breaks loose.Much has been said of the film's similarity with Besson's Léon and Nikita, with many people musing that the film could just have well have been a sequel to Léon with Natalie Portman's character all grown-up and kicking butt (something fans have been dreaming about for years).
More depth would have certainly made it a better film, but Colombiana is still entertaining as a simple, straightforward, "dumb" B action flick.
Zoe Saldana gives a great physical performance and spends a great deal of time flitting in and out of vents and the various hits shown in the film are all quite cool.
Also this might be the only movie you'll ever see in which toothbrushes are used as weapons.In short, know what to expect from Colombiana (which literally means Colombian woman by the way), and you'll enjoy it fine.
In comparison to the other hit-man movies of the year, it's superior to The Mechanic, but way inferior to Hanna (though it contains a lot more action than Hanna, which shouldn't be seen as an action film).
If you watch Movies like this you want a lot of Cool Action, stylish presentation, and an energy driven scenario that is a Comic Book like other place.
Didn't exactly end up that way.With some of the names behind this film, I was surprised at the abundance of cheesy bad guys, predictable scenes, and flat supporting characters.
She's very believable as a stone-cold assassin, especially the way she sneaks and crawls around with ninja like precision.It's too bad they couldn't place Zoe and her character into a better storyline and provide her with stronger support.
The movie is somewhat groundbreaking only for the fact we have a Latina female as the lead role in an action film, hopefully this finally opens to the door for other darker skinned actresses in similar roles, which has been long overdue..
Saldana will probably come a long way after this in terms of action roles and it's nice to see an actress who can act as well as kick ass.
Yes you have to suspend disbelief a little bit to believe a gal who can't weigh over 95 pounds soaking wet can fight big strong guys, but good movies make you suspend disbelief, and this is a good movie.Why is it good, because, unlike many action movies these days, they do take a few minutes to establish the main character as a person, so you care what happens to her, and also care if she achieves her goals.I just watched it again on regular TV after renting it shortly after it came out, still and enjoyable flick, you have to like action/revenge flicks, but if you do this one fits the bill nicely..
Its rhythm is all over the place, sometimes it's beautiful, sometimes it's broody, but most of the time it's just kinda boring.I really like Zoe Saldana, even though her body is a better actress than she is.
This is just my opinion.Europacorp is a very interesting production society because it associates Hollywood to French cinema, we can have a French director who directs Hollywood stars like Olivier Megaton did for Colombiana with Zoe Saldana or for Taken 2 with Liam Neeson.
In fact they often product the same kind of films : simple action movies.So what about Colombiana?This is so cool !
The movie is well directed, except for one fight where the plans are linked too fast and we cannot really see what is happening.Colombiana is a really dynamic film, the actions sequences are not boring (yes, it is paradoxical but it happens sometimes, I love you but I am thinking about you Michael Bay).If you want to enjoy a good action movie, you can watch without doubt this one !.
Zoe Saldana carries the movie with ease and adds a lot to a script with average character development and plot.
Colombiana is a good action flick with a great leading actress and decent supporting characters.
It's not something I would have on my top 10 list at the end of the year but think about it, I took 6-7 minutes to do a review on it which I only do if the movie was memorable and it was.Colombiana: acting:B, plot:B-, dialogue:C+.
She works for her uncle as a hit-man by day, but her personal time is spent engaging in vigilante murders that she hopes will lead her to her ultimate target - the mobster responsible for her parents' death.Forget about the negs -- those naysayers who didn't like this film.
This film has similarities to Domino, so if you enjoyed that one I would recommend.Acting/Casting: 6* - Zoe Saldana does a real nice job in the lead role and the supporting cast is very good.
With the help of her uncle, Zoe Saldana seeks revenge against those her killed her parents as a child and she won't stop until they are all dead.Entertainment Value: 6.5* - As mentioned, it pulls you in and keeps you entertained throughout.
Michael vartan also played his part very well too and this was the first time I've saw him so I'll definitely keep on the look out for his other work too!The movie was made in 2011 so it's quite a new movie, I think anyone who likes action, murder.
An action movie staring a female is rare, only Zoe, Angelina Joey and Halle Berry could carry it off, but in this film I cannot imagine any other actress doing it better.
Of Angelina Jolie was in the title role Columbiana would get a 9 rating.A 'Strong Woman' - action - crime - drug cartel - bad cop CIA - good cop FBI, film in which the men play bit-parts.
COLOMBIANA, while a highly entertaining revenge film with a strong female lead, is let down by clichéd storytelling and lack of character development.
I have to say that Luc Besson is one of my (few) favorite French writers/producers/directors.As you can deduce from the movie blurb above Zoe Zaldana plays a young girl, Cataleya, witnessing her parents being murdered by some mobsters.
During the day she works for her uncle, performing the missions that he gives and in the rest of her time she meets with her boyfriend witch she kept secret her daily routine and look for the guy who order the killing of her parents.A good action movie and has some good scenes the one from the jail being along them.
Even though I think its men that hate women in action movies, cuz there are a lot of them I know that would only watch it so they can diss it..
Nor it's because of the cast - most of em did an good job.The thing I do not enjoyed is, that the director tried to combine 2 types of movies - but he missed his goal to 99 %.The problem @ Columbiana is, it wants to be a bit less realistic, but that for more cool - Yeah, some scenes are!
an action based film without any funny scene is really really bad.whatever, if you shut down you brain completely and like hot girls, then you might like it.If you expect an good action movie with some story, you will be disappointed :(.
However bad movie fans might find this enjoyable.Main character is meant to be ultimate assassin but she makes so much stupid things that it is hard to believe.
In real life these guys would have been in jail for long time or can only dream of chasing criminals.When you add few too convenient things that move story ahead you know what is wrong in this movie.Movie have few good action scenes but that won't help..
The fight scene at the end - sure I'll give you that - was nothing you've never seen before, but that doesn't mean it wasn't fun to watch or entertaining.The action, explosions, guns.
Cataleya Restrepo (Zoe Saldana) as we learn from the trailer is determined to avenge the deaths of her parents which she witnessed as a nine year old living in Colombia.
Revenge is a tricky story to tell, but Colombiana took a page from the Kill Bill play book by making sure that we knew exactly how wronged the avenging character had been, so it makes pulling for her success not so guilt ridden, after all the body count got pretty high.
There were a number of things that happen in this film that I considered to be a bit much, like how Cataleya makes her way from Colombia to Chicago, how Cataleya could navigate in and out of situations with the stealth of a cloaking device, how the FBI investigation was built on a culmination of coincidences and how the viewing audience was supposed to believe that just about anyone is familiar with the Cataleya orchid.
Aside from the 'seriously?' moments this was a solid action adventure, the pace and the story and the fact that Ms. Saldana was very credible in this role made for an enjoyable film.
In her newest film, Colombiana, the New Jersey native must carry the film without a marquee costar or abundant green screen work.In the film Saldana plays Cataleya Restrepo, a Columbian girl who witnesses her parents' murder at the hands of a cartel leader's thugs.
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning As a young girl, Cateleya (Zoe Saldana) witnessed her parent's murder at the hands of drug cartels in her native Columbia, and was taken in by her uncle Cliff (Emilio Restrepo) to whom she confesses her desire to be a killer.
The trouble with Colombiana is, this morally chaotic, vacuum of a world is absorbed seemingly into the story, which lacks any sort of humanly decent centre, with a young girl aided and abetted into a world of killing for money by adults who should know better and who grows up to be a 'heroine' who threatens the lives of the children of law enforcement agents and fails to get any sort of comeuppance.The action sequences are decently done and entertaining enough, but they are so ridiculous and unbelievable that they infuriate rather than entertain.
It felt like a throwback to 80s action B-movies in a bad way.
A cheesy action movie.Don't expect any Oscar worthy performances, character development, amazing storyline or VFX.I went to watch this after a hard week at work, and I'm glad I did..I didn't have to think to much or try to take it in.Go watch this with a group of friends and enjoy some cheesy fun!.
I wasn't expecting much from this having read the reviews on IMDb but I had a couple of hours to pass, a glass (or three) of red and the dog was looking like he could do with an action flick, so on it went...90 minutes later I was wanting more...This is a graceful film that borrows a storyline from so many others (Nikita et al) but the South American link really does throw it around in a completely refreshing and exciting manner.Grace with a bit of grit, beauty with plenty of raw, unpretentious adrenaline.It's a man-flick that's owned by the skinniest chick on the planet.Watch it...
Colombiana: Saldana's performance as the driven and proficient killer Cataleya is so powerful and so convincing that it takes what was destined to be just another action B movie in the vein of 'Fast and Furious' and turns it into something slightly more memorable and unique.
In the movie Columbiana (2011, directed by Oliver Megaton), a young girl named Cataleya (played by Zoe Saldana) is moved to the United States by government protection after witnessing the murder of her parents in Bogota, Columbia.
A young girl is orphaned and spends the next 15 years in preparation to to exact her revenge.With elements of what you'd expect of a Leon (1994) sequel or a linear remake director Olivier Megaton delivers a solid piece of entertainment with a gritty realistic on location like setting and slick actions scenes.While it's a entertaining revenge action/thriller, and Zoe Saldana's portrayal of the detached protagonist Cataleya is good, due to the underdevelopment it detaches the viewer slightly as even with her loss it's difficult to connect with her.That said, Colombiana is no way a bad film, it's just that it suffers from the usual associated clichés and it doesn't refine or elevate the genre as say Luc Besson's other writing/producing outings for example Lock Out(2012) From Paris with Love (2010) and Taken (2008).On the pulse side Colombiana is very much a Zoe Saldana vehicle and rightly so as she is superb as the lead, her look, acting and physicality are worth seeing alone as she gracefully sweats, outsmarts, shoots, punches and kicks her way through the antagonists.
The other actors worth mentioning are Cliff Curtis as Cataleya's criminal uncle Emilo and Lennie James as Special Agent James Ross, the others have too brief and/or trivial roles.If you like wild action complemented with cat-and-mouse play and secret solo tasks, then Colombiana is definitely for you and the 1 hour 40 minutes pass fast..
Main thing that is different here, the child is a girl.The first major action sequence in this movie is an exciting chase through Colombian streets, markets and apartments featuring a young child Cataleya Restrepo and the heavily-armed killers of her parents.
The three centerpiece murder scenes where Cataleya executes her parents' killers one by one were quite well-staged, and bad-ass Zoe looks like she could really do them all in..
At least with movies like La Femme Nikita, we see that the life lived by the young assassin turns out to be, in the end, not as much glamorous as it is cold, cruel, vicious, and unforgiving.With this piece of schlock, we just have a pretty, deceitful piece of gore porn that will be simply enjoyed without thought by most, but will also be viewed with awe by some semi-retarded angsty adolescent girls who will buy-in a little bit more to the myth of GRRRL POWER that is actually keeping them repressed and separated from any real understanding of responsibility and influence in life..
If u don't want to think, see one of the hottest girls in Hollywood right now with a gun in tight outfit, or just see action-packed vengeance story its definitely film for you.
(35%) Luc Besson really needs to call time on movies about a cool headed trained killers, as the concept is well and truly looking old.
Jump 15 years and Cataleya (Zoe Saldana) is a full blown assassin, working as a hitwoman as a day job and seeking out her parents killers by night.
All these characters end up eating screen time without adding much to the story.But Colombiana's cardinal sin may be the way it handles action scenes.
Comparatively, Megaton's debut, La Sirene Rouge, had much less action scenes but those few were handled much better.Colombiana is a good way to kill time for fans of action movies but offers little to anyone else..
I remember when I first heard about "Colombiana", I was like, "Zoe Saldana kicking ass in a movie written and produced by Luc Besson?
And this is a film I'm going to add to his list of awesomeness So "Colombiana" is the story of Catelaya, a girl whose parents were murdered in front of her when she was nine years old.
It's a good action film, and anyone who liked "Taken" should enjoy this.
Just not the way you'd thought you would feel after seeing the trailer.I wouldn't recommend this film to anybody looking for a serious action thriller, or a story of true hard-felt revenge.
The body of Zoe Saldana alone is enough reason for watching it, seriously though, she does a great job especially with the action scenes moving like an oiled bolt of lightning.
Zoe Saldana plays a hot, but very skinny female named Cataleya who witnessed the killing of her parents when she was young.
COLUMBIANA by Director Oliver Megaton (Transporter 3) tells the story of a young girl, who after witnessing the cold-blooded murder of her parents by a rival drug cartel boss vows to reap revenge on their killers.In a brisk, but action-packed opening to the film, 9 year old Cataleya escapes the fatal mob hit on her family – and takes refuge with her uncle in California.
It is very predictable, we've seen the action scenes before hundreds of times, but Saldana makes the movie worth watching.
His movies are simplistic action centered films with little character development and several plot holes.
This is probably not one of his best efforts, but I still had a good time in the theater nonetheless thanks in most part to Zoe Saldana who was very entertaining in her Nikita-like role.
The film then jumps to the present where we see an all grown up Cataleya (Zoe Saldana) doing what she does best: killing.
Yes the movie has a good premise and a revenge story going for it, but then it has loads of other dumb parts which really bring the film down.
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tt0094898
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Coming to America
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Akeem Joffer, the heir to the throne of Zamunda (a fictional African kingdom), lives a pampered lifestyle with every daily task performed by servants. Akeem has become fed up with this and wishes to do more for himself. The final straw comes when his parents, King Jaffe and Queen Aeoleon, present him with an arranged bride-to-be named Imani Izzi, whom he has never met and who has been trained to obey Akeem's every command. Akeem concocts a plan to travel to the United States to find an intelligent, independent-minded woman he can both love and respect, and who will love Akeem for who he is and not for his wealth and social status as a prince. Akeem and his best friend/personal aide, Semmi, flip a coin to decide between going to either Los Angeles or New York City, and end up going to New York City. They end up in the borough of Queens and rent a run-down apartment in the neighborhood of Long Island City, passing themselves off as poor foreign students. They begin working at a local fast food restaurant called McDowell's—an obvious ripoff of McDonald's—owned by widower Cleo McDowell and his two daughters, Lisa and Patrice.
Akeem soon falls in love with Lisa, who possesses all the qualities that the prince is looking for in a woman, as first seen by Akeem at a rally where she makes a strong plea to renovate a playground. The rest of the film centers on Akeem's attempts to win Lisa's hand in marriage, which is complicated by Lisa's lazy and obnoxious boyfriend, Darryl Jenks (Eriq La Salle), whose father owns "Soul Glo" (a Jheri curl–like hairstyling aid). Lisa eventually breaks up with Darryl after he announces their engagement (without Lisa having given her consent) to their families, and starts dating Akeem. Although Akeem thrives on hard work and learning how commoners live, Semmi is not comfortable with living the life of a poor man. When Akeem randomly donates their travel money to the homeless Randolph and Mortimer Duke (characters in the previous Eddie Murphy film Trading Places), Semmi transmits a plea to the King of Zamunda for financial help. This causes Akeem's parents to travel to Queens and expose Akeem's identity as a prince to the McDowells.
Mr. McDowell, initially disapproving of the match as he did not want to see his daughter with a man of poor means, is ecstatic that she has in fact attracted the interest of an extremely wealthy prince, but Lisa becomes angry and confused as to why Akeem lied to her about his identity, as he had told her before that he was actually a Zamundan goat herder. Still hurt and angry that Akeem lied to her, she refuses to marry him, even after he offers to renounce his throne, and he returns home with a broken heart, resigned to marry the woman chosen for him by his parents. On the way to the airport, King Jaffe remarks that Akeem can't marry Lisa anyway because of "tradition," and tries defending himself by saying "Who am I to change it?", with Queen Aeoleon curtly responding, "I thought you were the King".
At the final scene's wedding procession, Akeem, still heartbroken, waits dejectedly at the altar as his soon-to-be consort makes her way down the aisle. However, when Akeem lifts the veil to kiss her, he finds Lisa instead of Imani. Akeem and Lisa are married, and they ride happily in a carriage after the ceremony to the cheers of Zamundans. Witnessing such splendor, Lisa is both surprised and touched by the fact that Akeem would have given it up just for her. Akeem offers to formally abdicate if she doesn't want a life like this, but Lisa playfully declines and decides to become royalty instead.
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cult, fantasy, satire, comedy
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train
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wikipedia
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The first part of this movie, showing Eddie Murphy's life as an African prince, is one of the funniest things I have ever seen.
After several years of starring in rowdy action comedies and con man capers, Eddie Murphy gets a chance to deliver a more restrained performance with this film and he manages to do so very well.
COMING TO AMERICA (1988) *** Eddie Murphy, Arsenio Hall, James Earl Jones, Madge Sinclair, Shari Headley, John Amos, Eriq La Salle, Louie Anderson.
Murphy does a fine job as an African prince unhappy about his upcoming nuptials to a woman he has never met so he sets off to New York to find his true love (and queen) with some sweet moments as well as comic (thanks largely to his and Hall's neat hat trick of playing several different characters thanks to the miracle of Rick Baker's make up).
Look sharply for Vondie Curtis Hall (of tv's "Chicago Hope") as an overly welcoming fellow native stateside; Cuba Gooding Jr. in a blink-and-you'll miss cameo (getting a haircut) and the clever inserting of Don Ameche and Ralph Bellamy as the Randolph Brothers from Murphy's and director John Landis' previous joint effort "Trading Places".
It's a good thing that from time to time you can still see one of his older ones on the television, so you won't forget that the man really has some talent.In this movie Eddie Murphy plays, most of the time, the role of Prince Akeem of Zamunda.
This movie is proof that when given the chance, a comic actor like Eddie Murphy is capable of playing a complex character that is central to a story.
The film works because actors selected have great timing.Eddie Murphy (Akeem, et al) is quite versatile as the lead.
He's in his very best form, earnest when he needs to in this feel-good comedy, with on-point comic timing.Shari Headley (Lisa McDowell), she's level headed, perfect in delivering outrage and frustration as well as contentment and laughter.Allison Dean (Princess in "Cool as Ice") as Patricia is not only hot, I love her nappturality hair styles.
It must take a lot of hard work to play multi characters film,and the hard work of Eddie Murphy and Arsenio Hall really pay off.They take a very unique idea for a film,play most of the characters in it,and the results are nothing short of hilarious.Murphy plays (among others), Prince Akeem of Zumunda.Akeem,discouraged with the arranged marriage tradition of his beloved country,seeks to find the true meaning of love in America.The typical fish out of water style here is worked to perfection by Murphy,as well as Hall.Also excellent are James Earl Jones(as always),and Madge Sinclair as King Jaffe and Queen Aoleon, Akeem's parents.Jones and Sinclair would later portray husband and wife again 6 years later,as the parents of Simba in The Lion King,a little trivia for those of you who may not have known.There is a clever tie-in involving Don Ameche and Ralph Bellamy,portraying their characters from another Murphy film,Trading Places.A unique story,great character acting and a great supporting cast make Coming to America great fun to watch..
It doesn't avoid some clichés like the passing of zebras and elephants to show that the film is set in the African continent, yet it's one of these moments we remember the most from the film just before, as the trailer says, the fairy tale stops as soon as the first shot of New York City appears."Coming to America", directed by John Landis and starring Eddie Murphy, is in the same vein than their previous work in "Trading Places", a movie that I compared to Frank Capra's classics.
Only this time, it's not a wags to riches story but quite the opposite, it's a Cinderella story told in reverse since it's the Prince Akeem who comes to America to marry a woman, and as he explains to his friend Semmi (Aresnio Hall) : "I want a woman who will arouse my intellect as well as my loins".
This premise leads to a succession of situations so funny that you almost forget about the romantic purpose of Prince Akeem's trip and the presence of Arsenio Hall as the second lead of the film is responsible of that as he literally outshines all the other cast members and creates the perfect comic-straight man duo that this kind of stories need.
A thing that we have been denied for far too long!" is the perfect counterpart to Akeem's naive enthusiasm as he joyfully gives the F-word back to an angry neighbor.After they find a place to live and a job, the whole New York's discovery part is a tribute to the actors' extraordinary talent to portray different characters from chatting barbers to drags, from singers to pervert reverends, they both nail their roles and we, as viewers, are invited to spot them every once in a while.
In a way, "Coming to America" prefigures the appeal of Eddie Murphy's "Nutty Professor" and his wonderful talent as a comedian when given a good role, and Prince Akeem is one of his best.
But to attribute the success of the film only on Eddie Murphy's talent would be untrue, and even more unfair.Another force of the film relies on the whole casting, starting with the perfect couple that could have ever played Akeem's parents: James Earl Jones as the authoritarian King Jaffe Joffe and Madge Sinclair as the most comprehensive mother but no less Queen Aoloan, both who'd team up later to play much ore memorable royal couple in a certain Disney film set in Africa.
Jackson in his typical scene-stealing 80's supporting roles and it also features briefs but heart-warming cameos of Don Ameche and Ralph Bellamy as
you know, and if you don't, well, make a guess.As a comedy and romance (not a romantic comedy, mind you) the film is not without some predictable situations, but it delivers what is expected, it's funny, it has a happy ending, and most of hits scenes can be watched regardless of their context.
Eddie Murphy stars as Prince Hakeem, who comes to America with his servant (Arsenio Hall) in search of a future wife who can respect him for his intelligence, not his money.
Although it never becomes "great" and is quite uneven at times, entering its rough spots where the jokes seem to slow down and become not quite as funny, the movie is always entertaining and Murphy's charismatic lead performance displays his skills as a comedian -- unfortunately Hall is not as fortunate.
Jackson popping up in various scenes.The movie works as a sort of sequel to TRADING PLACES (1983) -- both star Eddie Murphy, both were directed by John Landis, both deal with the prospect of "trading places" (or countries, in this situation), etc.Also, it features a great self-referential moment (linked to Trading Places) when Murphy gives a couple of bums a wad of money.
Second, while it's obvious that he and his buddy Arsenio had a great time making this film, I felt like I was watching an inside joke and just didn't see what all the hubbub was about, as the movie made huge bucks at the box office.
Eddie Murphy had one of his biggest hits with COMING TO America, an expensive and somewhat entertaining comedy which found Eddie playing the crown prince of a fictional African country who travels to Queens, New York to find himself a wife after deciding that he's tired of being waited on hand and foot and not thrilled about having no say in the wife that has been selected for him.
Murphy is charming as Prince Akeem and he also gets to shine in one fabulous scene in a barbershop where he and Hall play everyone in the scene, but the film does not sustain interest until the end.
That is not at all the case, however, with "Coming To America," which - in my view - must surely rank as one of his best efforts.In this movie, Murphy adopts a deliberately low-key and somewhat innocent style of comedy as Prince Akeem of "Zamunda," which serves to make him all the funnier.
In addition to Murphy, Jones and Sinclair, we see established actors such as John Amos (in a very funny role as the father of Akeem's love interest) and Arsenio Hall as Akeem's servant.
It stars Eddie Murphy, Arsenio Hall, James Earl Jones, Shari Headley and John Amos.
Plot finds Murphy as Akeem Joffer, an African prince who comes to the United States in the hope of finding a good woman he can marry.Released at a time when Eddie Murphy was ruling the 80s, Coming to America proves to be viable material for Murphy's talents.
You do feel that with director Landis stating that Murphy was a pain on set-that Eddie had lost the zest and the willingness to learn that he had on Trading Places five years earlier, that Murphy didn't let Landis produce the picture the director originally envisaged.No doubt about it, I liked the film much better back in the day, back then the fish out of water comedy hadn't been done to death, and of course Murphy was still coasting in on the wave of charismatic success, which to myself and many others was enough to warrant being in his company.
****Starring: Eddie Murphy, Arsenio Hall, Shari Headly, and James Earl Jones.Eddie murphy has made many great movies, like the Beverly Hills Cops series and the Nutty Professor duo.
Best moments: the "cameos" of Eddie Murphy and Arsenio Hall anywhere in the movie.
There are others in the supporting cast that were fine and were fun to watch like James Earl Jones, Shari Headley and Allison Dean.The film is a little bit sloppy in it's comedy and story but it picks up in the latter half, though predictable.
Because he's black and he's got a funny voice?" The fictional African country as well was almost uncomfortable to watch to think that Eddie Murphy actually thought that his portrayal could reflect any real culture.I will give the movie this: it has heart.
Same goes for a simple , but incredibly effective duo of Prince Akeem (Eddie Murphy) and Semmi (Arsenio Hall) .
Murphy also makes Prince Akeem a true human character – when the movie needs it you can see an intelligent , humble , sensitive human underneath all that joyful attitude.Arsenio Hall also likes to dress up ( he's hilarious as the woman in the bar) and gives a great supporting performance as Murphy's sidekick .
In fact the funniest Murphy moments in the film come from some of the other characters he plays rather than from Akeem.
Coming To America is a brilliant,hilarious movie with a great story,characters and cast.Eddie Murphy did a fantastic job as Prince Akeem,Clarence the hairdresser and the Sexy Chocolate guy,who where all very funny.I also thought Arsenio Hall and James Earl Jones did a fantastic job,and altogether makes for a great movie with a great cast.Definitely some of Eddie Murphys better work.Prince Akeem (Eddie Murphy) is tired of always being pampered.When he turns 21,he decides to head to New York to find his own princess instead of getting his father King Jaffe Joffer (Jammes Earl Jones) to find one suited for him..
MPAA:Rated R for Language Quebec Rating:13+ Canadian Home Video Rating:14AI haven't seen this film in a long time so I don't remember much of it.It stars Eddie Murphy,Arsenio Hall and James Earl Jones.I remember it being very funny and entertaining.Fans of Eddie Murphy should watch this film.The film is basically about an African prince who with his friend, come to America(Queens, New York to be exact) and pretend to be poor so the prince can find a girl who will like him for his personality and not for the fact that he is a prince.Coming To America is a very funny and entertaining Eddie Murphy film and its one of his best..
And when viewed in that vein, this is a charming, traditional, popcorn love story, with the mainstream laughs you would expect from a 1980s Eddie Murphy film.It's the old tale of the prince in an arranged marriage who wishes to seek, instead, an independently minded woman.
The courtship is fairly speedy as the movie has to finish within two hours; though I'll hold back on whether Prince Akeem gets the girl or not due to IMDb rules.However, this was produced by Eddie Murphy and he came up with the original story, so there are suitably naughty bitsin the day when Murph wasn't a Dad and wasn't making kid-friendly fare.
Prince Akeem's (Murphy) biggest worry in a standard day is not where the next meal or a clean drink of water is going to come from but the annoying flower petals that constantly get dropped at his feet throughout the day but he is also frustrated with his inability to live his own life.But Landis isn't stupid and uses the setting of Africa as a utopia full of beautiful female servants, waiters waiting on you every need and a palace complete with acres and acres of giraffe and elephant roaming garden only to compare in a drastic manner the situation America (New York's 'Queens' in particular) finds itself in; it is a brutal and quite powerful comparison between America as Americans know it, yet perhaps refuse to accept and a far off continent know as Africa.
Coming To America 1988 Starring Eddie Murphy Arsenio Hall, James Earl Jones, John Amos, and Eric La Salle.
In this 80's comedy classic Prince Akeem (Eddie Murphy) isn't ready to marry yet for the thrown of his country, Zamunda.Akeem and his servant Semmi (Arsenio Hall) decide to go to Queens, New York to find his own bride.
Starring: Eddie Murphy, Arsenio Hall, James Earl Jones, John Amos, Madge Sinclair, and Shari Heardley.4 out of 5 Stars..
Long before Black panther became the highest grossing black movie of all time, there was coming to America a modestly budgeted comedy starring nearly an all black cast and directed by John Landis.
A movie with a story that was predictable from the beginning, Coming to America is an enjoyable movie, but suffers from its many flaws.Prince Akeem of Zamunda (Eddie Murphy), has been living an easy life as the son of the King of the fictional African country "Zamunda".
For a movie with poor acting from supporting actors and extras and a generic script, Eddie Murphy and Arsenio Hall stand out from the rest of the cast with their sharp delivery and great comedic timing.
However, the funny main characters, sharp comedic timing and good acting from Arsenio Hall and Eddie Murphy keep this movie fun, and make it enjoyable to watch.I give this movie a 6/10 and would recommend it to those who are looking for a fun experience without much consequence or drama..
Continuing my plan to watch every Eddie Murphy movie in order, I come to Coming To America (1988) Plot In A Paragraph: An extremely pampered African Prince (Murphy) travels to Queens, New York, and goes undercover to find a wife whom he can respect for her intelligence and mind.Despite Murphy picking director John Landis (Trading Places) himself, they did not get on during filming, Landis said Murphy had turned in to an egotistical monster, with a ridiculous list of demands.
Eddie Murphy starting make some appearances in disguised as the Barber Shop's crew...they stolen the movie,inventive and unique all the characters are funny and remarkable the owner lies all the time saying that have met a lot of famous people...
Said like this, is sounds uninteresting, but all the gags, situations,dialogues and acting make this work in inexplicable ways.Eddie Murphy is great in his different roles in the film.
And one can see, in a movie like COMING TO AMERICA, what the basis of this stardom is; Eddie Murphy is a natural.
But most of the time the film is exceptional and well worth a watch for fans of Eddie and comedy.Overall, you should watch the film whoever you are because it is funny and clever, Eddie absolutely shining through his role and makes the prince a character worth remembering in looking back on Eddie Murphys career.
He plays Akeem, a pampered African prince who, along with his royal sidekick Semi (a hilarious Arsenio Hall) journey to America to find a perfect, independent woman to be his bride, and not just an air-headed slave to marry him just for the sake of him being a prince!!Murphy and Hall do a slam-bang job of their careers, and the supporting cast do equally great performances as well.
Eddie Murphy proved me wrong with this movie called "Coming to America".
I never saw this hit comedy, but now after 13 years I got to enjoy the many laughs of Eddie Murphy he is just as funny as can be in this film just like his many other fun hits.
Watch Coming to America it is one of the best from Eddie Murphy..
Think of a time when you heard the punchline of a joke you already knew and still laughed at it.Never?Exactly.Once Akeem comes to America, the film becomes much less funny for this reason.
It is 3 minutes and 45 seconds after the movie starts that the central character of Akeem, played by Eddie Murphy actually speaks.
Eddie Murphy's best movie and one of the best comedies in film.
Coming to America is One of Eddie Murphys Best Films ever.
Eddie Murphy the king of comedy stars in Coming to America, a prince from Africa searching for his bride with Aersino Hall.
Coming to America is a romantic comedy starred by comedian Eddy Murphy, and starred by actress and actors Arsenio Hall, John Amos, James Earl Jones, and Shari Headley.
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Miles Raymond is an aspiring – but unsuccessful – writer, a wine aficionado and a divorced, depressed, borderline alcoholic middle-aged English teacher living in San Diego, who takes his soon-to-be-married actor friend and former college roommate, Jack Cole, on a road trip through Santa Ynez Valley wine country. Though still recognized on occasion, Jack's acting career appears to have peaked years ago, when he had a role in a popular TV soap but now does commercial voice-overs and plans to enter his future father-in-law's successful real estate business after he's married. Miles wants to spend the week relaxing, golfing, enjoying good food and wine; however, much to Miles' consternation, Jack is on the prowl and wants one last sexual fling before settling into domestic life.
In the wine country, the pair visit Miles' favorite restaurant, The Hitching Post II, and meet Maya, an attractive, intelligent waitress with whom Miles is casually acquainted. Jack senses that Maya is interested in Miles, who downplays his friend's intuition, and tells Jack that Maya is married. Jack tells Maya that Miles' manuscript has been accepted for publication, even though it is only being considered. Later, at a tasting in a local winery, they meet an attractive wine pourer named Stephanie, who is also acquainted with Maya. Jack is immediately attracted to Stephanie and arranges a double date, to include Miles and Maya, and tells Miles that he learned Maya is no longer married ("sans rock", as he describes it). During the date, Miles gets drunk and telephones Vicki, his ex-wife, after learning from Jack earlier that day that she has remarried. They return to Stephanie's home, where Jack and Stephanie immediately adjourn to her bedroom for sex, while Miles and Maya connect through their mutual interest in wine. Miles tells Maya about his book, and Maya says she is finishing a master's degree in horticulture so she can leave serving. Miles makes a gauche pass at Maya, which she rejects. They leave separately, but not before he gives her a copy of his manuscript. As the week progresses, Jack's affair with Stephanie continues, to the point where he believes he's falling in love with her; he bonds with her daughter and makes the suggestion to Miles that they move there for him to be closer to Stephanie. After spending the day together, Miles and Maya return to her apartment and have sex. The next day, Miles lets it slip that Jack is to be married. Disgusted with the dishonesty, Maya dumps Miles and later tells Stephanie who, furious and devastated to learn she's been used, hits Jack repeatedly and breaks his nose using her motorcycle helmet.
On finding out his manuscript has been rejected again, Miles drinks heavily, and when the server cuts him off, he ends up drinking from the spit bucket, but Jack eases him out of the room in time. That night, with Stephanie gone, Jack hooks up with another waitress named Cammi, who recognized him from his acting career. Hours later, Jack shows up back at the motel room he shares with Miles – naked and confessing that Cammi's husband came home early while she and Jack were having sex. Jack explains he was forced to flee without his clothes and wallet (which contains a pair of irreplaceable wedding rings). Jack convinces Miles to drive him back to Cammi's house and sneak inside, where he discovers Cammi and her husband having sex. Miles spies Jack's wallet, grabs it and runs from the house, barely escaping Cammi's irate husband, who pursues him in the nude. To explain the broken nose and cover up the infidelity to his fiancée, Jack runs Miles' convertible into a tree, giving the appearance they had been in an accident. The pair return to the home of Jack's fiancée, where he is welcomed with open arms, and Miles drives away in his battered car.
Following the wedding ceremony, Miles runs into his ex-wife Vicki and meets her new husband. After learning that she is also pregnant, Miles accepts that he will never get Vicki back. Alone, he drinks his prized wine, a 1961 Château Cheval Blanc, from a disposable coffee cup at a fast-food restaurant and falls into an even deeper depression. After some time passes, Miles returns to the routine of teaching school; coming home one afternoon, he receives a voice-mail from Maya, who says she enjoyed his manuscript and invites him to visit. Ultimately, Miles is seen driving back to Santa Ynez and knocking on Maya's door.
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A Christmas Carol
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Dickens divided the book into five chapters, which he labelled "staves".
=== Stave one ===
The story begins on a cold and bleak Christmas Eve in London, seven years after the death of Ebenezer Scrooge's business partner, Jacob Marley. Scrooge, an old miser, hates Christmas and refuses an invitation to Christmas dinner from his nephew Fred. He turns away two men who seek a donation from him in order to provide food and heating for the poor, and only grudgingly allows his overworked, underpaid clerk, Bob Cratchit, Christmas Day off with pay to conform to the social custom.
At home that night, Scrooge is visited by Marley's ghost, who wanders the Earth, entwined by heavy chains and money boxes, forged during a lifetime of greed and selfishness. Marley tells Scrooge that he has one chance to avoid the same fate: he will be visited by three spirits and he must listen to them or be cursed to carry chains of his own, much longer than Marley's chains.
=== Stave two ===
The first of the spirits, the Ghost of Christmas Past, takes Scrooge to Christmas scenes of Scrooge's boyhood and youth, reminding him of a time when he was more innocent. The boyhood scenes portray Scrooge's lonely childhood, his relationship with his beloved sister Fan, and a Christmas party hosted by his first employer, Mr. Fezziwig, who treated Scrooge like a son. They also portray Scrooge's neglected fiancée Belle, who ends their relationship after she realises that Scrooge will never love her as much as he loves money. Finally, they visit a now-married Belle with her large, happy family on a recent Christmas Eve.
=== Stave three ===
The second spirit, the Ghost of Christmas Present, takes Scrooge to a joy-filled market of people buying the makings of Christmas dinner and celebrations of Christmas in a miner's cottage and in a lighthouse. Scrooge and the ghost also visit Fred's Christmas party. A major part of this stave is taken up with Bob Cratchit's family feast and introduces his youngest son, Tiny Tim, a happy boy who is seriously ill. The spirit informs Scrooge that Tiny Tim will die soon unless the course of events changes. Before disappearing, the spirit shows Scrooge two hideous, emaciated children named Ignorance and Want. He tells Scrooge to beware the former above all and mocks Scrooge's concern for their welfare.
=== Stave four ===
The third spirit, the Ghost of Christmas Yet to Come, shows Scrooge a Christmas Day in the future. The ghost shows him scenes involving the death of a disliked man. The man's funeral will only be attended by local businessmen if lunch is provided. His charwoman, his laundress, and the local undertaker steal some of his possessions and sell them to a fence. When Scrooge asks the ghost to show anyone who feels any emotion over the man's death, the ghost can only show him the pleasure of a poor couple in debt to the man, rejoicing that his death gives them more time to put their finances in order. After Scrooge asks to see some tenderness connected with any death, the ghost shows him Bob Cratchit and his family mourning the passing of Tiny Tim. The ghost then shows Scrooge the man's neglected grave, whose tombstone bears Scrooge's name. Sobbing, Scrooge pledges to the ghost that he will change his ways to avoid this outcome.
=== Stave five ===
Scrooge awakens on Christmas morning a changed man. He spends the day with Fred's family and anonymously sends a large turkey to the Cratchit home for Christmas dinner. The following day he gives Cratchit an increase in pay and becomes like another father to Tiny Tim. From then on Scrooge began to treat everyone with kindness, generosity and compassion, embodying the spirit of Christmas.
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One small gripe, as was present with Up, the glasses still make everything darker and subsequently duller; especially as this picture is intentionally not well-lit to begin with.We all know the famous Charles Dickens novel for which this is based on and Zemeckis stays faithfully close to it, unworried about making a family movie that has very few laughs.
If dealt with rightly, emotions like these can be healthy and will have a longer lasting effect on you and your kids than something that only makes you laugh.Providing the voice of Scrooge from childhood to old-age, along with the three Ghosts of Christmas, Carrey does a fine job, even with his normal over-the-top voicing toned down a few hundred decibels.
I'm not a Jim Carrey fan but it's a Christmas movie, after all , so I bit the bullet and we saw it at the IMAX in 3-D.The visual effects are great, even though a lot of it was :"Look, we have 3-D!" They stayed very close to the original story, though they added a miniaturization segment that was unnecessary.
There are many such movies that define the season and I truly expect this to be one of them, along with Christmas Story, Home Alone, Miracle on 34th Street, and It's a Wonderful Life.Like the Macy's Parade, we all have our list of must-see holiday movies, no matter how many times we have seen them.
From an artistic viewpoint, the new Robert Zemeckis film from the man who gave us THE POLAR EXPRESS, is another of his animated features using the motion picture capture technique that allows the actors to play several roles.
He plays several main characters with great skill.Not quite as festive as you might expect, it's a darker version of Scrooge, handsomely executed so that many of the scenes look like Victorian illustrations from the novel.
Doubtless there will be flocks of naysayers who don't buy into this adaptation by Robert Zemekis, but given the ghost story magic Dickens' created, this film takes it one step further and makes the ghostly three spirits very much alive and beautiful fanciful.
The first spirit, the Ghost of Christmas Past, shows Scrooge visions of his own past in which had spent much of his childhood neglected by his father over the holidays at boarding school until he was finally brought home by his loving sister Fan (Robin Wright), who died prematurely after giving birth to his nephew Fred (Colin Firth).A marvelous recounting of a Christmas vintage classic and Jim Carrey demonstrates once again his versatility on screen in this retelling of Charles Dickens' immortal story .
Though most of us,if not all of us, have seen other adaptations in the past or read the story,and know already what to expect, Jim Carrey manages to capture pure magic with his stunningly awesome portrayal of main character Ebenezer Scrooge,and it is definitely worth a look.
It's fun and different approach to the Christmas classic with top notch effects by means of ¨Motion Capture¨ a technique developed by Robert Zemeckis in previous films as Beowulf and Polar Express .
This animated retelling of Charles Dickens' classic novel about a Victorian-era miser taken on a journey of self-redemption will appeal to Jim Carrey fans .Other versions about this stunning story courtesy of several mysterious Christmas apparitions are the following : The rather obscure 1935 version, with Sir Seymour Hicks, the 1951 British production, with Alastair Sim, adaptation released by MGM in 1938 with Reginald Owen , and the 1970 musical, with Albert Finney.
This dark adaptation of "A Christmas Carol" by Charles Dickens to the screen is one of those optimistic films that follows the style of Frank Capra's "It's a Wonderful Life" and it is impossible not loving it.
The redemption of the mean Ebenezer Scrooge in a Christmas Eve is one of the most known worldwide novels and this animation produced by Disney Company follows the style of Tim Burton and may not be the best adaptation to the cinema, but it is indeed effective and a good family entertainment.
But for some reason- maybe my heart is a lump of coal or I wasn't in the right Christmas spirit or something- the material in the film didn't connect with me, except those moments that were funny (intentionally or not, sometimes due to Jim Carrey's performance), and it became something peculiar.
What is paramount to mention though is that Zemeckis, in keeping with the tone of the original Dickens text (and having the clout that he has), makes it a true Victorian horror movie.It should be said also that children will be hit or miss with this version; while they'll delight and be awed by the animation and moments of craziness (my favorite being the scene with the ghost Marley and his entire presentation before Scrooge, unhooked jaw uneasily included), they may be put off by the "old" language, some of it in that olde 19th century English Dickens wrote in.
It's entertaining to watch, but awkward to behold at this point of the story.That the motion-capture, for all of its beauty and detail in the faces and people and locations and dazzling set-pieces, doesn't engage on a purely spiritual level (not even to the extent that 'Muppet Christmas' did, that at least had the ghost of Henson on the production to keep things truly haunting), is somewhat forgivable for what Zemeckis does accomplish here.
He puts a modern spin on a classic tale, makes it approximately dark and mostly uncompromising for all ages- adults will jump possibly more than the kids at the WHOA effects- and Jim Carrey is nothing short of astonishing.Carrey plays Scrooge in such a bravura way that only calls attention to itself as a dramatic part (only toward the end, when he becomes "happy" Scrooge are there a few unintentional laughs), and it may even be the best Scrooge seen in many years in any medium.
Visually dazzling, but emotionally bland and hollow would describe the film perfectly.It is an understatement to say that the 1951 film starring Alistair Sim is a fifty times more effective - and affecting, experience.Let me just add that while I certainly enjoyed aspects of the performances of Gary Oldman, Colin Firth, Bob Hoskins, Cary Elwes (also in multiple parts) and even Jim Carrey, the actors are not well served by this format of film-making.
I AM HONEST!Disney's A Christmas Carol is a 2009 American 3D computer animated motion-capture fantasy film written and directed by Robert Zemeckis.
It is an adaptation of the Charles Dickens story of the same name and stars Jim Carrey in a multitude of roles, including Ebenezer Scrooge as a young, middle-aged, and old man, and the three ghosts who haunt Scrooge.
This adaptation of the classic Dicken's novel "A Christmas Carol" has enraged me so much I am writing this review as I'm watching the film.
Considering the budget and cast, I am really disappointed, as I was hoping to see some of the Disney magic we all know and love, while showing one of my favourite Christmas books in a great film adaptation.
It is a faithful adaptation of the story but it's not for young children and several scenes were quite dark and scary which actually added to the film and it's not as heartwarming as previous versions but the happy ending remains.
If there is one or criticisms is that some scenes went on a bit too long and some characters were not as well animated and suffered from dead eye.Overall, a great Christmas film and it does show the potential of motion capture and if they continue to improve it then it's going a great tool for filmmakers..
Led into temptation by the C.G.I., the SFX and all the awesomeness of modern movie-making technology, he is now devoid of all the emotion, freshness, thrills that made the fame and valor of his previous masterpieces, as "Back to the Future" or the unforgettable "Forrest Gump".The danger was in air already since the tiresome and useless "Beowulf", but now it became plain for all to see."A Christmas Carol" is simply too perfect, in all its spectacular redundancy, to be able to express any feeling at all anymore.
It is nowhere near as good as the two best versions: the black-and-white, 1951, Alistair Sim "Scrooge," or the simple yet amazingly evocative animated, 1962 "Mr. Magoo's Christmas Carol." If you've got young children, please don't take them to this movie.
It's got the same odd cold heart as "Polar Express" and the same theme park ride feel of "Back to the Future." Bigger is definitely better to this guy, so he gives Scrooge a house with fifty-foot ceilings and a staircase that goes on forever, but never does anything interesting with that bloated staircase and never makes those fifty feet necessary.Dickens' "Christmas Carol" is chock full of poignant moments, but those moments never came to life for me in this movie till the final scene where Scrooge carries Tiny Tim on his shoulders.
Gary Oldman voices Bob Cratchett, Marley and Tiny Tim, and is less recognizable than he was in Hannibal, through no more or less fault than the elaborate make-up job of that film.The Dickens story stays ageless, and if it's electrified here with a milestone opening credits sequence comprised of a single swooping shot soaring through the bustling winter macro- and microcosmic goings-on of London, well, once you allow poltergeists into a movie, there's opportunity for everything, most importantly letting the story itself shine through where it naturally does.Said phantoms are not news.
That will probably hurt the film as it will need kids to build any type of box score.Definitely worth seeing for the visuals, but certainly not in the top versions if you really want to capture the spirit of Dickens' novel..
While "The Grinch" remains my favorite Christmas film of the past three decades, this most recent installment was surprisingly good, in large part simply to it's clear homage to the original film version, namely, "Scrooge," starring the superb Alistair Sim in the 1951 British masterpiece.
Jim Carrey was great in multiple roles (he played Scrooge but also Ghost of Christmas Present), Colin Firth as the nephew and Gary Oldham as Bob Cratchitt were very good.This is great holiday entertainment.
Although Patrick Stewart's Scrooge in the TNT original movie from 1999 is my favorite Scrooge, I feel strongly that Zemeckis' film is closest adaptation to the spirit of the novel and brings it to life in the way Dickens himself may have imagined.Prior to analyzing this adaptation, as it is a story most of us know and cherish, I'd like to look at why.
Robert Zemeckis, director of such classics as the 'Back to the Future' trilogy and 'Forrest Gump,' turns his talents once more towards animated Christmas magic after his success with the Tom Hanks-driven 'Polar Express.' This time, Zemeckis brings along a stellar cast for his motion-capture version of Charles Dickens's 'A Christmas Carol.' While there have been over a hundred adaptations of this ultimate Christmas tale, the story never gets old nor does its importance ever wear away.We all know the story like the back of our hand: Ebenezer Scrooge (Jim Carrey) is a miserly old coot with a cold heart and a tight grasp on his money bag.
To save himself from an eternity of torment, Scrooge must change his ways with the help of three other ghostly presences (all played by Carrey).Through dozens & dozens of adaptations with at least one new version each year, it seemed that 'A Christmas Carol' can't have much more life in it.
Therefore, if children are present to watch what is supposed to be a family film, just be aware that there are several times where they most likely will be scared.Overall, Robert Zemeckis has created a visual stunning version of Charles Dickens's beloved tale.
Robert Zemeckis tries motion-capture animation for a third time, a technology that's been a mixed-bag, creating some very pretty pictures and allowing actors to portray multiple roles but lacking the one thing that a Zemeckis flick always prided itself on in the past, which is a soul.Scrooge (Jim Carrey) is a miserly old man who clings to money while neglecting humanity, his nephew (Colin Firth) and employee Cratchit (Gary Oldman) included.
The movie works the best when Scrooge is at his meanest and there isn't a scene where Carrey doesn't commit to his performance, but like the rest of the movie, it doesn't have the originality of a say "A Muppet Christmas Carol" or "Scrooged".
Yet one of its better films to come out recently is Disney's A Christmas Carol, which features real and personified death in such prominence that even the dark Dickens might be surprised.Although the 3-D has plentiful, pretty cool, and too many aerial flights, it's the emphasis on the end of Scrooge that I noticed more than ever in another of the many iterations of the classic Christmas story.
A very greedy, self-centered and rude old man is about to be visited in the Christmas eve by three Christmas spirits which will try to change his miserable life, offering a last change for salvation.A classic and very popular story of Charles Dickens transformed into a Disney animation, with Jim Carrey interpreting the main character is definitely a recipe for success, as this movie will prove.
Given that the budget was $200,000,000 I wonder if they might have spent more of it on live actors rather than motion capture animation (Jim Carey looked, sounded and performed exactly as he had in Lemony Snicket's A Series of Unfortunate Events).In watching all these screen version it is clear that there is only one perfect thing - the book itself.
I liked the change, but it's not suitable for a child maybe under twelve.Overall Zemeckis' take on Dickens' Christmas carol is visually intriguing and has a great voice cast.
And while one could accuse it of going a trifle overboard in its search for the requisite 3-D sensation (as most of these films by their very nature are wont to do), the movie remains forever focused on the human heart that beats at the core of the work.Even in semi-animated form, Jim Carrey is so remarkable as the miser Scrooge (and the three main ghosts who visit him) that, in the spirit of the holidays, we're even willing to forgive him for his desecration of the Grinch a decade or so back.
A Christmas Carol (Imax, 3-D, 1:36, PG) — Fantasy: Supernatural, biggie, remake, OSIT romanticsThere's a Hollywood story about how Dustin Hoffman, on the set of the movie Marathon Man, was suffering thru his method-acting efforts to get into the proper mindset for his tormented character when his co-star Sir Laurence Olivier — a guy who'd never lacked encomiums in the performance department — inquired "My dear boy, why don't you just try acting?".The same question springs to mind upon seeing Robert Zemeckis's Imax 3-D efforts: The Polar Express (2004, into which he lured Tom Hanks, the in persona propria star of his 2000 film Cast Away), Beowulf (2007), and now the umpteenth remake of Charles Dickens's A Christmas Carol.Here it's Jim Carrey who gets the Tom Hanks / Peter Sellers treatment, playing multiple roles thru the dubious "miracle" of motion-capture CGI.
Indeed, as Roger Ebert has described it, all these efforts to get close to looking like a real human but not quite making it lead the viewer into the "uncanny valley" where you're just creeped out by this obviously fake simulacrum of real life.The story is familiar to everyone over the age of 4: Skinflint Ebenezer Scrooge thinks of Xmas as "humbug" until he's visited on Xmas Eve by the ghost of his late business partner, Jacob Marley, and thereafter by the spirits of Xmas Past, Present, and Yet To Come, the combined impact of which produces a 180° attitude adjustment in the old miser.But the basic story, despite being a time-tested classic, obviously wasn't sufficient for Zemeckis, who has to take us swooping, barrelling, and skidding thru the streets and over the rooftops of 19th Century London (at one point arrowing thru a wreath), repeatedly tumbling Scrooge ass over teakettle during the course of the spirits' revelations.
I'll keep this concise: The pace at the beginning is slow, took a while before I stopped considering leaving to trade in tickets.There's an entire ~10 minute scene dropped in; I assume to lengthen the movie, since it serves little other purpose except perhaps as a means of getting Scrooge from on place to another.Not for kids, particularly the over-done, "boo!" ghost attacks, presumably put in to show off the 3d.Music is well done, and 3d is still impressive.Anyone not familiar with the original book (story aside) might be confused at certain points.
I don't get why this movie doesn't get talked about more, me and my family watched it for the first time in theaters when I was only 10 years old and my brother was 9, it made for a good, albeit a little bit scary and more dark retelling of the classic Charles Dicken's book.
Fortunately, this Christmas Carol takes a very different approach, focusing primarily on the horror aspect of the classic story.While I was already somewhat worried upon hearing that this movie was even going to get made, knowing that Jim Carrey would star in the lead role didn't help much.
Every aspect of his performance, right down to the way he moves, nails the character perfectly, and the unnaturally thin body of Scrooge sure is one monstrous creation.Speaking of the CGI in this film, A Christmas Carol has never looked so beautiful, yet so frightening, than in this version.
He brings life to the character and also takes his role very seriously.The one thing I'll remember about this film is the nightmare scene with Scrooge and The Ghost of Christmas Present.
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tt0421715
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The Curious Case of Benjamin Button
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The film opens up with a tight close up of a very old woman on her deathbed in the hospital. Theres a terrible storm raging outside the window. Clearly in pain, the old woman is struggling to speak and her daughter (Julia Ormond) is at her bedside. We can tell the mother is at the end of her life because when she cries out in pain and her daughter fetches the nurse, the nurse tells her that she can have as much pain medication as she wants. The daughter has come to say goodbye to her mother, but their relationship seems strained. The woman asks in a feeble voice for her daughter to bring her a diary from her belongings and to read it to her. The diary looks like a journal with tickets and photographs glued to the pages. The daughter begins reading from the diary and it turns out to be the story of Benjamin Button.The story begins with the old woman, Daisy, reminiscing about a blind clockmaker who built a clock for Grand Central Terminal in New York. While he was building the clock, his only son goes off to war (WWI) and dies in battle. Through his grief, he continues building the clock. The reveal of the clock is a major event with President Theodore Roosevelt in attendance. When the clock is unveiled, the second hand surprisingly turns counterclockwise and the clock is measuring time backwards. The crowd is shocked and the clockmaker reveals that he wishes that time move backwards so that the events of the war can be reversed and that all the soldiers who died can return to their families. Shortly thereafter, the clockmaker closes his shop and disappears.We then cut to the end of World War I in 1918. Throughout the streets of New Orleans, people are flooding the streets in celebration. A young man (Benjamins father), however, is rushing home to check on his wife who has just given birth. His wife appears to have hemorrhaged during childbirth and is on the brink of death. The presence of the priest who has come to give her last rites confirms this. Before she takes her last breath, she asks her husband to ensure that their child have a place in this world. Benjamins father promises and shortly thereafter the mother expires. He approaches the crib and the attending nurse tries to warn him, but he cries out in horror when he lifts the blanket and sees his son for the first time. He then grabs the baby and tears out of the door. He runs madly into the street with the baby crying wildly and eventually stops at the banks of the river. He contemplates throwing the baby into the river when a policeman stops him and chases him. Benjamins father frantically runs away and eventually stops at the porch of a large house. He hears people inside the house and then impulsively places his baby on the steps of the house and leaves whatever money he has with the baby.Within seconds, a young black couple come out of the house. Theyre flirting with each other, completely unaware of the baby. They begin to descend the stairs and one of them almost trips on the baby. The woman, Queenie, picks up the baby and we see that Benjamin looks like an octogenarian infant. Despite the protests of her husband, she decides to take the baby in. She brings the baby into the house and puts him in the top drawer of her dresser. When the doctor examines Benjamin, he tells her that the baby suffers from arthritis, is nearly blind from cataracts and has osteoporosis. No one expects the baby to survive long. Unable to have a child of her own, Queenie decides that Benjamin is a child of God and takes on the responsibility of raising him. She names him Benjamin and introduces him to the elderly tenants of the house (shes running a retirement home) as her sisters child. The elderly tenants seem to be unfazed by Benjamins unusual appearance. One elderly woman even remarks that he looks just like her ex-husband.Over the next few years, we see Benjamin spend his early years as a short, frail, bald elderly man with glasses when in fact, he is only 5 years old. He calls Queenie Mama and his mannerisms and impulses are very childlike. Although hes fully grown in size, Queenie still bathes him and scolds him like a child when he tries to wander off. He begins to learn to read but cannot walk and is confined to a wheelchair. Then one day, Queenie takes him to an evangelical healer. After healing Queenies infertility, he commands Benjamin to walk during a dramatic healing. After Benjamin stumbles and takes his first steps, the preacher suddenly drops to the floor and dies.Benjamin progresses physically, being able to walk with the help of crutches. He soon befriends a charming Pygmy man who takes Benjamin into town and they seem to connect over their uniqueness. When the Pygmy leaves Benjamin to visit a prostitute, Benjamin misses the last streetcar and must walk home on his crutches. Although Queenie greets him with a harsh scolding, Benjamin remembers his first taste of freedom as one of the best days of his life.Queenie throws a party at the retirement home for visitors, and Benjamin, now able to walk without crutches, soon meets the granddaughter of one of the tenants. Shes a striking red-haired girl with blue eyes named Daisy. Benjamin develops an instant boyish crush on her even though he appears to be an elderly man. In his diary, Benjamin remembers this as the day he fell in love with Daisy. During the party, Queenie announces that shes pregnant and Benjamin feels slightly jealous.Benjamin and Daisy quickly form a bond. They curl up with Daisys grandmother as she reads them childrens stories. Daisy is quick to realize that Benjamin is no ordinary elderly man because of his childlike ways. They spend a lot of time together and sneak off one night to talk but are caught by Daisys grandmother who accuses Benjamin of inappropriate motives. Queenie tells Benjamin that hes no ordinary child, that hes a man-child, and that people will misunderstand him. When Benjamin returns to his room, his elderly roommate talks about how he was struck by lightning seven times. Throughout the course of the film, the random circumstances in which he was struck by lightning are revealed for laughs.Benjamin begins to grow physically and can bathe himself now and seems to be going through puberty even though he still looks elderly. He gains muscle tone and his teeth look healthier. While getting his hair cut by an elderly woman at Queenies house, he remarks that with every day he feels he is growing younger. The woman replies that it must be sad to grow younger and watch the people you love die before you. While Benjamin reflects on this remark, the woman adds that if we didnt lose the people that we love, we wouldnt know how important they are to us. Benjamin later talks about some of the elderly tenants who died during their stay and the things they taught him.Benjamin visits the docks of the harbor and one day volunteers to work for a salty tugboat captain named Captain Mike. Despite his elderly appearance, Captain Mike agrees to take Benjamin on and we see Benjamin mostly scrubbing the decks and doing light work. This is all very exciting to Benjamin and the two quickly become friends.During the course of conversation, Captain Mike learns that Benjamin is still a virgin. Captain Mike decides to take Benjamin to a brothel to fix that. At the brothel, a drunk Captain Mike rants about being a self-proclaimed artist and not a tugboat captain like his father, and then undresses to reveal his self-inked tattoos --- hes a tattoo artist. He then harps on about his hummingbird tattoo and what a remarkable bird it is.Although Benjamin's appearance creeps the prostitutes out, one sympathetic prostitute reluctantly agrees to sleep with him. With the sexual vigor of a teenager, Benjamin wears the prostitute out and agrees to come visit her every day except Sunday (her day off). As hes leaving, we see Benjamins father exiting the brothel and he intuitively recognizes Benjamin as his son. Benjamins father, Thomas Button, offers to give Benjamin a ride home in his fancy, chauffeur driven car. They stop at a bar for Benjamins first drink. They drink and talk until the bar closes and then Tom drives Benjamin home. After Queenie chastises him for staying out late, Benjamin throws up from his first night of binge drinking.One day, Benjamin sneaks the nine-year-old Daisy out for a ride on Captain Mikes tugboat. Still drunk from the previous nights drinking, Captain Mike reluctantly agrees to take them out to sea. The tugboat passes a cruise ship and the captain waves to Benjamin and Daisy. Daisy remarks how she wishes she could be on a cruise ship like that.At about 17, Benjamin still looks like an older man but desires to leave home and work on Captain Mikes tugboat. Daisy is about 12 and makes Benjamin promise that he write to her from wherever he travels to. While Benjamin travels from harbor to harbor on the tugboat, we watch Daisy grow up and train as a ballet dancer. During his travels, Benjamin befriends an unhappily married Englishwoman named Elizabeth (Tilda Swinton) at the hotel he lives in. They end up talking all night almost every night, and she tells Benjamin that she attempted to swim the English Channel when she was 19 but gave up before she could finish. She introduces Benjamin to the finer things in life like caviar and vodka and she tells him about the places hes never seen like Asia. They eventually start an affair and spend every night together. Benjamin writes to Daisy and tells her that hes fallen in love. Then, one night, Elizabeth disappears, leaving only an impersonal note saying it was nice to have met him.Captain Mike announces to the crew that the Japanese have bombed Pearl Harbor and that hes contracted with the US Navy to support the war effort. The cook decides to leave the crew and be with his wife, so Benjamin steps in as cook. The tugboat gets its first taste of war when the crew shows up to the remains of a naval ship carrying soldiers that was just bombed. The tugboat soon catches the eye of the enemy submarine and the crew springs into action, heroically deciding to collide with the submarine and sink it. Gunners on both the tiny tugboat and the submarine exchange fire and ultimately, the tugboat maneuvers itself onto the submarine and sinks it. Captain Mike and several of the crew are wounded and die as a result. Benjamin survives and passes on Captain Mikes earnings to his wife. As he throws out the lifesaver from the tugboat out to sea, a hummingbird flies up from the lifesaver and whizzes by Benjamin. He remarks that he never again saw a hummingbird in the open sea.Returning to Queenies house from the war, Benjamin now looks about 50. Daisy makes a surprise visit and shes about 20. She doesnt recognize Benjamin at first, but after a brief reunion, they decide to go out on a date. At dinner, Daisy talks incessantly about her passion, dancing, and Benjamin cant really get in a word edgewise. Their date ends at a romantic lake where Daisy attempts to seduce Benjamin by doing some impressive ballet moves and talking about her promiscuous life in the ballet company. Benjamin, however, refuses to sleep with Daisy and she leaves disappointed.Benjamins father, Thomas Button, meets up with Benjamin again. Thomas Button walks with a crutch due to an infection in his foot and his health is failing. He invites Benjamin out to dinner and then shows him his button factory. He then reveals to Benjamin that he is his father and shows him pictures of their family. Benjamin has a hard time taking it all in, but eventually realizes that Thomas wants to reconcile with him before he dies. Thomas promises to leave Benjamin everything. Before Thomas dies, Benjamin takes him to the lake to watch the sunrise and both men are at peace with the past.Benjamin later comes to New York to see Daisy in a production of Carousel. Hes moved by her dancing, but Daisy is a little startled to see him come backstage. Refusing his invitation to dinner, she invites him to come out with her dancer friends. Surrounded by young people and watching Daisy flirt with her new boyfriend, Benjamin realizes that theyre worlds apart. Disappointed, he goes back home to Queenies house. Back in todays world, the dying Daisy tells her daughter that Benjamin came to tell her that his father had just died but she was 23 and foolishly wrapped up in her own world. Daisy then shows her daughter pictures of her as a young dancer and reveals that she was the first American to be invited to dance with the Bolshoi Ballet. (You begin to understand that Daisy has held back a lot from her daughter.) Daisy remarks that even though she had many lovers in her youth, she always thought about Benjamin and felt connected to him. Meanwhile, the storm rages on outside the hospital window and the news report reveals that it is, in fact, Hurricane Katrina.Daisy is now dancing with a ballet company in Paris. Benjamin narrates a series of events that make up a chain reaction resulting in Daisy getting hit by a taxi. A friend wires Benjamin the news about Daisy and he comes to Paris to see her. We learn that the car crushed Daisys right leg and thus ended her dancing career. Full of both angry pride and shame, Daisy tells Benjamin to leave her alone. He leaves, but as the diary reveals, Benjamin stays in Paris for a while to look out for Daisy. As her daughter reads from Benjamins diary, the modern Daisy had no idea he had stayed in Paris and begins to weep. Although he was in love with Daisy, Benjamin reveals he slept with several women while in Paris.A few years later, Benjamin appears to be about 40 and we see him speeding on a motorcycle and wearing aviator sunglasses, a dead ringer for James Dean. Daisy, having recovered and able to walk again, visits Benjamin at Queenies house. She asks him to sleep with her and he promptly says yes. They visit the same lake Benjamin took his father to and as they watch the sunrise, Daisy promises to never indulge in self-pity again. They end up traveling together and living on the sailboat Thomas Button left his son. When they return from their travels, Queenies house is empty and the couple learn that Queenie has just died. They attend her funeral services and Benjamin sells his fathers house. He and Daisy buy a duplex and spend all their time as a young 40ish couple in their sparely furnished apartment. They make love all day and watch the Beatles on American TV for the first time.Renewing her love for dance, Daisy has opened up a dance studio and teaches little girls. She is dancing in front of the mirror one day when her leg injury reminds her of her limitations. In spite of this, Benjamin, who is watching, clearly still loves and admires Daisy. She remarks that theyve finally met halfway in time (Benjamin is 49 and Daisy is 43), and then Daisy reveals that shes pregnant. Months later, Benjamin expresses his concern that the baby will be like him but Daisy assures him that she will love the baby even more if it is. Before they leave the diner, Benjamin sees Elizabeth on TV, celebrated as the oldest woman to swim the English Channel (shes 68). Later, Daisy delivers a perfectly healthy baby girl and names it after Benjamins mother, Caroline. (According to imdb.com, the baby is actually played by Brad Pitts real daughter, Shiloh, at 10 months.)Back to modern times, the daughter suddenly realizes from reading the diary that Benjamin is her real father. Daisy had remarried and the daughter, Caroline, had grown up thinking that her stepfather was her birth father. Visibly upset, Caroline leaves and smokes in another room before a nurse tells she cant smoke indoors. She comes back and resumes reading from the diary.Benjamin is clearly worried about being able to care for his wife and child as he grows younger and younger. Daisy is adamantly optimistic and assures Benjamin that she can care for him and the baby, but Benjamin is not convinced. He tells her that she would be disappointed with such a life and that the baby deserves a father and not a playmate. He tells Daisy that he wants Caroline to have a real father and that he wants to leave before she can remember him. Daisy begins to worry that he is no longer attracted to her as she continues aging and he becomes more youthful. After Carolines first birthday, Benjamin sells his fathers button factory, the sailboat, the summer cottage and all his assets and leaves all money in bank's safe deposit for Carolines & Daisay before walking out the door. The modern day Daisy reveals to Caroline that she soon met Carolines father shortly thereafter and that Benjamin was right, she wasnt strong enough to raise the both of them alone. She doesnt know what Benjamin did during that time, but the diary reveals he did visit Daisy once more.Now about 23 years old in appearance, Benjamin visits Daisys dance studio one night and Daisy, now about 60, is startled by his return. Benjamin is youthful and strikingly handsome while Daisy has naturally aged. He meets his teenage daughter and Daisys husband. The husband and daughter wait in the parking lot while Benjamin and Daisy talk. She explains that her husband is a widower and that Caroline has a lot of Benjamins attributes. Daisy leaves with her family but later comes to Benjamins room at night. Although clearly embarrassed by his striking youth juxtaposed with her aging body, Daisy cannot suppress her desire to be with him. Its quite obvious though, that Benjamins love for Daisy has not waned and the two make love before Daisy says goodbye one last time. The modern day Caroline remembers the visit from the mysterious stranger and then finds postcards in the diary from Benjamin addressed to Caroline on several of her birthdays. With each postcard, Benjamin expresses his regret that he wasnt there during key milestones in life, like her first day at school and her first heartache.We then see Benjamin live out his 20s, drifting and traveling. He wanders around India and works odd jobs, often sleeping in abandoned buildings. Then one day, Daisy receives a mysterious phone call and takes a cab to Queenies house. Child Protective Services has found Benjamin, now a minor, living in an abandoned building in New Orleans. They managed to trace Daisy from all the references to her in his diary. We see that Benjamin is now a pimply 12 year old who is afraid of human contact and is showing signs of dementia. He doesnt remember Daisy but feels like he should know her. The modern day Daisy then narrates that she moved into Queenies house to care for Benjamin. We see Benjamin as a difficult seven year old showing signs of Alzheimers disease (i.e. he throws a tantrum because he doesnt remember eating breakfast). Like a loving and patient grandmother, Daisy seems to be able to calm him and she reads to him from the same childrens book her grandmother once read to her and Benjamin. In one heartbreaking scene, Benjamin regresses to a four year old and talks about having the feeling that hes lived an entire life but cant remember any of it. Another day, he ends up on the roof and Daisy talks him down. We then see him regress to a toddler and then finally an infant in elderly Daisys arms. Daisy narrates that one day, Benjamin took one last knowing look at her and then died in her arms.Fully spent by this story, Daisy and her daughter share a sense of relief and closure that comes with the revelation of long-hidden truths. In the background, Hurricane Katrina is getting dangerously near the hospital and soon diverts Carolines attention away from her mother. Daisy looks to the window and sees a hummingbird approach and then fly away into the storm. The camera pans out to reveal hospital staff scurrying to evacuate patients and transport medical supplies. We then see a montage of some of the memorable characters from the film, spoken of by Ben himself, and ending with the hurricane's waters washing into a storeroom where sits the old clock, still ticking backwards.
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boring, depressing, dramatic, magical realism, flashback, historical fiction, philosophical, melodrama, romantic, entertaining, sentimental
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train
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imdb
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tt0092644
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Beverly Hills Cop II
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Beverly Hills Police Captain Andrew Bogomil, Detective Billy Rosewood, and Sergeant John Taggart are trying to figure out who is behind the "Alphabet Crimes," a series of mostly high end store robberies distinguished by their monogrammed envelopes with an alphabetical sequence the assailants leave behind. Complicating matters is the new "political" state of the Beverly Hills Police Department, headed by incompetent and verbally abusive new police chief Harold Lutz, who is doing everything he can to stay on Mayor Ted Egan's good side. Unimpressed when Rosewood calls the FBI to help solve the case, Lutz holds Bogomil responsible as commanding officer and suspends him, despite Bogomil's efforts to convince him that Rosewood was only following a hunch. Lutz also punishes Taggart and Rosewood by placing them on traffic duty. On the way home, Bogomil is shot and injured by Karla Fry, the chief hench-woman of Maxwell Dent, who secretly is the mastermind behind the Alphabet Crimes. Finding out about the shooting by a news report, Axel Foley abandons his current undercover duties and immediately flies out to Beverly Hills to help find out who shot Bogomil. Taggart and Rosewood agree to assist Axel because of Lutz's attempts to find an excuse to get them fired.
Posing as an undercover FBI agent to get past Lutz with the aid of Detective Jeffrey Friedman, Axel soon starts making the connection between the robberies and Dent. He first finds out that the ammunition fired at one of the robberies was designed by Charles Cain, the manager of a gun club owned by Dent. Axel has Bogomil's daughter Jan use her connections as an insurance agent to find out about Dent's financial dealings. Dent is robbing his own businesses on purpose in order to finance firearms transactions with an arms dealer named Nikos Thomopolis and is discreetly using Cain as the front man for his operations. Bogomil was shot because his investigation was on the correct track into the case.
Having foiled a robbery attempt at a bank depot, Axel is able to trick Dent's accountant Sidney Bernstein into using his computer and discovers that Dent and Karla are planning to leave the country. Axel also learns from Jan that all of Dent's businesses have had their insurance coverage canceled and are about to go bankrupt except his race track, which he is convinced is the next target. On the way to the race track, Axel solves the latest riddle sent to the police, and is convinced that this riddle was made easily solvable in order to implicate Cain as the Alphabet Bandit. However, Axel knows Cain is a patsy designed to throw the authorities off Dent's trail.
The three arrive too late to stop the robbery and find Cain, shot by Karla, among those killed. While Lutz announces publicly that the Alphabet Crimes have been solved, Axel notices some red mud at the stables, which leads him, Taggart and Rosewood to Dent's oil field, where Dent is making his final arms deal with Thomopolis. The three get into a shootout with everyone involved in the deal. Dent confronts Axel in the warehouse, but Axel gets distracted by one of Dent's henchmen on the roof above him and Dent gets away. Dent then crashes through the wall in his car and Axel shoots Dent through the windshield, sending his car down a hill and erupting in flames, after running Axel over. Karla appears and is about to kill Axel, but is shot dead by Taggart.
Just as the last thugs are about to flee, the police arrive upon the scene and arrest the rest of Dent's thugs and Thomopolis. Lutz and Mayor Egan arrive at the scene. Lutz tries to fire Rosewood and Taggart for their insubordination, and also tries to arrest Axel. However, both Taggart and Rosewood stand up to an infuriated Lutz and prove that Dent was the real Alphabet Bandit and the rest of the alphabet crimes were about an arms deal. They are also able to convince Mayor Egan of Lutz's incompetence, and the Mayor fires Lutz for his abusive attitude towards his own men.
Mayor Egan chooses Bogomil to replace Lutz as the new Police Chief. Axel returns to Detroit, but not before he gets chewed out by Inspector Todd over the phone, after Egan called Todd to congratulate him on allowing Axel to assist them on this case.
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comedy, murder, cult, violence, humor, entertaining
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train
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wikipedia
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tt0048393
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Mr. Arkadin
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Prologue: (narrated by Orson Welles) A small airplane with no one on board was flying along the Mediterranean coast near Barcelona . . . Opening shot shows an empty airplane in flight.Credits roll.At night, between the containers on a Naples pier, first we see a man running, then another, staggering, (Gregoire Aslan), who falls and we see a knife plunged on his back. Guy Van Stratten (Robert Arden) and his girlfriend Mily (Patricia Medina) happen upon the wounded man, and at once offer to stay with him and call for help. The dying man says no, no police, as I am dying anyway, in thanks for being good to me, listen, before I die I will give you some names that are worth millions. Find Gregory Arkadin, tell him you know about me, Bracco, and also about Sophie. In the confusion and noise of arriving police, Sophie's last name is garbled as Bracco dies.Guy is arrested for tobacco smuggling and put in prison for three months. Upon his release, he and Mily resolve to find out why that combination of names is valuable.Gregory Arkadin (Orson Welles) is a multimillionaire business magnate whose whereabouts are known, so Guy and Mily proceed to Cannes, but Arkadin has an enormous staff of bodyguards in charge of keeping riffraff away, so Guy can't get to him. Guy gets lucky as someone points out Arkadin's pretty daughter Raina (Paola Mori) to him. As he approaches, she is talking to her constant companion, the Marquess of Rutleigh (Jack Watling) and he says he is afraid to meet her father. Guy politely interrupts the conversation saying he would love to meet her father, and his daring strikes a chord with her, although she rebuffs his advances and warns that she is constantly watched by a large team of her father's employees.Guy has a conversation with Mily, telling her he will follow Raina and make advances to her in an attempt to get to Arkadin. Mily is a voluptuous cabaret entertainer who finds gigs easily, so she will try to become an entertainer for Arkadin, who throws big parties all the time.Guy keeps tailing Raina, finds out she will be driving to Spain, and persists in talking to her until she lets him ride along. On the ride, he is charming and she begins to fall for him.At their destination [Segovia], where Arkadin resides in the spectacular castle [the Alcázar], Guy manages to continue courting Raina while seeing the sights and observing a night parade of black-hooded men doing penance. As he kisses her and she warns that her father will destroy him if he is proved a fortune seeker, he vows he will never ever ask her to marry him. This enhances his attractiveness to Raina.Mily, meantime, sees enough that she feels jealous. If Guy is trying for a relationship with Raina, she will try for a relationship with Arkadin himself.Soon after at a masquerade ball at the castle, Guy enters as a guest and Mily has wangled a singing gig. As Guy enters, the camera follows him and the scale and magnificence of the party are a shocking display of wealth.Guy finally meets the mysterious billionaire Gregory Arkadin, and after a few remarks Arkadin leads him into Raina's cavernous bedroom to talk. He tells Guy he loves his daughter intensely and will do anything to protect Raina from unscrupulous, shady suitors. He shows Guy a dossier on his life, labeled Confidential Report, where Guy's many previous run-ins with the law and other unflattering facts are detailed. Guy is not intimidated but challenges Arkadin instead, claiming that if someone were to investigate Arkadin in a similar way, plenty of dirt would show up, and he himself would not look good.After an instant of reflection, Arkadin offers Guy a deal, that he investigate Arkadin's past and prepare a confidential report on him. Arkadin claims he had amnesia and knows nothing about his own life up to the time when he found himself wandering in Zurich during the winter of 1927 carrying a briefcase with 200,000 Swiss Francs. After some arguing, Arkadin agrees to pay expenses plus fifteen thousand dollars at the conclusion.Raina comes into the bedroom, and asks questions. In the upshot, Arkadin promises not to interfere with Guy's relationship with Raina as part of the deal.With the names and the year 1927 as the only clues, Guy seeks out people who might have some knowledge of Arkadins life. First, The Professor (Mischa Auer) a tall, cadaverous, impoverished Russian owner of a flea circus, who sits alone in a tiny room caring for the repulsive insects, feeding them on his own thin arm, and looks attentively through a large magnifying glass at the probing investigator. Next, a very eccentric antique dealer (Michael Redgrave) scrabbling about an enormous shop filled with junk, authentic and fake. Finally a bookmaker, who gives him the crucial name of a Baroness Nagel who runs a boutique in Paris and might know something.Arkadin not only has periodic contacts with Guy but also has his network of informers reporting Guy's activities. Arkadin arranges a dinner with Baroness Nagel (Suzanne Flon) in which he finds out that the baroness used to work undercover for the Warszaw police and that she was instrumental in disbanding the prostitution and white slavery operation of a certain Sophie, whom she recognized years later as a customer that came into her Paris boutique. Sophie travels to Paris every year for purchases in her shop, from her home in Mexico, where she lives with her now husband, a General Martinez.In the meantime, Mily has been with Arkadin on his boat. Acting on her own, she reveals to Arkadin some of what she knows from her contacts with Guy, in a scene in the rocking boat. She is stumbling around the room, giggling and taunting Arkadin as the camera captures the rocking of the boat and mirrors the shakiness of her drunken state.Guy finds Sophie's first husband, Oscar, a drug addict, living on a small boat. But Oscar gives no useful information despite Guy's maintaining him in withdrawal symptoms until he talks.The mystery of Arkadin's early life is resolved in Guy's meeting with Sophie (Katina Paxinou) in Mexico. She had led a criminal gang in Warsaw in the old days together with Arkadin,. With Brocco, Oscar, Jacob Zouk, they ran a white slavery racket out of a dance studio, using poor and naive girls wanting to become ballet dancers as prostitutes. When the operation was broken up by the police the group was run out of Poland, with Arkadin ending up in Switzerland in the winter of 1927. Sophie admits she was madly in love with Arkadin. He was then Arthur Bahzi and shows Guy photographs to prove it. She says that the two hundred thousand Swiss Francs were hers and that he disappeared with them. Later in life she recognized him at a casino where he was having a good run. Unknown to him, she bet on his numbers and made a small fortune that made up for the stolen money, with interest, so she saw no reason to stir trouble, and decided to leave him be.Guy receives a call from Arkadin, who, it turns out, is staying at the same hotel in Mexico. Guy reports some of what he knows and says he is returning to Europe to meet with Jakob Zouk, the last member of the group, who has just come out of jail in Munich.Before Munich, Guy meets Raina. Meanwhile, Arkadin is back and there is another lavish party . Guy asks about Mily, and Arkadins staff show him a police document -- it seems that Mily has drowned off the coast of Mexico. Guy gets a sinking feeling, asks to call Sophie, but finds that she, too, is dead, as well as Oscar.Guy then realizes that all of Arkadins old gang are being murdered, one after another, that Jakob Zouk is next, and that Mily was murdered because she knew some things, so he will be murdered last, to ensure there will be none to talk of Arkadin's earlier life of crime. Raina will thus be protected from potential blackmailers, from those who might have a moral claim on the fortune built from the stolen 200 thousand Swiss Francs, and her opinion of her father will be untainted by knowledge of his sordid past..Guy, in a panic with the conviction that he's last on the murder list, as insurance for his own life, rushes to Munich to find Jakob Zouk (Akim Tamiroff), the last member of the gang, to hide him to keep him alive. Guy finds Zouk on Christmas eve, a decrepit old man shivering in a garret, with his memories almost totally gone, and unable to react to warnings that he may be killed. Zouk insists he won't say anything unless he gets his Christmas meal of goose liver with mashed potatoes and apples and onions. When Guy returns with such a meal, which he gets through the inflluence of Arkadin, he finds Zouk dead.Guy now expects to be arrested by the Munich police for murder. He has a chance to stay free and alive only by telling Raina about her father's past before the Arkadin organization can stop him with his own death. He attempts to lose Arkadin by mingling with a Christmas service crowd in a large church. Somehow he makes it to the airport to get on a plane flying back to Madrid with a stop in Barcelona.Arkadin follows him, there are no more seats in the plane, and no passengers are tempted by his last minute offer of large amounts of money to relinquish one seat. Guy gets on the plane while Arkadin fumes at the airport.Arkadin secures another airplane, which he flies, trying to beat Guy. By only a few moments, Guy gets to Raina first, and tricks Raina into telling her father by radio, while he is still on the plane, that he has talked to Guy and that he is too late, even though Guy has revealed no details as yet. The radio goes silent.Raina realizes that the phrase too late has triggered her fathers suicide, and she leaves the airport in the company of her previous suitor, the Marquess of Rutleigh.
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cult, suspenseful, murder, flashback
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train
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I've always liked Orson Welle's "Mr Arkadin." At least I've been compelled to watch it an awful lot of times, in any case.
This is yet another film Welles made that was taken from him during the editing stages by the people putting up the money.Until the recent release of the exhaustive Criterion "Complete Mr. Arkadin" DVD set, all I had to go on were tapes and discs of various, beat up public domain versions and a nice Janus tape of the "Confidential Report" version that is widely known to be a re-edit of Welles' "original" cut.
Interestingly if you watch Laserlight's release of the American 'no flashbacks' version you can catch bits of this original dialog (why wasn't that version included in Criterion's 'Complete' set?).I think that Welles came up with the flashback idea well after principal photography was finished and then had Arden dub in different lines to make the flashback format work.
2) There was a rather involved scene showing Zouk actually being released from prison (in the released version, we are just told that this happened in dialog).If this account of what must have been one of the first public showings of any version of "Arkadin" is true, that also says to me that Welles was compulsively noodling around with the film, changing it, rearranging it, cutting it to bits, well before his backers took it away from him and edited it themselves.
I think that one of two things would have had to have happened for there to have ever actually been a true "final cut": 1) Welles would have had to accept collaborators to help him decide when to quit editing (as he had during "Kane" with Mankiewicz and Houseman) or 2) he would have had to have been given as much time as he wanted to edit.
Guy (the Harry Lime character is renamed "Guy van Stratten" and is played by Robert Arden) finds it most pleasant to investigate Arkadin though his lovely daughter Raina (all of Paola Mori's dialogue was dubbed by Billie Whitelaw and Marlene Dietrich turned down the role), her father's idol.
Excellent acting by the maestro Orson Welles playing the life of yet another ruthless millionaire, he stars a famed tycoon with a shady past , similarly to Citizen Kane .
It stars newcomers actors , as the credits read "And introducing Paola Mori" who married Orson Welles ; however, she had been in at least four films prior to this ; the credits also imply the "And introducing" refers to Robert Arden as well, who also had had at least two credited big screen performances .
Good support cast as Michael Redgrave as Burgomil , Patricia Medina as Mily , Akim Tamiroff as Jakob Zouk , Mischa Auer , Amparo Rivelles , Katina Paxinou as Sophie , Grégoire Aslan as Bracco , Peter van Eyck as Thaddeus and Suzanne Flon as Baroness Nagel ; but even the efforts of a cool cast couldn't help Welles turn this into a critical or commercial success .
It has recently released a comprehensive three-DVD set of the film, featuring three versions: the "Corinth" version¨ that was generally regarded closest to Orson Welles's cut, "Confidential Report" or European cut, and the newly edited "Comprehensive" version.
Atmospheric and evocative musical score by Paul Misraki .Mr. Arkadin also titled Confidential Report was well directed by Orson Welles , a genius who had a large and problematic career .
Scenes never give the impression of ending, everything is done in overdrive, people are constantly looming, dizzyingly moving in and out of shot; the grotesquerie of the bad acting rhymes with the grotesquerie of the costume set pieces and with that of the B movie Euro - freak character actors parading, one by one, in front of the camera for their star turns.
The story follows a small-time blackmailer named Guy Van Stratten (Arden) who meets and falls in love with Raina Arkadin (Paola Mori, who was Welles' third wife), who is resistant of his love for her at first.
I felt like I was watching a Federico Fellini film, directed by Orson Welles.
To get the full value out of Arkadin, i recommend you only see it once you've seen most other Welles pictures, from the Good (Kane, Ambersons, Trial, Falstaff, Touch of Evil), The Bad...
If you've fallen in love with Welles' brilliant pictures, seen the times when he wasn't able to realise his ambitions, and heard about all his unfinished films and seen the tantalising segments from some of them (notably, for me, Merchant of Venice and famously The Other Side of the Wind), you'll appreciate that we were able to see Mr Arkadin at all!So while i know there is so much to admire in Arkadin, that each frame is aching with Wellesian visual beauty (which is closer to unusual/strangeness than classical beauty), i know that most people, especially Wellesian newbies, will find Arkadin inaccessible.
I always put off watching it because i was upset by people's saying it was a poor man's Citizen Kane - but whoever said that can't have seen the same Arkadin i did.For Welles fans there is so much to marvel at.
Some favourite scenes:The tracking back shot of Van Stratten (Robert Arden) going up the steps to Zouk's place (Akim Tamiroff).The scenes of snow falling outside Zouk's place.Every scene where Van Stratten is interviewing an eccentric character from Arkadin's past.
But I have entertained the notion that I like Mr. Arkadin (also called Confidential Report, sometimes) as much as I do because it so completely betrays Welles as a titanic artist having to deal with the small frustrations and vicissitudes of Everyman.
It's almost as if someone had taken Citizen Kane and the Mask of Demitrios shoved them in a blender then tried to make a coherent film out of the bits while under the influence of heavy medication.And somehow it works - but only just.If you haven't watched this film yet and are contemplating doing so I will warn you that Robert Arden's 100% subtlety free performance is incredibly bad and his character (Guy Van Stratten) has to carry the first part of the movie almost alone.
After seeing Gregoire Aslan knifed on a dock and hearing a couple of last words like Sophia and Mr. Arkadin, Robert Arden and girl friend Patricia Medina know at least part of it.Mr. Arkadin refers to the mysterious gazillionaire played by Orson Welles.
In fact the story that Welles gives Arden is that before 1927 when he found himself in Zurich, Switzerland with several million francs, he has amnesia and has no memory of his past.It's obviously a lie because one of the reasons that Arkadin is so mysterious is that he has steadfastly refused to be photographed.
It's an intriguing story and has some good performances by the cast members already mentioned and people like Mischa Auer, Akim Tamiroff, Michael Redgrave, and Katina Paxinou from Welles's past.
Kudos to Peter Boganovich for his involvement.Other than "Citizen Kane", most of Welles' films were botched up either by his own financial problems, Studio interference or just just plain weird bad luck.
Amateurish and clumsy.The result is a movie that is, at times, interesting to watch, but it's hard to forget its weaknesses, even for a moment.One wonders how many times the stagehands had to wrangle a raging Welles off of Arden, prying his hands from the actor's neck, convincing him that murder is illegal, even for a cinematic giant, feeding him rum punch and peanuts, and telling Arden to go hide for fifteen minutes until the anger has passed..
I'm a big fan of Orson Welles and have recently watched the new Criterion release of Mr Arkadin the Corinth version as well as the new Confidential Report and was somewhat disappointed.
Modern films are also re-recorded but they add room tone to prevent the sterile sound that plagues Arkadin.Photography: The film has generally good photography but Welles use of weird angles distracts from the story rather than enhancing it.
The footage of the airplane shown at the start of the film is covered by dirt on the lens on within the gate of the camera.Production Design: Welles has very busy backgrounds shown in many scenes and with the use of deep focus causes a distraction rather than enhance the story.
Welles seems to be an excellent screenplay writer and editor but perhaps a bit weak when it comes to content creation.Acting: the actors who played Guy (Robert Arden) and Millie (Patricia Medina) were poorly cast for their parts.
In fact, 'Mr. Arkadin' has become something of an enigma unto itself and the story of it's creation and subsequent undoing is as fascinating as the film itself.For those interested in investigating further, The Criterion Collection have done a wonderful 3 disc edition which collates all the available edits (including two Spanish versions which are known, hilariously, by the unexplained mis-crediting of the lead actor!?) and working them into a 'final' version hinted at by Welles' notes and conversations with the ubiquitous Peter Bogdanovich (who also features in the documentary, unsurprisingly).
For a great movie experience look again at Citizen Kane - then consider that a young Orson, first time movie maker, was blessed with some of the finest creative film talent in the world to teach and carry him over the bumps...
Defying All Reasonable Recitation, This Film is Another of Welles Extravagances that Spun Out of His Control in Post Production and Manifested a Life of its Own. Trying to Discern What it Was Supposed to Be or What it Is, for that Matter, is the Stuff of Scholarly Pursuits, Doctoral Thesis, and Criterion Collections.The Casual Film Buff Venturing Into Welles World, Especially His Late Term Efforts, is Likely to be Chewed Up, Spit Out, and Sent Sliding Into Incomprehensible Mutterings and a Desire for Firmer Ground.Solid Footing is Fleeting when it comes to Mr. Arkadin.
Orson Welles was a Magician, a Curmudgeon, a Tinkerer, and a Tailor of Film that Loved to Play with His Craft Endlessly Until All Reason was Ripped This Way and That and Then Back Again.Few Knew or Have Been Able to Penetrate the Mind of this Filmmaker and Come Up with Anything Coherent or Understandable (a description of Arkadin), Although Mr. Bogdanovich and Others Certainly Gave it the Old College Try. Therein Lies the Endless Fascination with Orson Welles.
It also, at times, feels like a Frankenstein picture - that is, themes and styles from Welles' other films seem balled together to make Mr. Arkadin.
The basic story is as follows: a small-time blackmailer named Guy Van Stratten (Robert Arden) is hired by the mysterious billionaire Gregory Arkadin to research his past.
Even the inherent beauty of an Orson Welles film and an interesting story can't overcome bad editing, terrible pacing, sub par acting and an awful dub.
The last quarter of the film in particular includes some actions by both Arkadin and Van Stratten that seem maddeningly incomprehensible, as well as a five-minute-long segment consisting almost entirely of a minor character repeatedly asking for goose liver.I would recommend watching The Lady From Shanghai instead of this for a film with similar themes that works despite even more pronounced attempts by the studio to butcher Welles' work..
ARKADIN is an Orson Welles film.
The only sure thing is that somehow most of those participating in his past end up murdered.The film had a troubled "making of" background story, and is one of those European productions Welles made and had trouble getting financial backing for distribution which took quite a bit of time.There's a touch of CITIZEN KANE to the story idea and a bit of THE THIRD MAN in the noirish B&W photography, but none of it really makes a lot of sense and some perfectly good actors turn up in oddbeat roles and disappear again.Only for true Welles fans who must see everything the master did, whether good, bad or indifferent.
Van Stratten, a hood, and a woman, Mily, do just that, and Van Stratten meets and later falls in love with Arkadin's daughter (played by Welles' third wife, Paola Mori) and gets inside the man's home and life.
Arkadin claims amnesia and hires Van Stratten to find out about his past for him.This is a good story in a problematic film.
Welles himself plays Arkadin, and it's a broad performance we're used to seeing when, frankly, he's phoning it in, which he did here as he was busy with everything else involved in the movie."Mr. Arkadin" looks like a student film, but it has some wonderful moments, both frightening and funny.
It's like a Mad Magazine parody of "Citizen Kane" crossed with "The Third Man" as Robert Arden darts around the world trying to piece together the life of Welles' mysterious billionaire.
This is a film for Orson Wells fans and filmmakers.Don't press the pause button, to go to the frig, or you might not bother to resume play.A cross between Citizen Kane and Joe McDoaks, as in "So you want to be a Private Eye".
It might make more sense on a second viewing, but the movie did not engage me enough to have the slightest interest in doing that.Robert Arden is particularly wooden as the guy looking into Mr. Arkadan's past and Welles plays Arkadan with over-inflated seriousness.
I recommend any cinephile or Welles enthusiast pick up Criterion's commendable "Complete Mr. Arkadin" (which includes the cinema release, the Corinth version (often preferred) and a new comprehensive restoration (my personal favorite)).Mr. Arkadin, hugely entertaining and a marvel in its own right, further cements the following solid fact: Orson Welles was one of the greatest film auteurs of all time..
Mr. Arkadin, one of the very few works by Welles that was not an adaptation (he also wrote a book version of it before-hand, a book I'd love to read to compare), is a mystery that made me feel as if I understood everything and nothing about the lead character by the time the film ended.
Robert Ardin plays Guy Van Stratten, an "adventurer" who stumbles upon a dying man's last words (no, not rosebud, but the Kane connection is intriguing) as being Arkadin, and a woman.
In this film, Orson Welles,(Gregory Arkadin),"Butterfly",'82, plays a very rich mysterious man who has problems trying to remember the past and is extremely devoted to his daughter.
I saw the one titled 'Confidential Report.' This film was adapted from the Orson Welles written script 'A Man of Mystery' that aired in April of 1952 as a 30 minute episode of the radio play series 'The Lives of Harry Lime.' Welles expanded his story for the film and his friend Muarice Bessy translated it into a novel.
In the film Welles changed the Harry Lime character to Guy Van Stratten (Robert Arden) who, as a cigarette smuggler encounters a dying murder victim, a Naples blackmailer named Bracco (Grégoiré Aslan).
Van Stratten befriends Arkadin's daughter Raina (Paola Mori) and he gets to meet the mysterious millionaire Gregory Arkadin (Orson Welles) who hires him to research his past.
After having made what was almost immediately recognized as a masterpiece and one of the best movies in the history of cinema, all other films that came later where compared to that very high threshold.'Confidential Report' does not come dangerously close, but yet is a film that brings back a lot of memories of Kane, first by having Welles himself cast as the principal mystery and evil character of the film.
***SPOILERS*** Orson Wells sporting the beard that he became so well known for in the last decades of his life is the mysterious Mister Arkadin in the 1955 movie with the same name.
"Mr. Arkadin" and "Citizen Kane" were both, in simplest terms, about the search to uncover the past of a tycoon
The film is regarded merely as a highly-colored, larger-than-life, more-exciting-than-life piece of entertaining suspense
The story is basically about Arkadin hiring a young American to uncover forgotten events in his early life
Only later did the American realize that, as he tracked down the people who knew the secrets of Arkadin's hidden past, the financier was having them murdered one by one, and intended at the end to have his own investigator murdered too so that the trail he had uncovered would be destroyed for ever
But all this was simply a thread on which to hang the ornate jewels of those characters
Mischa Auer, the tall, cadaverous, impoverished Russian owner of a Copenhagen flea circus, sitting alone in a tiny room with the repulsive insects which are the only creatures for which he cares, feeding them on his own thin arm, looking attentively with huge distorted eye through a large magnifying glass at the probing investigator
Akim Tamiroff, starving in Munich as a neglected-looking beggar willing to trade his secrets for a meal
Katina Paxinou, the ruthless woman who had run a criminal gang in Europe and now lived on her fortune in Mexico
And Michael Redgrave, an unsuccessful dealer, scrabbling about his shop filled with antique junk
Such characters project the suspense of which entertainment is made.
Firstly, some administration issues: like most Orson Welles projects, 'Mr. Arkadin (1955)' suffered from studio interference in post- production, and so there are numerous versions of the film available for public viewing.
The film's most interesting sequence is an early costume ball in which guests are hidden behind grotesque masks, whose massive features crowd the frame like the creatures from Maurice Sendak's "Where the Wild Things Are." Though it is Welles' presence that dominates the screen, Robert Arden is an intriguing noir protagonist: Guy Van Stratten is a small-time smuggler (once again drawing a parallel with Harry Lime) who epitomises the petty crook that Arkadin once was.
The film is more disturbing than really thrilling and Orson Welles probably wanted it like that, mysterious, embarrassing and disquieting, but what's the next stop in the plot, sir?
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Ride Along 2
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The film starts in Miami on the boat of crime lord Antonio Pope. His hacker A.J. is going through a list on the computer. Pope calls Port Commissioner Griffin on the phone and accuses him of stealing money from him. With one of his hitmen in the room, Pope has Griffin killed in his apartment, then orders his hitmen to find whoever left with his money.
Meanwhile in Atlanta, James is with his partner Detective Mayfield as they go to infiltrate a vehicle meet to find an infamous drug dealer named Troy. Ben, fresh out the academy, is eager to get in on the action, but James has him staying on the radio. James gets close enough to Troy, but Troy pulls a gun on him. Ben sees this over the camera and sneaks out to help. He rides into the meet in a showy car with hydraulics and draws unwanted attention to himself. He threatens Troy by acting tough dancing only to drop his badge in front of the crook. Then within seconds a brief shootout occurs leading to a random plan b with Mayfield getting shot and Troy making his escape. James and Ben go after him, with Ben nearly getting himself run over, though James follows Troy long enough until Troy drives out of a parking garage and onto another car. James then captures Troy and removes a necklace he was wearing which was also a flash drive.
Mayfield is later hospitalized & at the hospital, James reprimands Ben for his decision since he got Mayfield injured in the chaos causing him to take a leave of absence due to his injury. Lt. Brooks assigns James to go to Miami and see who Troy was working for. Ben wants to go so that he can prove himself ready for detective work, but nobody believes in him, especially after the mess he just caused.
At home, Ben begins to plan his wedding to Angela, but he clashes with the wedding planner Cori. He tries to assert himself, but gets knocked out by the ceiling fan. Later, as Angela tries to seduce Ben, he complains about not being able to go to Miami. Angela calls James and tries to get him to take Ben, not just for himself, but so she can have him out of her hair while the wedding is planned. James refuses, but then changes his mind when he thinks he can prove that Ben doesn't have what it takes to be a detective. He goes to their house and officially invites Ben to Miami. James and Ben drive down to Miami together.
Ben starts his detective work by trying to blend in with the locals as they search for A.J. but Ben gets punished by homicide detective Maya Cruz for using her computer without permission. Later, James and Ben find the hacker, who tells them about a safe in a club that contains something important, but first they have to meet with someone there. The guys go to the club for work, but A.J. gets Ben to enjoy himself with an impromptu bachelor party. However, the man they are supposed to meet is also Pope's hitman. A.J. causes a distraction and escapes while James engages in a brief shoot-out with the hitman. Afterward, the two are met by Maya at the crime scene. The safe turned out to be empty. Before the guys can leave, James realizes a bomb was planted under his car, which goes off and destroys his car.
Ben realizes he kept A.J.'s phone on him, so they find his girlfriend Tasha to get a lead on his whereabouts. Ben convinces Tasha to spill the beans when he shows her that he's been hooking up with other women and given them unique ringtones, while Tasha is left with the generic Apple ringtone. The guys locate A.J. once more and bring him in on the investigation. He reveals to the team that Pope is the real crook, despite him having a public image as an entrepreneur working alongside the new port commissioner Nunez. The team is at the home of Maya's friend/associate Alonso, whom Ben accidentally shoots after getting scared. Despite getting shot, Alonso backs up A.J.'s word that Pope is a crook.
James, Ben, and Maya go to a party hosted by Pope in his mansion. Maya distracts Pope by dancing with him while James and Ben gather info, and A.J. is their eyes and ears. While snooping around, Ben is attacked by Pope's pet alligator, Marcus, in the backyard. After narrowly escaping from the jaws of Pope's pet alligator, Ben reconnects with the team and they get their information, but Pope catches them and knows they're cops, though he lets them go. The team uses their information to locate a group of shipping trucks that may be carrying Pope's contraband. However, when they attempt to stop the trucks at the port, they discover that the trucks are empty. Hernandez Arturo del Puerto scolds the team, as Pope shows up and acts angry for what the team did. Nunez then shows up and calls Hernandez over. Brooks is informed of the screw-up and orders James to be suspended and for Ben to be fired.
The team goes to a bar to think about what they did wrong. Maya then questions as to why Nunez would have shown up so fast at the port. A.J. mentions that Nunez's name was on a list of guys on Pope's payroll. James realizes that Pope knew he would have gotten caught, so he had a decoy in the trucks, and the real contraband items are being brought in somewhere else at the port. James, Maya, and A.J. go after Pope, but Maya handcuffs Ben to a pole after James says he wants Ben to stay so he can take care of Angela. However, Ben breaks free and goes to Alonso's house to get the cuffs off.
James, Maya, and A.J. are at the port in the morning to catch Pope. They have a shootout with Pope and his goons, when Ben arrives and moves a truck to knock over a container with flammable barrels, causing them to explode. Pope runs and takes A.J. hostage, then tries fleeing in a truck. James goes after him, but Ben knocks a container into Pope's path, causing him to crash. James runs to the truck and doesn't find Pope. Pope tries to shoot James, but Ben jumps in the way and takes the bullet. James shoots Pope a few times to bring him down, then sees that Ben was wearing a bulletproof vest. Pope rises and shoots again, but James uses Ben as a human shield, and Maya shoots Pope once more for good measure, killing him and ending the gun battle once and for all.
James and Ben are off the hook for taking down Pope and Nunez and being commended for their services. They drive home in a yellow Lamborghini that Maya got for them to drive back to Atlanta for the wedding, with James asking Maya to be his date. Ben and Angela are married and are ready to go off on a boat ride, but Ben wants James to make a speech. Reluctantly, James speaks and says that while Ben has gotten him into a lot of trouble since meeting him, he has also saved his life, has made Angela very happy, and has helped James grow into a better man and cop. He finally accepts Ben as his new family. Ben and Angela then go on their boat ride, but Ben gets distracted and is thrown out the boat when he rides over a bump. He is then dragged through the water by a rope as Angela tries to stop the boat, all while James laughs at this.
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violence, comedy, murder
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The War
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The War tells the story about a young boy named Stu (Elijah Wood) and his father Stephen (Kevin Costner), who is a recovering war veteran. Stu, his sister Lidia Simmons (Lexi Randall), and their friends are determined to build the ultimate tree fort during their summer break. Stu's father has equally high hopes of rebuilding his life and the life of his family. Stu is constantly getting into fights with everyone who says a bad word about him or his sister. Especially a group of children, who Stu considers to be the lowest of the low, the Lipnicki's. Stephen, Stu's father realized what was worth fighting over and what wasn't, and so he tries to help Stu understand that he needs to pick his battles. Lidia, meanwhile, is off in the Lipnicki's junkyard, scavenging for the items they need to make the tree fort. She runs into Billy Lipnicki (Christopher Fennell) on one of her trips, and pays him ten cents to stay quiet. Once the tree fort is completely built, Billy spends all the money he got on ice cream. His father and brothers and sister find him with them as confront him about how he got all that ice cream. His eldest brother shaves a portion of his head and Billy tells about Lidia taking stuff from the yard. The Lipnicki's go to the tree fort and make a dare with Stu, whoever swims across the water tower while it's draining and back, gets to keep the tree fort. The Lipnicki's back out of the dare, but Stu goes through with it. The Lipnicki's promise to not take the fort, and one of the Lipnicki's throw the lock and key to the fort on top of the old water tower roof. Stu gets the lock, but couldn't reach the key. Later that day, Stu's father is in the hospital because of an accident at his work. A few days later, Stephen dies. That day, the Lipnicki's break their promise about staying away from the tree fort, and take it from Lidia and her friends. Stu finds his father's old crate of war items, face paint, smoke bombs, grenades, and his father's army tags. Stu and his friends start a war with the Lipnicki's to get the tree fort back. The tree fort gets ruined in the process, and Billy Lipnicki goes to the water tower to try and get the key, to stop the fighting. Billy falls through the roof of the water tower and Stu jumps in after him. He and Arliss (Donald Sellers) manage to free Billy from the drain and get him on solid ground. However, Billy is ice cold and isn't breathing. Stu and Lidia try everything they can to get Billy to breath again, and after a lot of slapping and yelling, finally Billy takes a breath. After that, the Lipnicki's and the Simmons stopped fighting with each other. The tree fort never got fixed, and Stu was able to come to terms about his father's sudden death.
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tragedy
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train
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imdb
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Costner turns out to have a very strong "supporting" role because the movie really is about Elijah Woods' character and the other kids who find out about the real war we human beings seem to fight daily.
After Costner's character was faced with killing people in the Vietnam war, he fully understood that love was the only thing fighting for.
It is a beautifully crafted film from its intricate, multi-layered story to its moving, realistic performances to its homestyle, nostalgic cinematography."The War" combines some of the best elements of "Forrest Gump" and "Fried Green Tomatoes." It captures the nostalgia of its timeframe, the innocence and naivete of youth, the situational humor of the moment, the consequences one's decisions and actions bring, and the tragedy of life.
Each narrator tells the story of her brother and her father: their growth and what has been learned from and about them."Sometimes all it takes is a split second to do something you regret the whole rest of your life." What a great and appropriate theme for a film that few went to see.
Again, the kids carry the scene with their show of pride and willingness to stand by each other in adversity.All in all, it's a good movie and good for older children to watch even though there is some strong language and violence.
"The War" is one of the few "kid" movies that takes itself seriously enough to be loved and appreciated by young and old audiences alike.
Using no great special effects and no incredible shooting technologies this movie is worth seeing namely because of the way it makes your feelings come out into the open.
Spending two hours watching a movie like this is much more worthy than spending that time thinking of all those unimportant issues we are dealing with during all our lives.
While Steven is trying to re-build his own life, Stu and Lydia are spending the summer building a tree house with the help of their friends, while trying to avoid the Lipnicki children, who take on the "local bullies" role.I won't go into anymore detail concerning plot, as it may spoil parts of the movie for some.
The length of The War, at just on 2 hours, is sufficient for the plot and all its happenings to unfold, but any longer may have proved to be a little drawn out.The performances put in by all the main actors and actresses (as well as many of the minor parts) are quite good.
With his angry outbursts, expressive face, and "naturalness" in front of the camera, Wood creates a very believable Stu. This is one of his best performances, except maybe for his portrayal of Mikey in The Ice StormKevin Costner, in what must be one of his best (yet lesser known) roles, is very understated but brilliantly cast as Steve.
After watching these two movies, his acting talent and the range of characters that he can effectively bring to life is obvious.Mare Winningham is perfectly cast as Lois, the hard-working, determined and supportive wife and mother.
I watched this movie because of Kevin Costner and loved it because of Elijah Wood's performance.
Though on the surface it might be seen as yet another movie about poverty in Mississippi (which is, by the way, the poorest State in the US) or about the impact of the Vietnam War on the family of veterans, "The War" exceeds expectations on several fronts: presentation, complexity, candidness, and good acting.
The story is narrated from the point of view of 12-year old Lidia, played excellently by Lexi Randall, with the acceptance kids usually have at that age ("
we are dirt poor, like everyone else in Juliette, Mississippi" - she tells us right of the start).
The father, also played impeccably by Kevin Costner, is troubled by war nightmares and the lack of a stable job, but has the courage to eliminate violence from daily living, aiming to show it to his kids by example, against the pressure for violence from the environment they live in, and to be as good a father as he can in the given circumstances.
The War goes on at several levels: Kids fighting in the forefront, Vietnam in the background, and the inner struggles of the main characters, being this latter what truly gives depth to the story.
This is another heartfelt drama starring Elijah Wood, where he plays the son of Vietnam War vet Stephen Simmons (Kevin Costner) who must deal with his son's rivalries with other children and his own personal and employment problems.The title "The War" is a bit misleading for this movie, as it shows more how fighting in a war can affect a person.
While I do not remember much from this movie, I do recall being impressed from the acting, especially that of young Elijah Wood.
Just like an earlier film he appeared in, Paradise, this movie will make you forget your troubles and inner-demons, have courage to deal with your problems and treasure your values.Costner and Wood make a great father-son team.
However his time in Vietnam has left its scars (both physically and emotionally), and has placed strain on his relationship with wife Lois (Mare Winningham), and his children Lydia (Lexi Randall) and Stu (Elijah Wood), who are 12 year old twins.
However his time in Vietnam has left its scars (both physically and emotionally), and has placed strain on his relationship with wife Lois (Mare Winningham), and his children Lydia (Lexi Randall) and Stu (Elijah Wood), who are 12 year old twins.
Lexi Randall, as Lydia, also shines at times, although she is almost overshadowed by the wonderful performance of her best friend Elvadine, played by Latoya Chisholm This movie has a similar feel to that of Fried Green Tomatoes (both films are directed by Jon AvnetPicture The overall picture quality of this HD DVD is very good.
At times this transfer looks brilliant - almost on par with the best looking HD DVD titles out thereThere is some noticeable grain in night scenes and some sequences filmed indoors.
Sure, the discrete sound effects are not as convincing as those on well recorded and recently released action movie, but once again it is an impressive mix for a 13 year old movie The War soundtrack includes a mix of classic songs from the 1960s and 1970s (Cat Stevens, Credence, The Supremes, Aretha Franklin), and also boasts and interesting and varied score that is especially moving in some scenes.
I don't see how anybody, after seeing a movie like this, could not be moved, even enough to do something about this dumb world we live in, Second, great acting.
But this pair as well as the great performances by the other actors and actresses expresses the depth of each individual character and why people act the way they do.
With solid play acting by Kevin Costner and young Elijah Wood.
Costner gallantly gives up the screen to the precocious Elijah Wood, who proves yet again why he will go very far in movies.
Maybe he lost everything during the war, his best friend, his house, even the respects by his daughter, but he finally used his powerful love to get the most precious emotion in this world.
hi I liked this movie for the story and all the other stuff but what really made me love this movie was the performance of Elijah Wood.
The two obviously don't mix.Stu (Elijah Wood) lives in a poor, rundown little village after the Vietnam war.
Director Jon Avnet, who earlier did Fried Green Tomatoes and recently Red Corner handled it well, but brought some unneccesary melodramtic parts that nearly ruined the picture, much like Richard Donner with Radio Flyer.Elijah Wood, looking way different from his previous role in the Good Son, does unbelievably well in his part, as does the often overrated Kevin Costner.The only thing that deterred me from seeing it earlier was the box (I saw it a month ago).
Continuing my plan to watch every Kevin Costner movie in order, i come to 1994's The War. I recall my surprise at seeing KC (still Hollywoods golden boy at the time) taking a supporting role in a movie about kids.
KC's Ste Simmons could easily kick the Lipnicki dad's butt, but he knows that fighting does not solve anything, and he even gives a couple of the Lipnicki kids cotton candy, after they beat Wood up "because it don't look like nobody has done much for them in a long time." If the movie had just focused on the kids, the families, and their every day problems , I think, this would have been viewed as a small masterpiece.
All of the performances are so good (Especially Wood and Randall) you really believe you are watching the characters, not the actors.
The Movie has great and realistic performances from Costner and Elijah Woods.
A lot of people that have reviewed here say this movie is too sentimental, too much of an "ideal morals" kind of movie, that they don't like coming of age films, and so forth.I think this movie is a nice break from the typical movies that everyone likes nowadays....ones that are full of sex, sexual humor, people slicing each other's heads off, exploding buildings, etc...Is it a simple story?
I do agree with the statement that kids don't talk like grown-ups, maybe they did back in the time that this movie was set.
This is by no means a trendy mainstream type of movie, but Kevin Costner and Elijah Wood are great here.
His challenging portrayal of a complex character alone makes the movie worth watching.It's a beautifully-shot, well-acted period film (with a great soundtrack!).
Predictable and somewhat overreaching family-oriented drama shoehorns in Kevin Costner as the father of two of the central good kids; he's just back from Vietnam and still hears the choppers, but we know he's in big trouble once he puts everything on the line to take a dangerous mining job.
There are way too many unrealistic scenes featuring the kids in this movie where they philosophize about life, stand up to their teachers by reciting a monologue about their lives lasting 5 minutes, and support each other emotionally with cute quips, smiles, and longing gazes.
Even though the title and plot synopsis makes the audience think they are going into an adult drama, The War is actually about children.Kevin Costner plays a Vietnam veteran who returns home to Mississippi (cue all actors have varying degrees of accents) and struggles to reconnect with his wife and children.
If the entire movie was about his readjustment after wartime, I would have liked it much better.The kids get in a mini-war that's probably supposed to be a poignant "do as we say but not as we do" lesson for grown-ups, but it comes across as silly and annoying for viewers.
The war scenes are not believable and Kevin Costner is highly overrated as an actor Elijah Wood is far and away the star of the cast.
The head of the family was a part of the Vietnam War, his wife suffered, and their kids are warring with their fellow aged people.'The War' has a wonderful first hour, in fact the portions between Elijah Wood and Kevin Costner are memorable and highly emotional.
There are at least 3 wars represented in this film, but none of them involves screen action of the sort desired by those young men.This could have been SUCH a good movie if it had displayed the sort of integrity it advocates.
Never was Kevin Costner better than in "The War", and never have I've seen a better performance of the complete cast of a film - so I just doff my hat and say: "Perfick!" (For "Perfick!" see "The Darling Buds of May").Never heard of any of the actors before, except Kevin and Elijah Wood, of Lord of the Rings fame.This one of those rare films that suit almost any age, as long as you can read the subtitles, or understand the dialogue!Stumbled on it by chance really, and this is a true gem - yeah, I'm a 50+ guy who nearly lost my life the other day in an accident, but this shook me more!
I loved this movie, and not just for the sake of the cuter-than-cute Elijah Wood, but for the very strong message, excellent acting and wonderful charm.
Kevin Costner shows his sensitive side as the loving father of Stu (Wood) in a heartwarming story that perhaps George Bush should draw inspiration from.
This is a great movie to watch with your kids, as the message of "No Violence" is so relevant in today's society.
I am not a big Kevin Costner fan, but in this movie he actually proves he CAN act, Elijah Wood does an incredible job in this movie, I think his performance could very well be the best performance for a young star I have ever seen.
I think this movie is extraordinary and deserves a 10 out of 10, some of the scenes do get a little "annoying" at times, but overall this is one of the best movies I have ever seen, and certainly the most UNDERRATED!!
The story is about a boy whose father went to Viet-Nam and never came quite well, mentally speaking; and who has to confront many problems everyday, including kids fights, poverty, etc.The cast is great, Elijah Woods delivers an amazing performance as Stu, the kid who fights to achieve what he believes, and Kevin Costner plays Stephen, Stu's father, who struggles to overcome all he mental disorders that Viet-Nam left him, and tries to teach his children that this world can be changed.
:)So, if you're a fan of Elijah Wood and/or drama, SEE THIS MOVIE!!.
I admit the reason I saw this film was for Elijah Wood, I had high expectations as he had been awarded NATO's best young star of the year award for his performance in it, so I could easily have been disappointed, yet I certainly wasn't.
This is one of the few movies with Kevin costner that I actually like.
"The War' is one of the best emotional father and son films, I ever seem.
The relationship between Kevin Costner and Elijah Wood is just wonderful.
Kevin Costner plays Stephen Simmons, a returning Vietnam vet who seeks to build a better life for his wife and children in 1970's Mississippi.
Kevin Costner is brimming with positive lessons on social consciousness, but struggles to be a breadwinner for his family due to post-traumatic stress disorder from his service in the Vietnam War. While this is going on, Simmons children, Stu (Elijah Wood) and Lidia (Lexi Randall) are feuding with an even poorer family of neighbors, the Lipnickis, over access to a tree fort that Stu and Lidia built.
It gives Kevin Costner something useful to do with his propensity to take himself seriously (often too seriously), but the film belongs to the young Elijah Wood.Stu (Wood) and Lidia (Lexi Randall) are the children of Stephen (Costner) and Lois (Mare Winningham) Simmons.
Great Movie for Kids to Watch.
I think this movie has a lot of important messages in it and I would suggest it for any parent to watch it with their kid.
This was one of my favorite films when I was a kid, and although I didn't understand the post-traumatic stress disorder Kevin Costner was going through, I understood his angst and I had a better understanding of fights between children after I saw this movie.
SPOILER* at the end of the movie it has a really important message when Elijah Wood's character risked his life to save one of the bullies, the message is that when in the face of death the minor fights between the kids were all forgotten in that instant- it didn't mean anything.
How there was a war for the veterans of Vietnam when they came home and soldiers have to deal with the guilt and whether they did the right thing or not- somewhat a good starting point for other movies like Born on the Forth of July and Jacob's Ladder.
Also if you do watch this with your kid, prepare yourself, this like Fried Green Tomatoes is a sad movie.
The War - A Great Vehicle for the Young Elijah Wood.
Wow
this movie speaks volumes.The War (1994) is about a man, Stephen, (Kevin Costner) struggling to make ends meet for his family after he returns from being hospitalized because of psychological problems (among others) stemming from being in the Vietnam War. Meanwhile, his son Stu (Elijah Wood) and daughter Lydia (Lexi Randall) are building a tree house with their friends and must deal with the local family of bullies on a day-to-day basis.
Kevin Costner is wonderful as the well-to-do dad, and reminds me of why I enjoy his films so much, and both Elijah Wood and Lexi Randall turn in amazing performances.
I've seen many good films in my life, but "The War" has easily made the step to my all-time favorites!!
A great cast, a fine and beautiful soundtrack, a brilliant and entertaining story and some of the best screen performances ever in film history make this movie to an extra-ordinary masterpiece, sadly underrated and unfortunately neglected by those making the nominations for the Academy Awards.Kevin Costner portrays here the ordinary, simple and unobtrusive man from the neighbourhood, whose life changed completely through his experiences in Vietnam.
What a great emotional performance...Elijah Wood is just brilliant!!
Great...The story is also, in addition to these great character performances given by Elijah, Kevin Costner, Mare Winnigham and Lexi Randall, so brilliant and unique, and I will tell you why I think that.
What makes this film so unique is also this brilliant combination of different genres, like this movie is 1.
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tt0133412
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Best Laid Plans
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A used, but still burning, cigarette falls on a small stack of paper, setting it alight.Nick (Alessandro Nivola) stands in a bar in the small town of Tropico, Nevada. He sits at his booth where he's joined by a college friend named Bryce (Josh Brolin), who's almost finished accreditation toward becoming an English teacher. The two fall into small talk ranging from where-are-they-now regarding some of their college acquaintances, to a 1960's sexual game that promoted adultery.Outside, a young blonde woman (Reese Witherspoon) steps out of a cab; the camera first panning along her legs, and then up to her face. Looking pensive, she steps into the bar, walking past the booth where Nick and Bryce are sitting. Bryce turns slightly, ogling her as she walks past.A clenched hand, gripped by another at the wrist, jerks up and down at the head of a bed.Bryce calls Nick at two in the morning, frantically pleading for him to come over right away. Bryce says he's in very serious trouble and in desperate need of immediate help.Nick is delayed by a roadside brush fire, but makes it to a lavish house that Bryce is house-sitting on behalf of the owners. Bryce pours two drinks, and tells Nick that he'd gotten laid earlier in the evening, but it's what happened afterward that has him in such terrible trouble. The blonde girl who'd come into the bar, named Kathy, had picked Bryce up after Nick left, and talking and another round of drinks led to Bryce bringing her home with him and eventually they had sex. By that time, Bryce was drunk, events passing at a blur, and he already can't remember all the fine details. After they were done, Kathy told Bryce that she was going to take a cab home... and call the police to file rape charges against Bryce. The fact that Bryce had started to get intoxicated and couldn't remember all the details between Kathy showing up at the bar, and his calling Nick for help, makes him very frightened that he wouldn't have any adequate defense in court. He can't swear under oath that she never abruptly tried to back out of making love with him.But the worst part of it is, Kathy never left the house-- Bryce tells Nick, she's downstairs. Bryce takes Nick to the basement, and turns on the lights. Kathy sits on the floor at the base of a pool table, and she's bound and gagged; steel cuffs with long chains shackling her wrists to a wooden rod at the base of the pool table. In a total panic over the rape accusation, Bryce had dragged the girl down here, and she's now his captive.Bryce and Nick start to argue hotly. Nick demands Bryce produce the key to Kathy's wrist cuffs, so he can unlock them and then drive the girl home, but Bryce refuses to do this, until he can be assured that his teaching career won't be ruined. Nick hears Kathy starting to cry and turns his attention to her. He pulls her gag away from her mouth and asks if Bryce had wrongly touched, or hurt her, after she told Bryce he'd raped her. Kathy has a cut on her lip from falling down when Bryce pulled her down here, but she admits that Bryce hadn't touched her after he'd chained her to the pool table. Other than that, she's terrified at being held captive, and she sobs that she just wants to go home and forget any of this ever happened.But back upstairs, Bryce reveals there's still more to the problem. Dumping the contents of the girl's purse on a coffee table, he shows Nick two drivers' licenses Kathy has; one for the state of Nevada, listing her name as Katherine Lowell and her birth year as 1977... and the other one from Texas, listing her name as Jennifer Bigby, and her birth year as 1982. One of them must be fake, and because people typically make fake ID's listing them as older than they really are, for the purpose of accessing facilities and services with a minimum age requirement (like the bar where Nick and Bryce had gone to), instead of vice versa, Bryce believes the real one is the Texas license, which would make the girl only sixteen years old. This means that even if she didn't try to back out of having sex, her age still makes Bryce guilty of statutory rape. Bryce is certain this means he can kiss his teaching career goodbye before it's even started.Bryce wants to get Kathy out of the house and out of his life, but he's desperate to try and assure her silence. Her fake ID means he won't trust her word, and he has nothing to bribe her with, and she's too frightened to try and threaten her.Nick suddenly says he can try to do that. He's already played 'good cop,' and now he can pull a reversal, and try to scare her into compliance.Nick goes downstairs where Kathy still lays, shackled to the base of the pool table. But as he squats down beside her, he tells her, 'we're fucked,' and she answers, 'you're telling me;' revealing that it's Bryce who's only scratched the surface of what's really going on...The scene shifts to four months earlier. Nick is at work at the Tropico Recycling company; the primary source of the town's income. It's the day of his father's funeral, and his relief is very late in arriving. Hurrying home, he changes clothes and races to get to the funeral services, accidentally running down his neighbor's cat. As the vet prepares to euthanize the cat, it's shown that Kathy, whose real name is Lissa, works at the veterinary clinic. When Nick exits the animal hospital and finds his car has a flat, Lissa drives him to the cemetery where the priest still waits for him. She stands outside her pickup and watches the ceremony. Afterward, the two have lunch at a diner and start to bond, talking about why they're still living in a dead-end town like Tropico. Both of them are struggling to build futures for themselves so they can each find a good place to live. As they're preparing to part way for the night, they turn to look at each other one more time, and the camera cuts to the two of them kissing madly as they go into Nick's house, and then having sex.Nick had come back to Tropico to care for his father during his last months, and was looking to quietly collect any inheritance due him and use it to make a life for himself. But, arriving at the office of his father's lawyer, he gets double whammied: an autopsy on his father showed a chronic liver condition that he omitted from his life insurance forms on purpose, meaning they're refusing to pay out on the policy. Worse, Nick's father owed $200,000 in back taxes, and the IRS has seized all of the property for public auction. Nick is personally not liable for any of the tax burden, but it means he has no inheritance of any kind to collect. He's now stuck with no money in a dead-end job in a dead-end town. The only thing Nick seems to have going for him, is his budding relationship with Lissa, who's growing close to him.The two of them eke out their day to day lives in Tropico as best they can, until one day Nick's co-worker, Barry, introduces him to a shady man named Jimmy (Terrence Howard), who works for an even shadier employer. Trying to avoid telling him everything, they only say that Jimmy's employer moves various 'stash' around from house to house to foil potential search warrants, and tonight it's at Jimmy's house. He and Barry are planning to stage a burglary to steal $40,000 worth of it. But they need a driver. They offer Nick a fourth of their cut if he acts as driver.The job goes off without a hitch, leading Nick to reveal to Lissa that he'd been dishonest about going to a game with Barry, and he's ready to start looking into finally leaving Tropico. Lissa agrees to go with him.But the next day at work, a menacing looking man comes up to Nick and demands he get into a nearby car with him. In the front passenger seat is a Bad Ass Dude (Rocky Carroll, character unnamed, will be referred to as BAD for Bad Ass Dude), apparently Jimmy's boss, who knows about the theft. Nick is brought to a hideout where Jimmy is tied to a chair and apparently being tortured for his part in the robbery, and BAD mentions that Barry wasted no time at all skipping town, most likely for fear for his hide. When Nick says his cut of the theft was $10,000, BAD tells him that for $15,000, they'll be square and reparations will be complete. He has until Sunday to get it, and if he tries to run, they'll hunt him for the rest of his life.On finding out what's happened, Lissa looks to help Nick out, but Nick doesn't want her involved because of how dangerous BAD is. But raising the money he needs proves near impossible. Checking his answering machine, Nick finds that Bryce is calling, and he's in Tropico again. With nothing to lose, Nick calls him back.Bryce brings Nick to the house he's house-sitting at, belonging to a very wealthy man named Beaumont. Remembering Nick was interested in history, Bryce shows Nick that Mr. Beaumont has a Note authored by Abraham Lincoln himself; a stay of execution for one of Mr. Beaumont's ancestors, who deserted the Union Army during the Battle of Vicksburg. The note is written on the back of a 19th century $5 bill.The bad news comes before Nick can even approach Bryce about a possible loan: Bryce's parents, who have money, have cut him off in something Bryce calls a 'benign toughlove policy without the benign part.' Although preparing to start a career as a professor, the starting salary will be very poor.Nick goes to see Charlie, a thrift shop owner and finds that a genuine Lincoln signature would net him a six-figure profit, although not so simply as Nick would hope. First, if it's registered, it's immovable. If unregistered, he'd have to wait sixty days and it would require the right fence. Nick suspects Charlie has suggested he could be such a fence, and negotiates a cut for him.The trick is, exactly how to steal it. Lissa sees Nick doesn't trust Bryce enough to bring him 'in' on it; Nick says that if caught, Bryce would rat them out in a heartbeat, like he did with two people he worked with at cheating on college midterms. Lissa comes up with an idea to make sure Bryce wouldn't report such a theft: make him think he'd get in even more trouble by doing so, than if not. One way is by tricking him into thinking he's committed some form of crime, such as arson... or rape. When Nick says that statutory could work, Lissa quickly understands what Nick means and angrily leaves the house.When Lissa returns the next day, she sees a photograph sent to Nick; Barry's been found and murdered. This frightens Lissa enough that she agrees to go through with the plan. Nick shows that, despite his gratitude, he hates himself for just coming up with the idea. Later, he offers her another chance to back out of it. When she stays silent, he tells her that soon as she's given Bryce the necessary scare, she should hurry out of Tropico.Driving to the bar, Nick pauses near a bridge and throws his cigarette out of the car window. Unknown to Nick, it lands on some dried paper and starts the brush fire.We return to the first scene with Nick meeting Bryce at the bar; Bryce telling a vulgar joke as Lissa walks in and takes a seat; Nick passing by Lissa en route to the bathroom and telling her he loves her. She asks simply why he thinks she's going through with the plan.Lissa relocates to a seat closer to Nick and Bryce's booth, and initiates contact by giggling when Bryce spills some of his drink on his shirt. He invites her to join him and Nick. She sits and introduces herself as Kathy. Nick returns from the bathroom and excuses himself, saying he needs to leave.The scene of Bryce holding one of Lissa's wrists as they have sex, is again shown, and we return to Nick and Lissa in the house's basement; Lissa still shackled to the base of the pool table. Nick is in shambles over what's happened to Lissa, and he tries to comfort her. Lissa tells him she has the Lincoln Note, but Bryce has the key to her cuffs. After Lissa gave her 'pitch,' she says Bryce lost his cool and grabbed her as she tried to get out of the house, dragging her down the stairs before putting her in the basement. Despite his having roughed her up a bit when pulling her down the stairs, Lissa writes Bryce off as harmless; just a bad drunk.The trick is how to get out of the house. Nick says he has two ideas. The first one is to break the pole at the base of the pool table so they can escape; the complication is that Bryce has spent the past two hours studying the two fake ID's Lissa was carrying. Right now he only knows one is fake, and he only thinks he knows which one, and why. If he figures out both are fake, he'll report the theft of the Note once he notices it missing.Cut to Nick and Bryce back upstairs; Nick and Lissa are going with 'option two.' Nick fabricates a whole story about how 'Kathy' is going to turn them both in for kidnapping and rape, that her uncle is a lawyer and both of them are going to fry for what they've done to her. Bryce falls apart even further; once he's put on a sex offender registry, he can forget about working at any kind of respectable job. Bryce now wants to kill Lissa, he's so angry with her. Just at that second, a commercial for Tropico Recycling, which both Nick and Lissa starred in, starts to come on the TV, and Nick has to do a distraction to keep Bryce from noticing. He picks a fight over Bryce playing him for a fool, and tells Bryce that if he wants to kill Lissa, he should just come out and say so, without making suggestions to lead Nick on.Nick then takes control, 'leading' Bryce along the 'difficult' question of killing Lissa to keep her silent. He sets the hook by telling Bryce it's his decision and Nick will abide by whatever Bryce decides. When Bryce decides to go through with it, Nick says he'll do the actual murder, saying it's why Bryce called him. He takes the key to Lissa's wrist cuffs and goes back downstairs.A few moments later, Nick comes back up, carrying Lissa, as if he'd killed her. Nick assures Bryce he can get Lissa out of the house and off the property, but they realize they forgot to take her purse. Lissa starts to get very scared about being locked in the trunk and almost blows the whole thing when Bryce comes back out with the purse. Things start to go more awry when Bryce refuses to stay in the house alone, insisting on coming with Nick.Nick tries to calm Bryce by turning on the radio, but there's no room for calm when they're accosted by carjackers who steal the car-- with Lissa still in the trunk. Nick knows it wasn't a random carjacking, however. Sending Bryce home, he races back to his own house, barely getting there in time to answer a call. One of BAD's men is making the call, and also standing right outside to bring Nick to BAD's hide out.BAD reveals that he's chosen to collect early in case Nick was thinking of running. He turns a chair around, showing Lissa bound and gagged; BAD is holding her for ransom of an additional $10,000. Nick says he can get 20 in three or four hours, which BAD agrees to, saying Freddy will drive him back, and Lissa will stay as a hostage, while Nick goes to get 'Daddy's money.' Nick suddenly stops; BAD shouldn't know anything about Nick's father. He takes a step back, and hears a crackling sound. Looking down at the floor, he sees broken peanut shells... similar to the ones Barry dropped just before they staged the 'robbery.' Turning, he sees a closed door and bursts through it; revealing Barry and Jimmy sitting on a sofa, very much alive. What they 'stole' wasn't cocaine, but baking flour. BAD isn't a big crime boss, but merely a finance major with tuition to pay. The whole thing was a screw job because they thought that Nick had inherited a lot of money from his father and the house, and they could easily bilk him out of twenty grand. The whole plan having fallen apart, they let Nick and Lissa go, with a 'gentleman's agreement' that Nick appearing to have kidnapped Lissa is their insurance against Nick's turning them in.Nick and Lissa walk in a daze, passing by a diner, wnere Nick says he has to see Charlie within two hours. At least he can still sell the Note and get the money. Lissa is disgusted by this, angrily tearing into Nick about how they're about to sink to the exact same point as Barry, Jimmy and crew; screwing Bryce like they'd tried to screw him. It was never about the money, Lissa says; it was about saving Nick's life and building one for themselves. But now that they know Nick's life was never in danger, selling the Note for pure profit would make them no different than BAD, Barry and Jimmy. Seeing a new side of Nick, Lissa turns and walks away, entering the diner. Nick follows her inside, still hoping to try and salvage the one thing he has going for him.Inside, Nick finds Bryce. It was the nearest diner where he could get something to eat. Bryce drops the bombshell that his conscience over 'Kathy's' murder won't let him rest, and he has to confess... which, Nick knows, means turning him in as well. As if he hasn't lost everything already, Nick reaches his breaking point. He tells Bryce off, calling him out on a lifetime of crude, boorish behavior and that Nick is through with him as a friend. He takes out the stolen Note and returns it to Bryce, confessing the whole screw job he and Lissa tried to pull, showing that Lissa, on her way out to catch a cab, is alive and well, and if she leaves him now, he'll never be able to make it up to her; something he desperately needs to do.Nick follows Lissa outside as the cab arrives. Lissa opens the cab door and stops; looking at Nick for several minutes. Then she shuts the door again and lets the cab go. Best Laid Plans closes with Nick and Lissa starting to go on a walk together. Their financial future and ability to leave Tropico is still in question, but their personal future looks to be on the track to reconciliation and a readiness to face their futures together.
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neo noir, murder, violence, flashback, humor, suspenseful
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train
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imdb
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tt0082348
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Excalibur
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In ancient England, warfare reigns between Uther Pendragon (Gabriel Byrne) and the Duke of Cornwall (Corin Redgrave). To bring peace, Merlin (Nicol Williamson) secures the mystical sword Excalibur from the Lady of the Lake (Hilary Joyalle) and gives it to Uther. Impressed by this symbol of power and Uther's promise of land, Cornwall relents and recognizes Uther as king. Cornwall hosts a celebration, where his wife, Igrayne (Katrine Boorman) dances. Uther cannot hide his lust and the fragile truce is broken.Uther besieges Cornwall's castle. He again asks Merlin to intervene. Merlin agrees to give him Igrayne but only if Merlin will receive the result of Uther's lust. That night, Uther's men draw Cornwall out of his castle and ambush him, killing him. Merlin transforms Uther to resemble Cornwall. Uther enters the castle, makes rough love to Igrayne and impregnates her as Cornwall breathes his last.Nine months later, Igrayne gives birth to a son. Upon seeing his son for the first time, Uther vows to become a peaceful king and secure his kingdom for his son. Merlin, who has not been seen since the night Cornwall died, appears and takes the child, as per their agreement. Igrayne is distraught and as Merlin disappears into the forest, Uther tries to stop him but is attacked by knights still loyal to Cornwall. Mortally wounded, Uther drives Excalibur into a stone, declaring no one will have the sword but him. Standing nearby, Merlin recites a spell that will keep the sword in the stone until Arthur is old enough to claim it.For the next sixteen years, no one is able to pull the sword from the stone. Annually a joust is held to see who will be able to try; if any man succeeds, he will be crowned king. Sir Ector (Clive Swift) brings his son, Kay (Niall O'Brien) and Kay's squire, Arthur (Nigel Terry). When Arthur forgets Kay's sword, he goes to the stone and draws Excalibur for Kay to use in the joust. Incredulous, the crowd sees that Arthur has removed the sword. Ector reveals that Arthur was brought to him as a baby by Merlin, who bid the man to raise Arthur and protect him. Many of the other knights refuse to recognize Arthur, who is not a knight, as their king. Only Leondegrance (Patrick Stewart) acknowledges Arthur as the rightful king. After a quick tutorial in the mystic arts, Merlin leads Arthur to Leondegrance's castle, which is besieged by the other knights. Arthur fights bravely but wins the day when he admits that he is not himself a knight and kneels to ask one of the rebel knights, Uryens (Keith Buckley) to remedy the situation. Uryens recognizes Uther Pendragon's courage flows through Arthur's veins and knights him. That night, Arthur begins his courtship of Guenevere (Cherie Lunghi), Leondegrance's daughter.Under Arthur, the kingdom is prosperous, the various fiefdoms are united, and many people flock to his gleaming castle, Camelot. The land's mightiest knights have joined Arthur's fellowship. These knights include Lancelot (Nicholas Clay), who had earlier taught Arthur an important lesson in humility. Lancelot, the best knight in the world, had defeated all of Arthur's knights; Arthur himself won only by calling on Excalibur's mystical powers. The sword shattered because Arthur had misused it. Recognizing his sin, Arthur repented and the Lady of the Lake returned Excalibur to Arthur, whole. Lancelot swore his allegiance to Arthur that day. However, he spends little time in Camelot because of his love for Guenevere. In order to maintain his and Guenevere's honor, Lancelot stays in self-imposed exile. Arthur marries Guenevere, establishes the Round Table and peace unites the kingdom.This fact is not lost on another of the castle's denizens, Morgana la Fey (Helen Mirren), Arthur's half-sister. As a child, she had watched Uther ravish Igrayne as her father (Cornwall) died. Now she hides a bitter plan to destroy Arthur and his kingdom. She goads Gawain (Liam Neeson) into accusing Guenevere and Lancelot of infidelity. He challenges the absent Lancelot to a joust. Lancelot's squire, Perceval (Paul Geoffrey), is knighted so he can joust in Lancelot's place but at the last minute Lancelot arrives and defeats Gawain. Then he collapses from a self-inflicted wound, incurred the night before as he wrestled with his unchaste desires for Guenevere in the forest.Merlin has grown tired from helping men forge their kingdoms and accepts that soon science and the Christian God will take the place of magic. Morgana rejects his conclusions and seduces Merlin into revealing all of his secrets, tricking him into reciting the ancient spell of "making", the very same spell Merlin had used to alter Uther's likeness to that of Cornwall. She learns the chant and uses it to imprison Merlin in his cave. Meanwhile, Guenevere has slipped into the forest to find Lancelot. They make love and fall asleep. In a scene that both Morgana and Merlin witness, Arthur finds them and, rather than kill them, drives Excalibur into the ground between them. When they awake, the two adulterers are driven apart by grief. That night, Morgana takes the guise of Guenevere, has sex with a delirious Arthur and begets a child by him.Without Excalibur and despondent over the treachery of his queen and best knight, Arthur is an ineffective king and the land suffers. Crops fail and pestilence spreads. Arthur sends his knights on a quest to find the Holy Grail, the cup Jesus used during the Last Supper; it will heal Arthur and the land. All of the knights search for the Grail for 10 years, and most of them die. Morgana has raised her and Arthur's son, Mordred (Charley Boorman), to hate Arthur. Together they lure Arthur's knights to their lair and hang the ones that cannot be entranced from a tree. Perceval is one of those knights. As he slowly strangles, he has a vision of the Grail. It asks him "What is the secret of the Grail? Who does it serve?" Perceval is too frightened to answer the question. However, the spurs on another hanged knight's armor gradually sever the rope hanging Perceval, and he escapes.In the countryside, Perceval encounters a group of disheveled peasants who appear to be conducting a funeral for a child. He recognizes Lancelot among them, barely recognizable with long hair, a beard and dressed in a monk's robes. Lancelot is now almost insane with disaffection over Camelot. Perceval begs Lancelot to return but instead they attack him. He barely escapes with his life but finds himself at the Grail Castle from his near-death vision. This time, Perceval understands the secret of the Grail: it is the faith that sustains Arthur, and through him the land flourishes. Perceval returns to Camelot with the Grail. Arthur drinks from it and regains his health and the land next to him blooms to life. He visits Guenevere, who retired to a convent after her infidelity. Arthur forgives her and asks her forgiveness. She returns Excalibur to him, having kept it with her through the years.Mordred has challenged Arthur to the throne and has built a massive army comprised primarily of Saxons. Morgana's enchantments protect him from any man-made weapon. They also keep her artificially youthful. On the night before the battle, Arthur prays for Merlin for help. As a wraith, Merlin appears in Morgana's tent and tricks her into undoing her spells and causing her to finally age, becoming an old hag. As she ages, smoke pours from her mouth, enough to cover the camp and the battleground. When Mordred finds his mother as an old crone he strangles her.The next morning, Arthur's forces, though vastly outnumbered, meet and vanquish Mordred's army at Camlann, having the advantage of the smoke let loose by Morgana. They are aided by the timely intervention of Lancelot, who singlehandedly kills many Saxons. Lancelot, however, succumbs to the wound he'd given himself in the forest when trying to requite his love for Guenevere, and collapses. A grateful Arthur forgives him and Lancelot dies, having found peace.Only Mordred himself remains. He impales Arthur on a spear and Arthur stabs him with Excalibur, killing him. Dying, Arthur commands Perceval to take Excalibur and throw it into the nearest body of still water. Perceval takes the sword to a nearby lake but is unable to follow the command; he returns to Arthur saying that Excalibur cannot be lost again. Arthur reassures his knight that the sword will be safe and will be presented to the next worthy king. Perceval returns to the lake and casts the sword in where it's caught by the Lady of the Lake and taken beneath the water. Perceval rides back to Camlann in time to see the Fates sailing away to Avalon with Arthur's body.
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psychedelic, cult, historical, violence, historical fiction
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train
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imdb
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The Best Theatrical Re-Telling of the Arthurian Legend--Largely Based on Malory's Le Morte d'Arthur (1485).
Late in the film, King Arthur is about to fight his last battle against his estranged son Mordred.
Thereafter the first, and one of the greatest, attempts to bring the stories into a novelistic form was written in the late 1400's by a knight, Sir Thomas Malory, entitled La Morte d'Arthur ("The Death of Arthur") which is probably the most famous work of English letters proceeding Chaucer but before Shakespeare.
By the 20th century, theatrical adaptations began appearing as well, including "Knights of the Round Table" (1953), Disney's "The Sword in the Stone" (1963), and the musical "Camelot" by Lerner and Lowe which was possibly the most popular rendition of the story before "Excalibur".
These last renditions, although they have their appeal, cannot measure up to the movie "Excalibur" which was largely based upon Malory's original tome.Many here have detailed very well the merits of the film, and since most people know the story, I will keep this short.
The entire look of the film, which I have not seen in a movie since, reeks of Medieval Legend.
This concept was a widely held belief in the Middle Ages: that the sovereign was essentially married to the kingdom.Another aspect that makes this film outstanding is the portrayal of Merlin by Nicol Williamson.
( Indeed, the sound track makes frequent use of Wagner.)Some have criticized Boorman for making the story of King Arthur too sexy and violent.
Boorman also looks at the Druidic and pagan roots of the arthur story, (" The Land is the King."), and examines the inner conflict between Paganism and Christianity that gave the myth its original power.
I have not seen Robert Bresson's version of the Arthur myth, Lancelot Du Lac, but I suspect that it may be the only other one by a major film-maker that comes close to the eerie, mythic, glorious heart of Arthurian legend..
It is an expert distillation of the essential Arthurian legend (this from someone who has read and re-read Malory's original work, Le Morte D'Arthur, on which the movie was based, as well as Tennyson, White, Steinbeck, and many of the other modern fictional treatments, as well as a lot of the secondary literature on the history and meaning of the Arthur myth).
The film is wonderful on many, many levels, from Boorman's masterful direction and writing (along with Pallenberg, his screenwriter), to the cinematography, the armor and costumes, the sets and production design, and the acting (with a great cast too numerous to mention).
The film probably works best if you already have some sort of sense of the Arthur legends, but I would recommend it to anyone.
As a result, I have developed an intense dislike for most pathetic attempts to put this story on film.Excalibur is the first, and so far, the only film, in my opinion, to come very close to the brass ring.First some ranting.The early film with Cornel Wilde was a swashbuckling story, no more.The Disney cartoon "sword in the stone" was one of the first in a long series of extremely offensive attempts to take inspirational and tragic stories and turn them into something banal.(Anastasia, The hunch Back of Notre Dame to name a couple)First knight was perfect for displaying Richard Geere's lack of talent, and wasting a perfectly good actor (Connery).
Many people say that it was cheezy looking (Yes, Excalibur the sword does get a tad flexible at points.) However, was not The Day the Earth Stood Still cheezy too, yet it is one of the greatest movies of all times, most people agree.
Not like in many modern movies, I believe Nicol Williamson, Helen Mirren, all the actors from the round table, and Mrs. Boorman did excellant jobs.
The Best Version of the Legend of King Arthur and the Knights of the Round Table ever Made.
"Excalibur" is the best version of the Legend of King Arthur and the Knights of the Round Table ever made by the cinema industry.
This is the only movie I know of to make the attempt to take the events of the Arthurian legend as seriously as possible, portraying them as realistically as possible, thereby making this the best film version of the legend to date.
This could make a good film but it should be called King Arthur, not Excalibur; and it was not Boorman's film.
This film has some wonderful things going for it: Some brilliant casting (Nicol Williamson is incredible--Helen Mirren terrific), great use of music (I don't care for Wagner, but his bombast is perfect for this movie.
Carl Orff was a good choice as well), some beautiful cinematography and sets (some scenes almost take my breath away, like when The Sword is thrown into the water), imagination (I've never seen intercourse in full armor before), and a great story.Unfortunately, it also has some bad casting (who in the world picked Cherie Lunghi to play Guenevere?--flower child as mythological queen?
It should have been extended by at least an hour, giving us more time to appreciate all the beauty, all the personalities (Merlin could have used more screen time, and some of the Knights could have stood further development), all the carnage, all the story in this film.
Some early and even a few debut performances grace the film, such as Liam Neeson, Gabriel Byrne, and Helen Mirren.Some have argued that the full plate armor donned by the knights is not "historically accurate." Seeing as King Arthur is a legendary and/or mythical figure who may not have existed at all, this is not a terribly valid criticism.
Movie that succeeds to be at the same time bad movie and the best adaptation of legend of King Arthur and Knights of the Round Table.
Excalibur is probably the King Arthur film that most ambitiously tackles the in-depth mythology and legend of the medieval warrior, which is both a good and bad thing.Let's start with the good.
This film is a fascinating dive into the ins and outs of Arthurian Legend, starting with the mystical sword, Excalibur.
At the same time, the sword is easily the films coolest asset.For the first hour or so, it gets increasingly harder to root for Arthur as a character.
It is then that the film takes off to an exciting, but equally strange place.This version of the King Arthur story isn't afraid of embracing the fantasy elements and downright weirdness of the source material.
Not only do you have Merlin, the great wizard, manipulating certain situations in the background, but you have plenty of other mystical elements enhanced to fit the story that director John Boorman was trying to tell.
Few film versions of the Arthur legend capture the "Once Upon a Time" feeling of Excalibur, but director John Boorman bathes his mythic vision in blood and grime.
No other "King Arthur" movie has moved me as much as Excalibur.
If you like the legend of King Arthur, this is BY FAR, the BEST screen adaptation I have EVER seen.
Nigel Terry, whose film acting is so bad he doesn't even have a photo on IMDb, can't deliver one single line right in the entire film - he blabbers through them all, and when he's required to put some bravado into a line he screams it at the top of his lungs like Arthur was on fire.All the scenes are so unintentionally funny - through terrible acting, ridiculous staging, Merlin (Merlin!), and verbal bastardization of what is actually a quality script.
Add to this the psychosexual elements, incest, homosexuality (I am convinced Arthur, Guenevere and Lancelot were a menage a trois, although not at the same time) the economic and moral crisis of a system that had played itself out, an almost Christ-like feeling of betrayal, death and resurrection, and you have a story as compelling as anything told by Homer..
Sometimes, as in Point Blank, this produces a film which is austere yet impressive and resonant; at other times, like Zardoz, the result is unintentionally hilarious and leaves the viewer clueless as to the director's intentions.Excalibur falls in the middle.
Even the story itself is poor, demonstrating that the legend of Arthur is less a coherent narrative and more a string of sometimes contradictory events conflating numerous historical figures and folk tales.The film has no discernible intellectual, social or political message, and though it promises the chance to see a record of some good stage actors, the expected performances never materialise through the darkness and mud.
Here the love story is portrayed but so is Merlin and the mythical elements with Morgan and the sword, Excalibur itself.I really liked the visuals in the film.
While this retelling of King Arthur's legend remains popular with many, this bloody tale of dark sorcery and sex is definitely not for me.
The viewer would do well to brush up on the myths BEFORE seeing this picture to avoid being confused as to the unfolding events.The movie reveals the travels of Arthur's mystical sword, Excalibur.
Years later Arthur, Uther's now adult bastard son, draws the sword out of the stone and becomes the new king, setting up his court at Camelot with his Knights of the Round Table.
This malevolent son, Mordred, arrives on the scene, claiming his father's throne for himself and ultimately causing Arthur's downfall.In terms of the acting, I don't wish to disparage any of the cast, as it's been some years since I saw this film.
Even in a fantasy, if the characters fail to capture your interest, it really doesn't matter much what magic or other drama befalls.Admittedly, there are serious time constraints and the movie is intended to focus on Arthur & his sword.
This truly is hands down the greatest version of King Arthur and the Knights of the round table i have ever seen.
I loved everything about this film, the costumes, the cinematography, the story arch, the settings, the lighting, the colors, the mood, the violence, the sex, and most of all the music is the most epic of all time.
The more i watch this film over the years, the more i wish i felt more movies were like it.
The magic involved is cool and not geeky, the violence is gruesome, as is many of the characters, the sex is sexy, and story is one of the greatest of all time and told in the best way imaginable.
The script is fantastic, the actors are wonderful and overall it just makes for one extremely well made film.I have seen other versions of the King Arthur legend but none come even close to this version.
Even the music is hauntingly beautiful.The ending of the film with King Arthur on his way to Valhalla left me in tears..
Greatest King Arthur Movie of All Time!.
If you like the Arthurian legend, are into the Holy Grail, or Dungeon and Dragons, this is the film for you.
Merlin, towards the end of the film, even says the line "Your love brought me back to where you are: in the land of dreams." If anything, this makes the film even more tragic, because all of Arthur's sufferings have been not for his world, but for ours.The Arthurian legend is probably the world's best legend.
The visual imagination and daring to have Camelot as a castle literally made from silver, and to have Arthur's final battle fought in fog with a huge blood red sunset behind it, makes this a feast for the eye.I am writing about one of my all-time favourite films.
Love seems to be a destructive force, lyrically beautiful and bravely realistic...The film brings to life the fateful story of a solitary hero, his ascension to the throne, the love triangle of Camelot, the quest for the Holy Grail, the decline and eventual fall of Arthur and Camelot...
Love seems to be a destructive force, lyrically beautiful and bravely realistic...The film brings to life the fateful story of a solitary hero, his ascension to the throne, the love triangle of Camelot, the quest for the Holy Grail, the decline and eventual fall of Arthur and Camelot...
Along for the ride are his indispensable Knights of the Round Table, particularly Sir Lancelot...The characters in Boorman's "Excalibur" are extremely well developed...
Along for the ride are his indispensable Knights of the Round Table, particularly Sir Lancelot...The characters in Boorman's "Excalibur" are extremely well developed...
Arthur tries to use Might for the establishment of Right, and according to his own laws, he puts reason over love...A prominent figure in the film is Merlin...
Arthur tries to use Might for the establishment of Right, and according to his own laws, he puts reason over love...A prominent figure in the film is Merlin...
The film endures and inspires because it embodies mankind's deepest yearnings...Among the many elements that make the movie work is the cast: Nigel Terry, the rightful King who, accidentally, removes the sword of power easily, not once, but twice; Helen Mirren, the enchantress Morgana, Merlin's nemesis and Arthur's treacherous half-sister, who seduces Merlin, and then encircles him in a stream of vengeance; Nicholas Clay, persuasively ardent and athletic as the First Knight; Cherie Lunghi, the damsel in distress who loves her husband with her mind and Lancelot with her heart; Nicol Williamson, the wily Merlin who would see that the young Arthur receive the necessary training and guidance to fulfill his unlikely destiny; Gabriel Byrne, the hot-blooded Uther Pendragon, who plunges 'Excalibur' deep into a stone rock in one last act of defiance; Katrine Boorman, the woman taken as by a fully armored King; Liam Neeson, the knight who dares to accuse the Queen; and Robert Addie, the 'unholy child' who comes to Camelot to demand the throne of his father...One of the more fascinating aspects of the film (and there are many...) are the differences between Uther and Arthur...
The film endures and inspires because it embodies mankind's deepest yearnings...Among the many elements that make the movie work is the cast: Nigel Terry, the rightful King who, accidentally, removes the sword of power easily, not once, but twice; Helen Mirren, the enchantress Morgana, Merlin's nemesis and Arthur's treacherous half-sister, who seduces Merlin, and then encircles him in a stream of vengeance; Nicholas Clay, persuasively ardent and athletic as the First Knight; Cherie Lunghi, the damsel in distress who loves her husband with her mind and Lancelot with her heart; Nicol Williamson, the wily Merlin who would see that the young Arthur receive the necessary training and guidance to fulfill his unlikely destiny; Gabriel Byrne, the hot-blooded Uther Pendragon, who plunges 'Excalibur' deep into a stone rock in one last act of defiance; Katrine Boorman, the woman taken as by a fully armored King; Liam Neeson, the knight who dares to accuse the Queen; and Robert Addie, the 'unholy child' who comes to Camelot to demand the throne of his father...One of the more fascinating aspects of the film (and there are many...) are the differences between Uther and Arthur...
When he sees Guinevere in the arms of Lancelot, he stuck 'Excalibur' between them loosing his connection to the extraordinary powers of Merlin and the Lady of the Lake...John Boorman's films frequently concern contradictions and polarities, tensions between nature and civilization, dream and reality...
When he sees Guinevere in the arms of Lancelot, he stuck 'Excalibur' between them loosing his connection to the extraordinary powers of Merlin and the Lady of the Lake...John Boorman's films frequently concern contradictions and polarities, tensions between nature and civilization, dream and reality...
Excalibur, Starring Nigel Terry, Nicol Williamson, Helen Mirren, Cheri Lunghi, Nicholas Clay, Liam Neeson, Patrick Stewart, Gabriel Byrne, Robert Addie, Katrine Boorman, Paul Geoffrey, Clive Swift Director John Boorman, 1981 Director John Boorman and screenwriter Rospo Pallenberg worked on adapting the centuries old Thomas Malory epic "Le Morte D'Arthur" into a stunning, intensely dramatic movie masterpiece the likes of which had never been seen before.
First of all, we must look beyond the fantasy elements and the special effects which everyone enjoys - the magic sword Excalibur, itself a symbol of strength and kingship (in the film the Lady of the Lake who gives the sword to Arthur and who receives it again in the finale is played by one of Boorman's daughter Telsche Boorman), the elaborate details of the medieval, Celtic-Christian England from the clothing, to the fortresses, to the armor and weapons, and we must see into the heart of the long epic.
First off, Nigel Terry and Nicol Williamson as Arthur and Merlin carry the movie.
Have seen this film quite a few times and never tire of it as it is a brilliant depiction of the Arthurian legend and Camelot.
I've seen a lot of films that involve knights on horseback and guys fighting each other with swords dressed in armor but this is the only one with hugely over the top acting and way too out of this world grossly exaggerated dialog.
It also covered the story of King Arthur better than any other film before or since..
I don't know much about the King Arthur legend, but I can say that this film is brilliant.
As Arthur puts it, "We'll use the old ways."Excalibur is a dense, bombastic, aural, noble and spectacular telling of the Arthurian legend.
It is the best film ever made about The Arthurian Legend and is likely to remain so.
The late Nigel Terry is great as King Arthur, I also loved him in Caravaggio, a shame that he was so little known as an actor.
The Best of all King Arthur Movies.
No other King Arthur movie has made an impression on me like Excalibur has.
As much as I like "knights-in-shining-armor" movies and fantasy films, there has to be a certain narrative logic to the stories and a certain reality to the characters.
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tt0116260
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Eye for an Eye
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Karen McCann(Sally Field),Is A Woman With Everything To Live For. She Is Happily Married To Mack(Ed Harris),And Has 2 Daughters,17-year old,Julie(Olivia Burnette), And Six-year old Megan(Alexandra Kyle). She Lives In A Nice House In Santa Monica,California,And Has A Good Job In A Museum. However,Her World Is Shattered When Julie Is Violently Raped And Murdered. Karen Tries To Maintain Normality For Megan's Sake-But She Finds Herself Obsessed With Bringing Her Daughter's Killer To Justice.Detective Sergent Joe Denillo(Joe Mantegna),Assures Karen That There Is Enough DNA Evidence To Help Catch The Killer. He Also Encourages Her To Seek Counseling,And Her Husband Agrees. The Next Day Denillo Tells Karen That DNA Tests Have Revealed The Killer As Robert Doob(Kiefer Sutherland),A Supermarket Delivery Man With A Criminal Record. At The Trail, It Is Clear Doob Is Gulity,However,Due To The Fact That The Defense Was Promised A Sample Of The DNA On Which They Could Perform Their Own Tests They Did Not Receive,It Forces The Judge To Dismiss The Case. Karen And Mack Are Dumbstruck As Doob Walks Away As A Free Man. Karen Sets A Trap To Lure Doob Into Her Home, So That She Can Say The Killing Was In Self-Defense. It Works. After Karen Shoots Doob Dead And Calls The Police,Denillo Arrives And Tells Karen That He Knew The Truth And Hasn't Fooled Him. He Tells His Colleague That It Was A "Clear Case Of Self-Defense".
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violence, revenge, murder, sadist
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train
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imdb
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But Karen isn't done with him yet; she will do whatever she can in her power 'til there is justice for her daughter and another victim of his.I loved "Eye for an Eye", it's a terrific movie that is very well acted.
I cried during this movie, during the scene where Karen is on the phone with her daughter, Julie while she is being raped by Robert.
He tries so hard to put the family back together after the shattering aftermath of Julie's death and wishes Karen would come back to herself with Megan."Eye for an Eye" is a great movie that should be given a chance.
When the woman she tried to warn is murdered by Robert, Karen plots a scheme to get rid of the killer."Eye for an Eye" is a dramatic thriller with a great story of justice and revenge.
Sally Fields does a good job with this movie as a revenge seeking mother of a teenage daughter who's been raped and murdered.
I wanted to reach thru the screen and strangle Robert Doob (Kiefer Sutherland, who should of won a best supporting actor award) the cocky, cold, malicious killer, who had no respect for human life and thought he was above the law!
That's what he does in this film, as "Robert Doob," a low-life who rapes and kills Sally Field's daughter and then is unfairly released by the courts.
Sally, playing "Karen McCann," goes after justice.Almost everyone loves a revenge story and that, of course, is what this movie is, pure and simple: kind of a female "Death Wish."As for the characters, Sutherland is "over the top" with his guy - way, way past despicable, so ridiculously bad and evil you might even laugh.For those who picture Sally Field as "The Flying Nun," this movie will be a shock.
The thing that spoiled the story for me and just made the whole thing implausible was ed harris and ed harris alone........i cannot imagine a father whose daughter is violently raped and murdered acting in such a blaze' or indifferent and completely detached manner.........he was absolutely blank about it and acted pretty much as if nothing unusual happened in his life.........as opposed, say, to sean penn in mystic river reacting to the same situation (outstanding believability) i have never thought much of harris' quirky and bizarre acting style until i realized he is just a terrible actor, that there is no real style to think about and this is a good example of that blankness and absence of emotion..........they would have gotten a better performance out of someone who just happened by the set.Harris' performance here, as in many of his performances was without substance..
This film is about a mother who goes to seek justice for the brutal murder of her teenage daughter."Eye for an Eye" is an intense drama that tells a family's grief in losing a teenage girl in the family.
Karen McCann's (Sally Field) daughter gets brutally murdered, and the legal system is helpless on putting the murderer away.
In my opinion this is one of Keifer Sutherlands best and underrated roles.He plays a terrific villain here ,so much it makes me wonder why he does not do more roles like this.He is so convincing and his stage presence is immpecable.The movie itself didn't do an awful lot for me but again Sutherland is the real star here .Another role he played similar to this was Truth and consequences New Mexico .He looks exactly like he does in this and plays a perfect bad guy.I have always claaified Sutherland with actors like Ray Liota and Micheal Keaton because they are amazing actors who don't get the right roles.They all play spectacular villains and for some reason they never do enough of them.This movie is great in the way it highlights Sutherlands best features as a actor and as a character you love to hate..
Still, Sally Field is, as always, immediate and bracing as a mother mourning the murder of her daughter, later stalking the man who killed her (let out of prison on one of those movie technicalities).
For me, this film started badly, with merely a terrible script and hammy acting from the ever distressed and irritating Sally Field, and quickly spiralled down to a morally repugnant finale.Maybe I should have guessed from the title.
I spent the entire film wondering who I was supposed to be sympathising with, because I cannot become attached and empathise with anyone who is so hell-bent on revenge and destruction, Kiefer Sutherland was truly evil and so I was left purely feeling for the rest of her family (Ed Harris was great as ever), who she neglected in order to partake in her little obsessive Death Wish fantasy, and who were the true victims of the story.At least Death Wish voiced the counter arguments against vigilantism throughout the film and Bronson was given something of a reprimand at the end, whereas here the FBI agent is somewhat discredited and she is seen to get off scott free.
I like Kiefer Sutherland in his various movies and he does a fine job (even if slightly over the top here) of being creepy.So let's talk film content.
One of director John Schlesinger's weaker efforts, it tells the story of a mother (Sally Field) whose daughter was brutally raped and murdered, and attempts to take matters into her own hands when her daughter's killer (Kiefer Sutherland) is released from jail on a technicality.There's a lot that's wrong with this film.
Sutherland as the tauting murderer was the stereotypical role he's played for many years and his performance did not have any other dimension but evil.I will admit that the scenes where Field's character is on her cell phone and is unable to help her daughter was very suspenseful but at the same time I found it to be very brutal and sadly, from a major filmmaker like John Schlesinger, very exploitive.
If you are feeling like some "kill the bad guys because they are pure evil and deserve to die" then see an old Charles Bronson film instead.
"Eye for an Eye" (1996): Starring Sally Field, Ed Harris, Kiefer Sutherland, Beverly D'Angelo, and Joe Mantegna.
Sally Fields is great as a person torn over how to go on, Ed Harris does his classic stoic/occasionally almost emotional role, Joe Mantegna is very good as a hard working cop, and Kiefer Sutherland is great as a true sociopath.
Fields plays a woman whose daughter has been raped and murdered by the sneering Sutherland who is so evil he not only rapes and murders twice in the film but he pours hot coffee on a dog.
The late director John Schlesinger played it safe with one of his final films, which will promise to bore and completely not satisfy you to the bitter end.Where did Eye for an Eye go wrong?
It was pathetic to see name actors like Ed Harris, Sally Field, Phillip Baker Hall, Keith David, and Kiefer Sutherland walk through this film like it was a fly in the pan.
It lent nothing to the cinematic world except (and I stress this a bit) another peg in a very tired genre known as the "Revenge Thriller".After watching this film I said to my wife that I thought Sally Field was completely over-dramatic throughout the course of it, overplaying the small parts and completely exploding the bigger elements, which made me think of a High School drama production.
That, coupled with the poor acting, just created a film that didn't catch my attention and fully contributed nothing to the cinematic world.Overall, in case it wasn't obvious, this wasn't a good movie at all.
Sally Field once again, as in NOT WITHOUT MY DAUGHTER, exploits a hot-button topic to make a movie that beats us over the head; the only subtle scene is when she's racing through traffic when she gets cut off from her daughter on the phone and fears the worst.
If his character had been better developed, and less dialog between Sally Field and Ed Harris the movie would have benefited.
The plot is ok, although there is no way that the suspect (Keifer Sutherland) would have had his case dismissed at the very beginning of the movie based just on the technicality of the defence not having been given evidence up front - it would have gone further than that given that the DNA evidence was strong.Sally Field is ok - but her acting is a bit forced at times.
This One is a Trashy, Gut-Turning Movie that is So Over Emotional and Underwritten it Wavers Between Cathartic and Crass Exploitation.A Very Good Cast Highlighted by Sally Field and Kiefer Sutherland, All of the Other A-Listers are Wasted, the Most Obvious is Ed Harris.
This by-the-numbers thriller spends so much of its 101 minutes making Sutherland's character utterly hateful that you can almost forgive Sally Field's murderous rampage.
In my opinion, Sally Field, Ed Harris, and Kiefer Sutherland gave dazzling performances as a grieving mother, cocky killer, and alienated husband.
If one of my children got murdered and the killer was set free on the same kind of technicality that Robert Doob (Kiefer Sutherland) was, I'd probably do the same thing Karen (Sally Field) did.
To those of you who are fans of Sally Field, Kiefer Sutherland, or Ed Harris, if you haven't seen this film, I highly recommend it.
Sally Field is good but it's Keifer Sutherland that makes it great!
Im partial to this because i like Sally Field and Kiefer Sutherland, and i felt that they played their performances well.
I, myself, had not heard of this underrated gem until I was surfing IMDb.com one evening and immediately thought this would be worth buying I was right.When her daughter (Olivia Burnette) is brutally raped and murdered, and the murderer (Kiefer Sutherland) is released on a technicality, Karen McCann (Sally Field) decides to take the law into her own hands
Directed skilfully by the late John Schlesinger, this darkly riveting thriller will push every parent's maternal/paternal instincts button.After touching performances in 'Sybil' and 'Steel Magnolias' and hilarious performances in 'Mrs. Doubtfire', Sally Field once again delivers a terrific and emotional performance throughout as the grieving mother, determined to seek revenge.
I don't know how many criminals, bullies, and perverts this guy is going to play until it turns into a farce, but there wasn't a whole lot going for this character except (besides looking like Kiefer Sutherland) callousness and cruelty.
In a nutshell he brutally rapes Sally Field's daughter and she sets out for revenge after he gets off in court..
But if he shot the rapist right from the start there would be no movie..The funniest part of the movie is watching the camera follow Kiefer's character through his "stomping grounds" In a world where even someone you know could be a rapist (anyone hear of date rape)Hollywood still feels the night to present the bad guy who lives in a flat over a pawnshop stereotype.
He kicks cans, pours hot coffee on cats, and chain smokes...ok..like we didn't get he was bad from the minute he raped the girl.Everytime we go to "the hood" rap music starts playing...by this point nothing surprised me...and I was able to pretty much predict the rest of the movie...Sally meet bad guy...the confront each other...and then their is a finale...conclusion......whatever.....
Whereas "Mystic River" gets you behind the scenes,leaving you guessing who done it.I say this film would've been better if it were a mystery not as a sensationalized revenge/drama flick that points out to middle-aged women "When all else fails...buy a gun and use it!!You see, with the exception of airport disaster movies; I hate murder/revenge movies (unless you're Jean-Claude Van Damme).
"Like Why?, How?, and What?" Don't give me that news media fear-mongering-type plot premise bullsh*@t...."A killer attacks your daughter in your home!" "What are they going to say film at 11, next?" This is where revenge movies are very annoying and disturbing.Why was the killer attracted to this particular residence?
It could've been better if Sutherland's character (had been former employee of the parents or chat room buddy of the daughters) kidnaps the teenager out of revenge and holds her for ransom then kills her...then would this movie have credibility.
It seems no person involved in the writing, shooting, editing, and continuity of this film knows anything about French, but put a scene in the beginning of the film where Sally Field's character corrects her daughter's French.
Sally Field was completely believable in this unsettling movie and she delivers the goods and then some.
Parents Sally Field and Ed Harris have their young daughter brutally raped and murdered in their own home one day by psychopath Kiefer Sutherland.
Leading star Sally Field plays mother Karen McCann, a loving and devoted mother who while stuck in a hectic traffic jam receives the news via cell phone that her teenage daughter (Olivia Burnette)has been raped and murdered by some deranged lunatic.
Ed Harris and Joe Mantegna show wonderful performances in their brief roles, but Sally Field carries the film through as a woman obsessed with getting even with this psychopath on the loose.Though it flows as a standard fare, Schlesinger makes sure that the pace is fast and the tensity at a heart-pulsing rate.
Comfort does not mean as much as life, and every second counts.There is also the fact that, other than two brief scenes, I never once felt like Sally's character cared a thing for her daughter.
The victim's mother becomes obsessive after her daughter gets murdered, but the film never wants to show that she could just murder the bad guy and get easily away with murder.
Films of this type cannot be effective just by telling a story.Sadly, this was a complete waste of Sally Field's enormous talent, which was on show again in this movie.
~Contains Spoilers~If you are a fan of Sally field or Kiefer Sutherland you will certainly enjoy this movie.It all starts off with young Julie Mc Can. A stranger breaks into her house when her parents aren't home and rapes/murders her in a brutal way.The scene is pretty graphic so if you are a person who is disturbed easily by that kind of violence, you may not want to watch this.The most disturbing part of this is that she is on the phone with her mother (Sally Field) whenever she is being attacked.
Finally whenever Robert Doob (Sutherland) is released on some kind of technicality, Karen decides to take the law into her own hands, especially when the Doob rapes and murders another woman.So with working out, taking defense classes, and learning how to use a gun, she sets a trap for doob.The conclusion is really good, and the movie is never really boring at any point.
After hearing her daughter being brutally raped and murdered, a mother, Karen (Sally Field), must deal with her grief while the killer (Kiefer Sutherland) walks after a mistake by the DA's office sets him free.
I've never seen such an evil bad guy in any Kiefer roles as this one and as much as I love this man, by the end of the film I was rooting for Sally Fields to kill the jerk.
I can't imagine what Sutherland used for motivation, if anything, to play this part and I don't know if I want to know.At the end of the day, I liked this film.
At the END of the movie, Kiefer Sutherland's fall from the stairs to on top of Sally Field is obviously fake/discontinued.
Sally Field, Kiefer Sutherland, Ed Harris, Joe Montegna.
This movie had quite a big premise: a brutally raped and murdered daughter, a despicable criminal, a fallible justice system and a mother who decides to take matters into her own hands.
It should not come as a big surprise that after reading its brief description, I was expecting a very emotionally-charged movie dealing with a particularly difficult subject.Now, I understand that the creators of the movie wanted to ensure that transformation of Karen McCann (Sally Field) from grief-stricken mother who relies on the justice system to well, exert justice (ergo keep evildoers behind bars), to a strong female lead who decides to protect others and her daughter's memory by making sure that said evildoer (Kiefer Sutherland) will never harm anyone else.
I don't believe there's a mother out there that wouldn't identify with Sally Field in this movie and want to choke the life out of Keiffer Sutherland's character with her bare hands.I thought all the actors were excellent and their characters pretty well thought out.
The main stars in the film Eye For an Eye are, Ed Harris, Sally Fields, and Kiefer Sutherland.
Harris and Fields play the role of Mack and Karen Mc Cann, the parents of a murdered daughter.
One of the things that I liked about the film was how the director John Schlesinger brought humor to a sad movie when the aunt slipped and fell on the toy truck when the family was over after the daughters death.
Kiefer Sutherland (the hooligan) is the best in acting while Ed Harris and Sally Field do their jobs modestly..
Eye for an Eye (1996): Dir: John Schlesinger / Cast: Sally Field, Kiefer Sutherland, Ed Harris, Joe Mantegna, Beverly D'Angelo: An ugly portrayal of retaliation that manipulates viewers with its justifications.
Therefore I see this movie's problem, if it has one, is its desire to please all (except Kiefer Sutherland's fans, and his character's likes in real world !).It's all in that Hollywood happy ending that wants only to make you leave your seat wholly satisfied.
It could have been 30 minutes long, 15 to set up the premise that Sutherland's character is a despicable killer who will keep murdering and get off, including Field's daughter, and the last 15 minutes to show how she finally disposes of him.
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Good Will Hunting
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Though Will Hunting (Matt Damon) has genius-level intelligence (such as a talent for memorizing facts and an intuitive ability to prove sophisticated mathematical theorems), he works as a janitor at MIT and lives alone in a sparsely furnished apartment in an impoverished South Boston neighborhood. An abused foster child, he subconsciously blames himself for his unhappy upbringing and turns this self-loathing into a form of self-sabotage in both his professional and emotional lives. Hence, he is unable to maintain either a steady job or a steady romantic relationship.The first week of classes, Will solves a difficult graduate-level math problem that Professor Gerald Lambeau (Stellan Skarsgård), a Fields Medalist and combinatorialist, left on a chalkboard as a challenge to his students, hoping someone might solve it by the semester's end. Everyone wonders who solved it, and Lambeau puts another problem on the board -- one that took him and his colleagues two years to prove. Will is discovered in the act of solving it, and Lambeau initially believes that Will is vandalizing the board and chases him away as Will insults him. When Will turns out to have solved it correctly, Lambeau tries to track Will down.Meanwhile, Will attacks a youth who had bullied him years before in kindergarten, and he now faces imprisonment after hitting a police officer who was responding to the fight. Realizing Will might have the potential to be a great mathematician, such as the genius Évariste Galois, Lambeau goes to Will's trial and intervenes on his behalf, offering him a choice: either Will can go to jail, or he can be released into Lambeau's personal supervision, where he must study mathematics and see a psychotherapist to help him with his anger and defensive personality. Will chooses the latter even though he seems to believe that he does not need therapy.Five psychologists fail to connect with Will. Out of sheer desperation, Lambeau finally calls on Sean Maguire (Robin Williams), an estranged old friend and MIT classmate of his. Sean differs from his five predecessors in that he is also from South Boston and pushes back at Will and is eventually able to get through to him and his hostile, sarcastic defense mechanisms. At one point, Will analyzes a watercolor painting that Sean had done himself and concludes that it reflects Sean's suppressed feelings and guilt over the premature death of his wife. Sean becomes offended and hostile and grabs Will by the throat, threatening to sink his chances for reform, at which point Will ends the appointment and walks out; Lambeau walks in believing that Will has ruined his chances with yet another therapist. However, Sean sees Will as a challenge and tells Lambeau to bring him back each week.In a later session, Will is particularly struck when Sean tells him how he gave up his ticket to see the Red Sox in the 1975 World Series (missing Carlton "Pudge" Fisk's famous home run in the Sox infamous "Game 6") in order to meet and spend time with a stranger in a bar, who would later become his wife. Will is encouraged to try to establish a relationship with Skylar (Minnie Driver), a young woman he met at a bar near Harvard.This doctor-patient relationship, however, is far from one-sided. Will challenges Sean in the same way that Sean is encouraging Will to take a good, hard, objective look at himself and his life. Sean's own pathology is that he is unable and unwilling to even consider another romantic relationship in the aftermath of his beloved wife's premature death from cancer several years before, possibly the primary reason why Sean agrees to take Will on as a client.Meanwhile, Lambeau pushes Will so hard to excel that Will eventually refuses to go to the job interviews that Lambeau has arranged for him for positions that might prove challenging, even to his immense talents. Lambeau and Sean also squabble about Will's future. Will's accidental witnessing of this furious quarrel somehow acts as a catalyst for his decision to enter a deeper level of trust and sharing with Sean. He has apparently realized from this event that the situation is a little more complex than Will vs. The World. He now sees that these mentors are every bit as human, fallible, and conflicted as he is.Skylar asks Will to move to California with her, where she will begin medical school at Stanford. Will panics at the thought. Skylar then expresses support about his past, which is received as patronization and triggers a tantrum in which Will storms out of the dorm while in a state of undress. He shrugs off the work he's doing for Lambeau as "a joke," even though Lambeau is incapable of solving some of the theorems and admittedly envies Will. Lambeau begs Will not to throw it all away, but Will walks out on him anyway.Sean points out that Will is so adept at anticipating future failure in his personal and romantic relationships, that he either allows them to fizzle out or deliberately bails in order to avoid the risk of future emotional pain. When Will then provides a whimsical reply to Sean's very serious query of what he wants to do with his life, Sean simply shows him the door. When Will further tells his best friend Chuckie (Ben Affleck) that he wants to be a laborer for the rest of his life, Chuckie becomes brutally honest with Will: He believes it's an "insult" for Will to waste his potential as a laborer, and that his recurring wish is to knock on Will's door in the morning when he picks him up for work and find that he just isn't there, that he has left without saying goodbye. Chuckie's honesty hits home with Will more than anyone else's, even Sean, a trained professional.Will goes to another therapy session, where he and Sean share that they were both victims of child abuse. At first, Will is defensive and resentful at Sean's repeated reassurances that "It's not your fault," but he eventually breaks down in tearful acknowledgment. Finally, after much self-reflection, Will decides to cease being a victim of his own inner demons and to take charge of his life. When his buddies present him with a rebuilt Chevy Nova for his 21st birthday, he decides to go to California and reunite with Skylar, setting aside his lucrative corporate and government job offers.Will leaves a brief note for Sean explaining what he's doing, using one of Sean's own quips, "I had to go see about a girl." Sean also leaves to travel the world, though not before reconciling with Lambeau. The movie ends as Chuckie poignantly discovers, in fulfillment of his own long-standing wish, that Will has left for a better life. Will is then shown starting his life-affirming drive to California for a new beginning with Skylar and a leap into an unpredictable future.
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psychological, cute, feel-good, flashback, humor, inspiring
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train
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imdb
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Sure, Will Hunting's genius is profoundly unrealistic.Yet I'm giving this one 10 out of 10.I don't know whether Matt and Ben have ever been in therapy, but they certainly understand a lot about the human psyche, how it ducks responsibility, and pushes blame onto others, how it dismisses the real gifts it has and concentrates on running itself down.
A lot of things have been said about this fantastic movie, and I only hope to add a few more praises.The fact that it was written by Ben and Matt was a shock to me, I did not expect any strong writing and a solid script, but boy was I wrong.
The movie lasts for 2 hours, and every minute of it I couldn't even focus on anything beside the incredible world of Will Hunting.Matt plays Will Hunting, who is a brilliant young man who denies his unreal intellect.
This isn't supposed to be about genius or some "white trash" as someone else said (some people might say the kids in this movie aren't trash, just normal hard working, middle class guys) - it's about love, life and courage- courage to ante up & try again, no matter how many times life knocks us around.
While everyone took sides with L.A. Confidential (for it's Old Hollywood flair and tight-as-a-girdle plot arc) or Titanic (for it's generally inescapable, juggernaut-like aura) as the Best Picture of 1997, it seems that too many people overlook Good Will Hunting for what it was: a timeless little opus that managed to make South Boston look romantic and happened to make Ben Affleck and Matt Damon some of the most deserving superstars in recent memory.Because before they were anybody, they were just the writers of this tale of a reluctant human being named Will Hunting, a mathematical genius who wore the guise of a hoodlum, and all of the sudden obstacles he had to take on to truly step in to manhood.
Among these obstacles were a straight-forward shrink who outright dared Will to bulls*** him (played by Robin Williams, who got his overdue Oscar for it), a brilliant M.I.T. professor who felt it his own personal redemption to put Will's mind to great use somehow (Stellan Skarsgård, who never fails to steal nearly every scene he's in), and a girl who doesn't understand why the boy she loves so much cannot love her.It was these obstacles that made Will Hunting such a complex character: while he was a genius at the definite (math), he was a bit of a moron at the indefinite (human relationships).
Add Robin Williams in perhaps his best role ever (too close to Good Morning Vietnam for me to make the call), and you have a wonderfully entertaining movie.Ben Affleck is convincing as the best friend to a genius, able to effectively play the joker and the friend who would "lay down in traffic for you".
That's certainly not the case with Good Will Hunting which was not only the breakthrough film for Matt Damon and Ben Affleck, but it will probably remain their most personal endeavor.
They didn't even have to lose the New England accents they would have to in most of their other films.When Matt and Ben wrote Good Will Hunting the fact they were able to interest a top director like Gus Van Sant in the project should have said something before one views a frame of film.
Van Sant got an Oscar nominated performance for Matt Damon and a Supporting Actor Oscar for Robin Williams as the psychologist who counsels Damon.Will Hunting is this average lower middle class kid from South Boston who was in the foster care system and suffered a lot of abuse while growing up.
It's one of Affleck's best scenes in his whole career on film.I've known a few Will Huntings in my day, blessed with talent I would like to have had and who threw it away for a combination of reasons.
I love most of the classic movies but this is definitely the best film i have ever seenMat Damon played a great part, showing the full spectrum of emotions in his role.I've ever gone out and bought the soundtrack to the film, i've watched it half a dozen times and always go right through to the final credits.Pure brilliance!.
How could this film have missed those dark assets and end up so totally without atmosphere?This movie got made for one reason only: Robin Williams saw a part for himself.
Team America has hit the nail on the head already.This movie is a daydream of a Beavis & Butthead type student (in other words 95% of them): "Yeah, that's what I would be like if I was a genius." But stupid people and stupid authors in this case cannot imagine the lives of geniuses..
I failed to be convinced by the foul mouthed Damon and Affleck as they strutted about smacking people in the chops and couldn`t help thinking that even though they wrote the script the parts should have been awarded to different actors , after all Billy Bob Thornton has written screenplays for films he hasn`t been cast in and the same criteria should have been applied hereThere are some good points to the movie .
Robin Williams is excellent as the man who tries to show Will his potential and also very good is Stellan Skarsgard who is quite simply one of the greatest character actors to stepped foot outside of Europe and despite my previous criticism of the script there is quite a moving piece of dialogue at the park as Williams character explains to Will what he has seen in lifeBut I`ve got to repeat that there`s less plus points than negatives to this movie and I`ve got to agree with the people who`ve said GOOD WILL HUNTING is boring and unconvincing.
They created such high faluttin buzz around it, that people believed, and wanted to believe it so much --- that they saw brilliance where there was none.Now, I know some people think it's a great movie, I don't think it's a horribly bad movie, I like to compare it to more in the middle of the road movies, and also to some great Made for TV movies (although, not HBO films, HBO films are unusually better than Good Will Hunting would ever be.) It's just a nice, little film, with some good performances, Robin Williams was not good in it, they just gave him the oscar cause the'd been itching to do it for a while.
Like when Robin Williams' character (sorry I forgot his role's name) was telling Hunting repeatedly "It's not your fault" (oh Lord, just thinking of that scene gives me the goosebumps).
I can't understand why people like this film.The basic concept was great, but it could have been SO much better.It fails on many levels:1: The basic story makes no sense.
Let me tell you, the moment when (Robin Williams) was talking about his wife who farted till she waked herself up, the joke of the girl in the café about old people's love, the stupid never-ending lecture about genius guys (which seems copied, as it is, from many books), all of that are little instances for how disgusting and boring this movie is.
Good Will Hunting is a story about a genius who for various reasons has not been able to take advantage of this and, when we are introduced to him in the film, is working as a cleaner at a university.
And it goes from there.I think that if I had watched this movie when it was released, prior to Matt Damon and Ben Affleck's careers, I would've been able to enjoy it much more.
Minnie Driver also is not good looking enough for her part to be believable.Gus Van Sant is one of my favorite directors, although I find his later more "experimental" movies - like Elephant, Paranoid Park and Psycho - much more rewarding as opposed to his earlier work which is more conventional and main stream.
Are we supposed to accept that since Ben Affleck's character isn't as smart as Matt Damon's, he should be satisfied with his lot in life where as Mr. Smarty Pants should claim his rightful place in the heirarchy of society?
Like Ben Affleck's character, I should be happy working construction while my smart friend needs to get motivated and succeed." Granted, the movie does not focus on this, but this theme is definitely present, and extractable.
The premier problem is that the movie overplays it's best card: Matt Damon's(character's) incredible brain.
That makes it totally different!The only bright spot of this movie is Robin Williams who was cast in the sadly stagnant role of the person who just wants to help our little genius, just as Jodie Foster did in Little Man Tate, or Laurence Fishburne in Searching for Bobby Fischer.
Then, we have Stellan Skarsgard in the role that Dianne Wiest and Ben Kinglsey played in the aforementioned films: the academic who is vilified for their attempts to help the genius realize his squandered potential.The only difference that this movie has from the other two I've mentioned is that the misunderstood genius is more independent and gives the establishment a lot of grief.
Every single actor/actress did a great job in the film, and I still can't believe Mat and Ben wrote a whole script of the movie.
A seemingly average guy working as a janitor is really a gifted, brilliant, but troubled young man.I hated this stupid movie so much, that i hoped Damon's character in Saving Private Ryan would be captured by the germans and tortured to death..
This movie allowed people to talk and relate when emotions were road blocks, to point to a scene in Good Will Hunting to establish a base for communication.Here's a point in real time.
I had heard a story on how Matt Damon and Ben Affleck had put this script together and had 'shopped' it all over Hollywood and were both kind of ready to sell it, even for a 'piece of chicken' (Jokingly they said in an interview) but they were sort of at their wits'-end when....- it finally happened.Then, look what happened...2 Oscars, 16 other awards and 34 nominations on top of that!
I'm aware of the significance of this movie in bringing Matt Damon and Ben Affleck to prominence not only as actors but as screenwriters and watched it with a degree of expectation.
However the story of Damon's rebellious, tortured working-class genius flowering in the rarefied hot-house atmosphere of Boston's Harvard University didn't quite engage me, despite some good acting.The story is implausible in the extreme, as Damon's gifted character shyly but deliberately puts himself forward to get noticed by answering a difficult mathematical problem on display in the halls of the university and then follows his difficult progress to self- awareness which he ultimately achieves through encountering burn-out been there-done that psychologist Robin Williams and a pretty but feisty Anglophile student, played by Minnie Driver.I was entertained by the movie but felt its mix of low comedy (profanity is frequent, especially when Damon gets down with his gang of fellow low-lifes which includes best mate Chuckie, played by Affleck) with heightened psychological drama didn't always convince.
And this dude is also a genius in other areas, at least enough so to impress the judge with his legal cognizance, and he can quote lengthy passages out of philosophy books and he's into organic chemistry just for kicks, and he is a total fire - fighter - cute hunk as well, and he's good at fisticuffs too, and he wins the heart and hand of this super - intelligent, cute and rich chick who turns out to have a heart of gold and is the only one to accept him for what he really is, but he has got this problem facing his own genius because he would rather continue his squalid life of petty crime and dead - end jobs (hey, don't we all?), but then this brilliant psychiatrist who looks ten times more like Sigmund Freud than the man himself comes to the rescue, and -- totally unexpected -- things tie up to a happy end.
This man Will Hunting (played remarkably by Matt Damon) has many flaws though, and soon, he meets his match- Sean, a psychologist (Robin Williams gives a well deserved Oscar winning performance here) and little by little, starts to change.
Sean needs to come to terms with his devastating loss.Robin Williams's touching performance as Sean is nonetheless a very good one, and quite the best thing about this film, although I am not sure that it was really deserving of an Oscar (I preferred Anthony Hopkins in 'Amistad').
A rebellious young college janitor (Matt Damon) is secretly a maths genius, but even when it is uncovered, he seems reluctant to use it to better his life.A film that is billed as "highly original" is nothing of the kind.
On-screen he seems much more interested in fighting on street corners, shouting at his working class friends (even when they are sat next to him), and getting clever-clever with authority.Good performance from Matt Damon in the central role, but Robin Williams as the psychiatrist who helps him (and who himself ends up helped), is the standout.
It's a somewhat watchable film only for Matt Damon's above average understated performance and Robin Williams' usual quality work, but the emotionally manipulative story is just too overwrought and self indulgent to warrant my admiration.
It unfolds, one after the other, the layers of complexity that marks his multi-dimension personality...When he with Ben...when he with Robin and the most beautiful one is when he is with Minnie.You have to sit and connect yourself with Will Hunting to really takes his place and live a life that comes along once is century.And as Robin William says in the movie..'But you're a genius Will.
Matt Damon clearly knew he would be playing Will Hunting- he and co-writer Ben Affleck crafted a self-indulgent character that actors dream about.
Good Will Hunting is an incredible movie and if I had to say what I think is Gus Van Sant's best film, this would be it.
Robin Williams is superb in one of his best "drama" roles, while Ben Affleck has never been better and Matt Damon gives another fine performance to match his performance in The Talented Mr Ripley.
Ben Affleck and Matt Damon are fine human beings and good looking guys living great lives.
a movie that keeps its own pace and explores the psychology of the characters or rather the key character here - will hunting.matt damon as will hunting is excellent, and the same goes for ben affleck & minnie driver - but veteran robin williams steals the show as the psychiatrist trying to bring the best out of will hunting and guiding him towards the light.the authors do a credible job in making the chracters believable and lovable.
Matt Damon and Ben Affleck give very good performances in this film but the thing that baffles me and I can never seem to understand is why they won an Oscar for this screenplay.
Matt Damon and Ben Affleck give even better performances in real life than in the film itself.
But as long as you don't think too long about the implausibilities of the movie's setup, the story is convincingly acted and reasonably well-told, though director Gus Van Sant doesn't show any of the offbeat touches that marked his earlier efforts (the closer he gets here is a weird slow-motion courtyard fight).Robin Williams is fine as always, and more restrained than usual; the rest of the cast is adequate, though I would have loved to see more of Stellan Skaarsgard's math professor, easily the most interesting character..
If you find that blurb offensive you'd better skip this movie."Good Will Hunting" (1997) tells the story of a young genius, Will Hunting (Matt Damon), who comes from a tough neighborhood in South Boston and works as a janitor at MIT.
Meanwhile Will is falling for a Harvard girl (Minnie Driver).The plot of a genius janitor is great and I thought I'd like the film more than I did, but a couple of things really bog it down.
This film makes me sad you left.Stellan Skarsgård plays a great role, the skill in which means I don't love him, but the perfect role compliment Robin and Matt and a deft job.The rest of the cast contains supporting actors which could easily be leads, with Ben and Casey Affleck are perfect in their roles as buddies.Some films show you the magick in movies, this is one.
2nd...the few very deep, emotionally and well played Scenes between the Matt Damon Charactor and Robin Williams/Ben Affleck and his Girlfriend.
And it truly deserved all the Oscars it won 21 years ago.GOOD WILL HUNTING is a very well made movie that has many great things going for it.
The script is very intelligent and thought provoking, and the soundtrack, while not important, is also good.But the real strongpoint of GOOD WILL HUNTING is the cast and their performances: Matt Damon and Ben Affleck had never been better, although they won the Academy Award for best screenplay.
Created by Damon and Ben Affleck, this was probably the best movie of the year.
Well guess what I was wrong, I was struck by Robin Williams Oscar winning performance (which he deserved), Matt Damon was also very good in the lead role as Will Hunting.
Ben Affleck was also very good as his friend, so what I'm saying is that this cast who played in this movie were very talented, and deserved all they got.
:PNormally, I like Matt Damon, but I couldn't stand his character was in this movie.
For an actor who was just starting out, I think he might have been trying a little bit too hard, if not way too hard.This is an over-dramatic and boring movie, and Robin Williams didn't help.
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tt0045919
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Island in the Sky
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A simple group of commercial flyers, post WWII, one plane is downed in uncharted Canadian tundra, dead of winter, wicked cold. Limited resources. Other pilots start a search. Simple, huh? Remember...No GPS, No Radar, Limited radio and supplies! And that relentless bitter cold! But wait. These aren't ordinary commercial pilots. We soon learn these guys have some real history, military types, probably in WWII. They're tight, driven and fearless, and they're gonna find and rescue The Duke and his crew if it kills them! Like a fine wine, what starts out as a simple story draws us into the lives of these fine men, and their families as well. Before you know it, your heart is racing, and the tears are flowing! Perhaps an overused cliche, but truly, they just don't make films like this anymore! What's more, you get to see James Arness cry! Real men, these.
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flashback
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train
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imdb
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tt1596346
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Soul Surfer
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In 2003, teenager Bethany Hamilton lives in Kauai, Hawaii with her parents Tom and Cheri, and two brothers, Noah and Timmy. All are surfers, but she and her best friend Alana Blanchard have grown up with a passion for the sport and enter a competition. Her church youth ministry leader, Sarah Hill, is disappointed when she has to withdraw from a planned mission trip to Mexico because of the contest.
In the competition, Bethany and Alana place first and third, respectively. The following day, Tom goes to the hospital for knee surgery, and the girls go surfing with Alana's father Holt and brother Byron. As Bethany dangles her left arm in the water, a tiger shark is swimming just under her surfboard and notices her arm floating in the water. It unexpectedly attacks, ripping off her arm below the shoulder. Holt, Alana, and Byron get her out of the water where Holt makes a tourniquet out of his swimshirt to put on her while Byron calls 911 as Cheri is also informed. An ambulance meets them on the way to the hospital. Just before starting Tom's knee surgery, Dr. David Rovinsky is called to the emergency room to treat Bethany. Besides losing her left arm, she also lost 60% of her blood and Dr. Rovinsky calls her survival a miracle.
The onslaught of paparazzi also proves to be a great strain on her family and their privacy. The Hamiltons are grateful to Holt for his quick and active thinking and decisive action that saved her life. Her injury prevents her from participating in the Rip Curl photo shoots, but she wishes Alana well.
Bethany perseveres and after a recuperation period, gets back in the water, and learns to surf with one arm. Inside Edition offers to provide a prosthetic one that is cosmetically perfect and has bendable joints, in exchange for an interview. She angrily rejects it when she learns it will not help her surf as it is not weight bearing, as a result of the size of her arm stump.
Bethany eventually re-enters the competition, telling rival Malina not to go easy on her, and rejects a five-minute head start offered by the judges. She does not perform well because she cannot stay on the board long enough to go out and catch a competitive wave so Malina wins. Disappointed at this loss, she decides to give up competitive surfing and her friendship with Alana is strained following an argument.
Bethany decides to surprise Sarah by joining the youth group on another mission trip to help the people of Phuket, Thailand who were devastated by the 2004 Indian Ocean tsunami. Despite her recent tragedy, she joins her youth group to help the Thai children get over their fear of the ocean. They are understandably afraid of the water, including a little boy. She decides to go into it with a surfboard, hoping this will coax him into it. It works, and the realization that she can use her gift to inspire people motivates her to take up surfing again.
Tom, who believes that Bethany possesses a great surfer's instinct for sensing when the best waves will form, rigs a handle on her surfboard which she can use to prevent falling off while paddling out to the waves, which is not prohibited by the competition's rules. Bethany trains for the competition while rekindling her friendship with Alana. She enters the national championship. During the competition, she performs respectably, though she is still chasing third place. Suddenly, with only minutes left on the clock, the waves die down and all the surfers can only loiter, waiting for the waves to start back up. Tom's belief in his daughter's instinct is proven when she is the only one to sense a big wave forming, and she alone paddles out. When it forms, the others cannot get out in time and she catches it just as the horn sounds. If it is in time, she will win, but the judges rule that the time has expired. Malina is the winner, but she has finally gotten over her differences with Bethany, inviting her up on the platform to share first place.
Subsequently, Bethany lets the reporters interview her. One asks her what she would do if given the chance to undo the loss of her arm. She says that she would still lose it because she can embrace more people now than she ever could with both.
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inspiring, christian film
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train
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wikipedia
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AnnaSophia Robb does a spectacular job of playing Bethany Hamilton, a 13 year-old girl determined to continue doing what she loves after losing an arm to a shark.
Based on the true story of Bethany Hamilton, a 13 year old competitive surfer with big dreams and a courageous spirit.
But her dreams turn into a nightmare after a sudden shark attack takes her left arm and her hopes of ever surfing again.Soul Surfer is an inspirational film for the entire family about overcoming obstacles and turning tragedy into triumph.Filmed entirely in Hawaii, it offers some gorgeous cinematography and wonderful surf-action shots and features an all-star cast including Helen Hunt, Denis Quaid, Craig T Nelson and AnnaSophia Robb as Bethany, the teen titan with a heart of gold.Soul Surfer is a well produced film, that leans heavily on it's soul-lifting story, stellar acting and a rocking soundtrack on a moderate budget.
It's encouraging to see such big Hollywood names doing such inspirational family fare without the inflated-sized salary demands.Helen Hunt and Dennis Quaid actually seem to be enjoying themselves alongside the rising talents of the young cast members, most notably AnnaSophia Robb, best remembered for her role in Bridge to Terabithia, Jumper and Because of Winn Dixie.
Carrie Underwood seems a bit misplaced as the youth pastor who comforts and encourages Bethany, but while her screen time is short, she proves that singing may not be her only talent.For a film based on a true story, I got caught up in the action and well paced story-telling.
Like many recent films being marketed to a Christian audience, the presented faith in Soul Surfer was played a bit too safe and generic to arouse any converts since it lacked in any gospel message, but if viewed with a Christan who knows how to use the film as a topic starter, it can be a great tool or ice breaker.Another refreshing bonus was the lack of any profanity or sexuality, making it completely suitable and safe for viewing in a church or youth group setting.I highly recommend this entertaining and uplifting film for the entire family..
I also heard it advertised on our local radio station and thought it sounded like a good movie.The movie clearly portrays the Hamilton family as a close group who walked through an extremely difficult tragedy with grace and courage.The scene when Bethany is attacked by the whale is brief but the aftermath is bloody and somewhat difficult to watch so I would encourage parents to be mindful of this.
I have always been a big fan of Dennis Quaid and Helen Hunt especially her performance in Castaway with Tom Hanks but she plays the mom in this film with perfection and although I never though of Dennis as a surfer like Patrick Swayze he does his part as the girls father and couch perfectly.
I thought or hoped that they might have been original in the telling but this was nothing more than a Glossy version of a made for TV weepy .On the plus side The cinematography was great and the action shot enjoyable and well choreographed .If you love surfing then you'll probably enjoy this for the most part and for a Christian film or at least one with a strong Christian message this is definitely one of the better ones .
Soul Surfer is a good inspirational true story sports movie with some faith elements (Nothing too serious there, just emphasizing it was important) that hits all the right targets.
As with any true story it is slightly linear, but that minor gripe aside, it is moving, and fun, and inspiring and that surely is the point.At its best in the surf the story of Bethany Hamilton who lost her arm in a shark attack but by sheer determination went on to become a professional surfer is made to inspire and the film doesn't disappoint.
All in all, this is a good family movie with solid acting and some terrific surf scenes that should inspire everyone..
Pretty stringently based on the true story of Bethany Hamilton (played here by a charming up-and-comer AnnaSophia Robb) focuses on an ageless plot of courage and will despite adversities.
This world, perfect beyond reality, comes to a close due to a random shark attack, which deprives Bethany of one arm and seemingly ends all hopes to fulfilling her surfer dreams...Reminiscent of a cheap TV move with soap opera overdose "Soul Surfer" hold true to exaggerated clichés, unable to let go of its comfort area.
The fact that this movie has so many good votes, when it is really bad, means that there is a huge amount of religious freaks out there trying to convert the world into their fairy.For some reason every fool who believes in myths must try to convince others that their myth (only that one, and no other myth) is the right one, and that everybody must worship their deity.This story is the opposite of reality: when in real life religion is a problem that must be overcame in order to fight and success without expecting a magical intervention, they show the drama as if going to a temple will automatically resolve your problems.Religious propaganda, that's all.Don't waste your time seeing this pamphlet about how we should adore a magical fairy in the sky..
I always love the "true story" and the actual home videos after the credits showed how closely the movie followed the true story.A wonderful story that leaves you inspired and feeling good!.
I highly recommend this uplifting and inspiring film for the entire family.The film is based on a true story (Bethany Hamilton), you could google about her to read more about the story of the real girl that lost her arm to a shark in an accident.
God has put surfing in her soul, if you will.The event that has defined Bethany's life and the plot of this movie, is that at age 13 she was attacked by a shark and lost her arm.
The other half of the filmmakers, and likely the real people depicted in the film, believe that it was God and her Christian faith that saved her.I probably should have read up on what the real Bethany Hamilton is like in real life as it would have saved me from suffering through all the preachiness.
The bite scene just left me cold, both times i watched this and to see Bethany ripping it up again (she was a both a stunt double and AnnaSophias surf coach) was both inspirational and amazing.
Soul Surfer is a fine inspirational filming of the Bethany Hamilton story.
This is the true and powerful story of Bethany, a young surfer who loses her left arm in a tragic shark attack.
I know that this movie has not had good reviews, but please keep in mind that the acting, cinematography, and special effects are all secondary to the actual true story line.
As a young surfer, Bethany had her left arm bitten off by a shark off the coast of Hawaii, but rather than give up, she used her strong religious faith and the encouragement of her family to rebuild her life and her joy of surfing, eventually getting herself back to the top ranks of the surfing world.It's certainly an inspiring story.
Soul Surfer is about the tragic story of Bethany Hamilton being attacked by a shark at the tender age of thirteen while surfing with some friends.
Then when it occurs you become fully immersed in the story.AnnaSophia Robb, a lovely and attractive young woman, plays Bethany Hamilton an aspiring pro surfer age thirteen.
I saw the trailer in the theater with my mom about two months ago and when they were showing footage of girls surfing I leaned over to my and said "They need to make a movie about Bethany Hamilton.
C'mon let your colors burst" just fit perfectly with the message brought in the film.Soul Surfer is not perfect, but it will be an inspiring story for young women with some sort of restriction that they believe will keep them from doing what they want.
It was a wonderful, heartwarming movie with great cinematography for the surfing scenes, which were mostly done by the real Bethany Hamilton- so they were authentic.Regarding the acting-- I felt that Anna Sophia Robb really shined playing the lead role, and I predict her future will be very bright in the acting world.
Helen Hunt and Dennis Quaid were strong as always, and did a great job being very likable, laid back Hawaian family with strong Christian values-- which the real life Hamiltons possess.Carrie Underwood did very well for her first movie role.
"Soul Surfer" (2011) relays the inspirational true story of 13 year-old surfer Bethany who's arm was bitten off by a shark in Hawaii in October, 2003.
This was a key climatic scene and the filmmakers needed to take the time to do it right, even if it took more time, practice, re-shoots, money or what have you; but it's like they shot it and said, "Well, it's not very good, but we'll try to make it work in the editing room".About Bethany's nemesis, I liked the way Bethany took her continuing rivalry: She observed, "At least she views me as competition" as opposed to those who essentially viewed her with pity.Despite the occasional stagy awkwardness, there's enough good here for me to give the film a mediocre rating, like Bethany & Alana and their relationship (played by cuties AnnaSophia Robb & Lorraine Nicholson, Jack's daughter), the awe-inspiring Hawaiian locations, solid performances by Helen Hunt & others (Dennis Quaid, Kevin Sorbo, Craig T.
God works in big and little things, and brings blessings to our personal worlds when we are patient and have faith in Him.For me, any consideration over its production were melted away when the simple but inspiring effects of the storyline unfolded.The production values were such that I knew this film would not waste time with special effects or high production values but instead would concentrate its focus upon the message and the story.I recommend this movie without reservation to anyone, believers and non-believers.This film is up there with 'Courageous' and 'Suing the Devil'.
I started watching Soul Surfer with the hope of finding well filmed surf scenes and beautiful Hawaiian landscapes, in order to compensate what would surely be a bland story about semi-religious inspiration.
Nelson, Carrie Underwood) along with a nice virtual vacation as it takes place exclusively in Hawaii.Soul Surfer is the real life story of Bethany Hamilton, a teen surfer who lost her arm in a shark attack and through faith and the support of her parents courageously overcame the odds to become a champion surfer again.The whole shark attack scene could have been a bit more...
I think this is one of the reasons that makes Bethany Hamilton a great role model, as there is often little to nothing we know about other celebrities attending church.Now, talking about the spiritual side of this movie.
It's based on the 2004 biographical book 'Soul Surfer: A True Story of Faith, Family, and Fighting to Get Back on the Board' co-written by Bethany Hamilton and based on her personal experiences.
Soul SurferThe reason sharks only take one bite out of surfers is because they get too paranoid off the THC levels in their blood.And while the wave-rider in this drama isn't a stoner, she did survive a shark-attack with only a minor flesh wound.Bred by her parents (Denis Quad, Helen Hunt) to shoot the curl, Hawaiian-born Bethany Hamilton (AnnaSophia Robb) takes to the sport like a pro.Unfortunately, her lifelong dream of being a professional female surfer is threatened when a random shark separates her left arm from her body.Still compelled to compete in surf contests, Bethany eventually learns to overcome her obstacle and get back on her board.Based on a true story, Soul Surfer does have a strong inspiration angle; unfortunately, its faith-based narrative is off-putting.
In "Soul Surfer", this is the true story of the young real-life surfer named Bethany Hamilton, played by the remarkable AnnaSophia Robb from "Bridge to Terabithia" and "Because of Winn-Dixie", a Christian girl who grew up with a family full of surfers including parents Tom & Cheri (Dennis Quaid and Helen Hunt) and has a friend in another surfer Alana Blanchard (Lorraine Nicholson, Jack Nicholson's daughter).
Let's face it, "Soul Surfer" can be melodramatic at times, but director Sean McNamara (Bratz: The Movie, Raise Your Voice) avoids the "cheesiness", especially its intense and fast-paced shark attack scene and the special effect of Bethany having one arm.
Based upon a true story.Teenage surfer Bethany Hamilton (Robb) loses her left arm in a shark attack, and questions why this happened to her and struggles to find meaning.
¨ Love is bigger than any tidal wave or fear.¨ Soul Surfer is one of those films with a lot of heart thanks to an inspiring true story about a young teenage girl who never gives up on her dream of becoming a professional surfer even though she losses an arm in a shark attack.
Soul Surfer doesn't have good visuals, the shark scene is so fake you just want to laugh at how bad it was made, but that isn't the important thing about this film.
This is one of those movies that could have worked way better if it was made as a documentary because we want to know more about the real and inspiring Bethany Hamilton, and one of the best things about this movie was the ending credits were we got to see some footage of her surfing and doing missionary work.AnnaSophia Robb is Bethany Hamilton, a teenage surfer who lives in Hawaii and spends most of her day in the water with her best friend, Alana Blanchard (Lorraine Nicholson) who is also a surfer.
Instead of forgetting about her dreams she decides to keep on fighting for them and competing to become a professional surfer without losing her faith in God despite the accident.It's hard to remain emotionally detached from a story that is so inspirational and although being far from perfect the producers did a decent job at telling it by not leaving out the religious aspect that was so central to Hamilton's life.
"Soul Surfer" tells the true story of Bethany Hamilton, a 13-year-old surfer, who loses one of her arms in a shark accident.
This is a true story about a young surfer named, Bethany Hamilton, who director Sean McNamara does an incredible job of displaying events of her life.
The true story is about a girl, Bethany Hamilton, who gets her arm bitten off by a shark while surfing.
It has a solid narrative structure that develops correctly the topics within the plot, it has a great cast of very good actors and actresses, and they all do an excellent acting, everybody does a good job in this film, the special effects are perfect, there are many good scenes, some touching, some beautiful, some very competent (the shark attack and the help she gets, or the surfing scenes, the music in the church at the beach...), the story had a direct contribution from the real people that actually lived these facts and, finally, it was correctly balanced among its perspectives, I mean, family movie, religious matters (they are part of the story), inspirational possibilities, sports, teen's problems, surfing, living close to the ocean in Hawaii, so, it's perfect!
Just this detail itself is already highly significant, bus you can add to that great supporting actors, all the central nucleus of the film: Lorraine Nicholson,Helen Hunt,Dennis Quaid, Kevin Sorbo and Carrie Underwood, and even the two boys, with smaller parts in the plot.It is a very good movie about this topic and shall please anyone that likes the main perspectives of this story (the ones quoted in the beginning).
Soul Surfer is a feel-good inspirational movie.But there are virtually NO Hawaiian-descent people in the film at all!!
Kudos to Helen Hunt and Dennis Quaid for participating in a faith based movie (not overbearingly so) when Hollywood seems so full of superficial nonsense.The fact that her main rival ended up being her friend, despite the bitterness shown to her both when she had her arm and not, is a testament to how a little love goes a long way to turn bad to good..
"Soul Surfer" is a movie based on the true story of a teenage surfer Bethany Hamilton who lost her left arm in a shark attack.
This is the real life story of 13 year-old champion surfer Bethany Hamilton (AnnaSophia Robb) who loses her arm from a shark attack.
"Soul Surfer" is a based-on-fact film about the life of Bethany Hamilton, an optimistic, blissful young girl who rode lots of waves, lost an arm, and rode lots of waves some more.
Instead of giving up surfing over the loss of her arm, Bethany was determined to get back on her board several weeks later and prove that she is truly a soul surfer.(My Comments) Soul Surfer is an inspirational film for the whole family and an amazing story about a young girl who overcomes overwhelming obstacles and turns a traumatic tragedy into an achievement and triumph.
Most are poorly produced, poorly acted and not terribly entertaining."Soul Surfer" is NOT a Christian movie per se', but does carry within it the strong thread of the Hamilton family's faith.
At the beginning of the film the director sets up the story of a close knit family that enjoys practicing their faith together.After Bethany, an rising star in the Hawaii semi-professional surfing circuit, loses her left arm in a shark attack, the families faith and passion for life gets them through the tragic circumstances.The quality of the cinematography is good and the story is well acted by Dennis Quaid, Helen Hunt and Anna Sophia Robb.
:D The story tells us about Bethany Hamilton who lost his left arm because of shark attack when she was surfing back then.
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tt0062737
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Blackbeard's Ghost
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Steve Walker (Dean Jones) arrives in a Maryland seacoast town, to take the position of track coach at Godolphin College. The night of his arrival coincides with a charity bazaar at the hotel where he will be boarding — Blackbeard's Inn, named after the notorious English pirate Captain Edward Teach and now run by the Daughters of the Buccaneers, elderly descendants of the pirate's crew. The owners are attempting to pay off their mortgage to keep the inn from being bought by the local crime boss, Silky Seymour (Joby Baker), who wants to build a casino on the land. Steve quickly discovers his track team's shortcomings and runs afoul of the dean of Godolphin College, its football coach, and Seymour. He also makes the acquaintance of attractive Godolphin professor Jo Anne Baker (Suzanne Pleshette), who is anxious to help the elderly ladies save Blackbeard's Inn.
After a bidding war with the football coach at the charity auction, Steve wins an antique bed warmer once owned by Blackbeard's 10th wife, Aldetha Teach. Aldetha had a reputation of being a witch. Inside the hollow wooden handle of this bed warmer is hidden a book of magic spells that had once been the property of Aldetha. Steve recites, on a lark, a spell "to bring to your eyes and ears one who is bound in Limbo", unintentionally conjuring up the ghost of Blackbeard (Peter Ustinov), who appears as a socially-inappropriate drunkard, cursed by his wife to an existence in limbo unless he can perform a good deed.
Steve and Blackbeard are bound to one another by the power of the spell, and only the very reluctant Steve can see or hear the ghost. As a result, Steve must deal with the antics of the wayward pirate while attempting to revive Godolphin's track team and form a relationship with Jo Anne. Steve is falsely arrested for drunk driving when Blackbeard attempts to drive Steve's automobile, steering it like a pirate ship. Because the arresting officer can't see Blackbeard (and because Blackbeard riding the cop's motorcycle crashed it into a tree), Steve spends a night in jail. While in jail, Steve reminds Blackbeard that if he does a good deed, his curse will be broken. Steve asks Blackbeard for his treasure to help the Daughters of the Buccaneers save the inn, but Blackbeard admits that he spent all of the money. Steve decides not to trust Blackbeard.
Steve is released from jail the next morning due to lack of evidence, but is put on probation with the college, forced to win the big track meet or be fired from his position. The problem is that Steve's team is sorrowfully weak and ordinarily do not stand a chance at winning. Blackbeard is firmly told by Steve, more than once, not to interfere with the boys on his team; but Blackbeard creates further complications by stealing one of the Inn's mortgage payments and betting it on Steve's track team. Blackbeard's intention is to use his ghostly powers to help Godolphin win the track meet, and then use the winnings to pay the mortgage in full. Steve is at first outraged by the pirate's interference, but he decides the greater good is to win the money for the sake of the Inn. He also accepts the pirate's help in shaking down Silky Seymour and his thugs after Seymour refuses to pay out the winnings from the bet.
With the mortgage paid, Blackbeard has performed his good deed and is released from the curse. After Steve asks the ladies and Jo Anne to recite the spell, thereby rendering Blackbeard visible to them, Blackbeard bids them all a cordial goodbye and departs to join his former crew, leaving Steve and Jo Anne to pursue their future together.
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romantic, action, comic
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train
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wikipedia
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Peter Ustinov, is a great pirate for the kids to enjoy.A good Disney movie, and a great family movie..
Watching Blackbeard's Ghost yesterday put me in mind of the late Robert Newton and his portrayal of Blackbeard in a classic film from the Fifties.
And he dominates the film completely.Dean Jones who was Disney's major leading man at the time who played the roles Kurt Russell was too young for, borrows a great deal from that other actor, who's career Disney rejuvenated, Fred MacMurray.
In fact the similarities between this and Absent Minded Professor and Son of Flubber are too obvious to be missed.Still those were two pretty funny films and Blackbeard's Ghost is in a great tradition.
Dean Jones is the new track coach at Godolphin College and he stays at the inn that's run by the descendents of the crew of none other than Edward Teach better known as Blackbeard.
Blackbeard and is doings cause some romantic problems for Jones with Suzanne Pleshette, but in Disney tradition in the end the old buccaneer sets everything to right and escapes the limbo he's consigned to.For Peter Ustinov fans, this is a must.
Blackbeard's Ghost is a live action picture out of Walt Disney Studios and it's directed by Robert Stevenson.
Starring are Peter Ustinov, Dean Jones, Suzanne Pleshette, Elsa Lanchester & Joby Baker.Plot finds Ustinov as the titular phantom of the title, who is suspended between worlds after a curse was put on him by his ex-wife.
Seems that only Steve can see the bluff old pirate, and apparently Blackbeard can only escape his curse if he does a good deed.
Good timing, then, since the old hotel run by the old ladies of Godolphin is under threat of closure from unscrupulous gambling gangster Silky Seymour (Baker) who wants to build a casino on the land.
In spite of the fact that they just can't get on, Blackbeard and Steve may just be good for each other.A perfect light hearted live action film for the young and the young at heart.
Looking a bit dated now on account of the advent of special effects, Blackbeard's Ghost none the less carries a weighty good against evil parable and brings on the laughter in spades as it goes.
Enter a bad boy coming good and the underdog sports team suddenly finding a new lease of life; aided wonderfully by Blackbeard during the film's funniest quarter.
The cast are inoffensive and pleasant, particularly Ustinov who is on full tilt pantomime overdrive, while the little devilish motif of cheating for the greater good finds Disney not hiding behind the syrup jar.Personally I laughed out loud on a number of occasions, most notably a cheerleader sequence that still has me giggling as I write this piece.
Funny and entertaining movie about a likable ghost excellently performed by the great Peter Ustinov.
Fun Disney-fantasy comedy about a pirate/ghost that returns to our time.
One of Disney's best live-action comedies , this stars Peter Ustinov in the title role as Blackbeard , he has been cursed by his spouse who was an evil witch , so that he will never die .
As the coach Steve and the gorgeous Jo Anne (Suzanne Pleshette ) help protect his descendants' home from being taken over by racketeers who want to make it casino , both of whom along with the 400-year-old ghost romp around in the motel threatened with closure.This slapstick fantasy Disney is plenty of adventure , imagination , comedy ad lots of fun .
I saw this movie on Easter Monday this year, I loved it, it has so many great jokes, mostly ghost jokes which were great.One of the most funniest movie, I have seen, I could not stop laughing.Blackbeard's Inn, a small hotel on the Carolina coast, is run by the Daughters of the Buccaneers, a group of little old ladies all claiming to be descendants of the notorious Edward Teach, known as Blackbeard.
Encouraged by Jo Anne Baker, a college instructor, Steve helps the old ladies' cause by buying an antique bed warmer at a charity auction and discovers that it was once owned by Blackbeard's 10th wife.
By accident, Steve conjures up the devilish pirate's spirit and persuades him to help the Daughters.After that he life is being turn upside down by this ghost, it some very funny scenes, then people starting to thinking that Steve is the one who is going crazy.Great comedy for the whole family..
The whole cast is up for a good laugh (I suspect Ustinov has something to do with this) and this gives the movie some swagger.
Disney have a great share of making joyous movies for a long time, every little movie they make shares laugh over my face, and BlackBeard's Ghost is no exception too.
There are many pirate movies but the way Peter Ustinov played Captain BlackBeard was not just hilarious; it was utter treat to watch him playing treacherous captain gone good.
This entertaining Disney comedy-fantasy drags at times, but its two major set pieces (the track championship and the final showdown) are worth watching.
Silly and a little overlong, but thanks to a stellar Peter Ustinov it is a very enjoyable film.
Peter Ustinov, a great actor, makes a very lively lead who is condemned to wander in limbo until he performs a good deed, and Dean Jones also does a good job.
Blackbeard's Ghost falls in to the latter category, probably due to the fact that it's not a musical and so fell under the radar of what was popular at the time, which is a shame as the film is absolutely wonderful.Herbie's Dean Jones stars at the straight man track coach who has come to a small town and inadvertently awakes the Ghost of the famous pirate.
The film is absolutely charming from start to finish and has some great set design - particularly the old pirate house, which is a place I'd LOVE to stay in.
The script is snappy, and while the bad guys are little more than caricatures, they serve the story well enough to carry what is the main draw of the film - that main draw being the absolutely tremendous Peter Ustinov!Ustinov is a well know character actor with a distinctive voice, but here he shows that comedy is without a doubt his forte as he effortlessly becomes the grizzled, grumbling and highly oddball pirate who makes an array of amusing noises.
Ustinov's delivery is razor sharp as he hilariously mumbles his way through the script as the rum loving and salty misfit who is spiritually attached to Jones' character.It's a shame that the film isn't so well known as the other live action Disney movies, becasue Ustinov undoubtedly gives one of the most charming performances of his career.This is a perfect Sunday film, and one which will make you laugh no matter what your age..
On the Carolina coast, Godolphin College's new track coach lodges at Blackbeard's Inn, run by the Daughters of the Buccaneers who claim to be descendants of the notorious pirate and who risk losing their hotel to the local mobster.While I ultimately enjoyed the film and found it to be pretty funny, it does take a while to get going.
Ustinov, Jones, and Pleshette elevate lightweight Disney comedy.
Dean Jones is the new track coach at a local college and after spending the night at Blackbeard's Inn, where he befriends the cantankerous ghost of Edward Teach, AKA Blackbeard, played by the always excellent Peter Ustinov, who then helps Jones and love interest Suzanne Pleshette secure money to save the hotel from being taken away by the bank (and gangsters).
Blackbeard's Ghost stars Dean Jones as GoDolphin College's new track coach.
Richard Deacon plays the Dean of the college and Suzanne Pleshette plays the psychology professor assigned to keep an eye on their new track coach once they notice he seems to be talking to himself a lot (although it is really to Peter Ustinov as Blackbeard, who is invisible to everybody else).
Ustinov does a great job with the character, taking full advantage of the opportunities he gets to show off his comedic skills, and Dean Jones does a sneaky good job too with the role he's given, playing the good man going crazy over dealing with the ghost he didn't sign up for.
No dirty words, no political agenda, just good old fashion fun.If Walt Disney were alive when this movie came out he would have put his stamp of improvement to it.
There is some great acting, especially by Peter Ustinov, playing the ghost of Blackbeard.
A feel-good Disney production, a priggish track-and-field coach (Jones) accidentally invokes the ghost of the centuries-old notorious pirate Blackbeard (Ustinov), who has been stuck in limbo eternally after death because of his 10th wife's vicious curse, while being only visible to the coach, Blackbeard needs to do something good to break the curse, so he decides to assist the coach's lame team to win the college competition (using his stunt of invisibility) in order to win the wager to pay back the bank mortgage and save the hereditary hotel which runs by Blackbeard's descendants (a gaggle of old ladies led by Lanchester).
I hadn't even realised I was laughing so much and it really is funny - mainly because of Peter Ustinov's wonderful comedic performance as the pirate Blackbeard's Ghost, but also the completely bonkers events that occur - particularly the madcap track and field competition, and the fight with the bad guys at the end in which fingers are used as guns to hilarious effect (you'd have to watch it to understand what I'm on about).
Though this movie isn't a well-known classic, it is still most certainly a shining example of why Disney films were once so enjoyable.
The movie features an interesting, offbeat plot of the new coach of a rather dismal track team unwittingly summons the ghost of the vicious pirate, Edward Teach (Peter Ustinov).
After centuries caught in limbo, the pirate has evolved into a lovable ne'r-do-well, and does his best to "help" his new companion, much to the consternation of the coach.Disney regulars Dean Jones, Suzanne Pleshette, Elsa Lanchester, George Murdock, and Richard Deacon star in this little gem.
They play their usual character types, but the move is truly made by Peter Ustinov, who plays the role perfectly.The movie features a lot of slapstick, though it's cleverly presented and plays host to wry dialogue.
Blackbeard's Ghost is a 1968 live-action fantasy comedy Disney film starring Peter Ustinov, Dean Jones, and Suzanne Pleshette, directed by Robert Stevenson.
The Disney Channel aired this film until the late 1990s.Summary: Steve Walker (Dean Jones) arrives in the seacoast town of Godolphin, North Carolina, to take the position of track coach at the local college.
In quick succession, Steve discovers his track team's shortcomings and conflicts with the dean of Godolphin College, its football coach, and Seymour; but he also makes the acquaintance of an attractive Godolphin professor, Jo Anne Baker (Suzanne Pleshette), who is anxious to help the elderly women save the Inn. A bidding war with the football coach at the charity auction nets Steve an antique bed warmer, once owned by the wife of Captain Blackbeard (who is the spitting image of Jo Anne, and was a witch).
Steve recites one as a lark, unintentionally conjuring up the ghost of Blackbeard (Ustinov), who appears as a socially inappropriate drunkard whose wife cursed him to an existence in limbo unless he can perform a good deed.Questions: What kind of problems did Blackbeard have?
My thoughts: I love this movie and it was a Walt Disney classic.
Suzanne Pleshette role in this movie was good.
The new track-coach in town conjures up the ghost of an 18th century pirate; together they save an ancient inn from being taken over by crooked men who operate in rigged casinos.
Dean Jones and love-interest Suzanne Pleshette are an easy match, but blustery Peter Ustinov as the besotted spirit could use some lessons in subtlety.
Ustinov is entertaining as an infamous pirate in this slapstick Walt Disney comedy.
Of course when Dean fires his imaginary gun, it is Blackbeard's ghost who is knocking the bad guys over.Dean Jones makes any movie he is in, a lot of fun.
In this Walt Disney produced comedy, a track coach (Dean Jones) begins a new job coaching the "Godolphins", a team without a ghost of a chance of winning anything.
Dean Jones' charcter accidently finds a spell or 'conjuration' that brings back the 'ghost of Blackbeard' who gets involved in trying to save the home of his great-great granddaughters from the crooked gambler, and all types of antics follow.
Have a fun time as Peter Ustinov and Dean Jones frolic in "Blackbeard's Ghost." An innocent family movie where Ustinov gives a demonstration on fun acting.
and this is not a really surprise because presence of Peter Ustinov is always great virtue for a movie.
Blackbeard's GhostFor a pirate from the 1600s, the biggest shock on the high seas today would have to be the treasure trove: human trafficking.And the while misplaced marauder in this comedy is interested in loot, it's for charity.When a college coach (Dean Jones) buys a bed warmer owned by the pirate Blackbeard's wife, he finds a book of incantations inside and recites one.In doing so, he resurrects the restless spirit of Blackbeard (Peter Ustinov), who has been cursed by his wife to remain in limbo until he performs a good deed.Deciding to help save the local inn, Blackbeard's bumbling antics instead expedite its transformation into a casino.
An optimistic take on the murderous pirate, Blackbeard's Ghost is a zany romp that doesn't skimp on classic live-action Disney charm.However, now that pirates are harmless, does that mean we can drink liquids with the Jolly Roger on them?
Three years later, I was buying tickets to "Bonnie and Clyde," "The Graduate," and "In the Heat of the Night," as well as imports from "Bedazzled" to "Closely Watched Trains." By 1968, I didn't even notice the release of "Blackbeard's Ghost." Today I appreciate vintage Disney movies not only for the purity of the nostalgia, but for the durability of the formula, and the skillful choice (if not use) of talent.
But while the others have logical plots, Blackbeard pushes the bounds of absurdity and actually becomes boring.And "Blackbeard's Ghost" for Peter Ustinov and Elsa Lanchester.
Its few other qualities lag far behind: the wildly creative sets for Blackbeard's Inn do look like they were assembled of jetsam (as the dialog says), and though Dean Jones is no Laurence Olivier (he's not even Fred Macmurray), he does a fine job as the dauntless straight man to Ustinov's spectral pirate..
The movie is is a great all around, has a good storie and the characters are absolutely perfect, specially peter Ustinov, is absolutely fantastic in the movie, haven't seen a more funny picture ever!!!.A truly funny picture dosen't try to be funny but it just is.
Recommend every one to see it.This is the story of black beard the ghost, whose wife put a curse on him, causing him to be stuck in limbo between the world of the living and dead i.e a Ghost, to be free of his curse he has to do a good deed which for Blackbeard is extremely difficult and all through the film goes wrong..
Blackbeard's Ghost is a terrific comic tale of what might happen if the great, terrible pirate captain came back but only to have a heart.Dean Jones gives a terrific comic performance and some of the sight gags are simply incredible, particularly a scene in which Blackbeard (Ustinov) makes the roulette table miraculously successful for Jones.This has always been a Disney classic, but I would venture to say it should be considered a comedy classic in general.I saw this first when I was about 10 and have loved it ever since..
Dean Jones and Peter Ustinov are hilarious together and the script seems to have more in common with a witty Moliere-era French farce than the usual live-action Disney fare.
to adequately showcase it's live action classics from the studio's golden age.all that tech talk aside,'Blackbeard's Ghost' has always been one of my favorite live action Disney fantasies.
with the (shall i say it?) stellar acting combination of Ustinov and Jones, 'Blackbeard' plays out like a Diney/fantasy version of Neil Simon's the 'Odd Couple'.
and if you are partial to Disney and slapstick, possibly a lot funnier.the performances by Ustinov and Jones are decidedly a focal point that drives the film and gives it it's most weighty substance.
Peter Ustinov has a ball and the rest of the cast are most enjoyable in this fun Disney flick which is ideal for young audiences.Director Robert Stevenson brings Ben Stahl's novel to the screen as he tells the story of legendary pirate Captain Blackbeard, who was cursed by his wicked wife to walk the earth in limbo until such a time as some small portion of good might be found in him.
Disney released similar films around the late sixties and early seventies including "Bedknobs and Broomsticks" with much success at the time.This enjoyable, merry fun also stars Elsa Lanchester, Dean Jones (of "Herbie" fame) and Suzanne Pleshette.Sunday, January 18, 1998 - Video.
"Blackbeard's Ghost" is one such storied film.
(The movie doesn't say which one, and the location and Godolphin College are fictional.)This is a children's film that has some very silly scenes.
Blackbeard's ghost, played well by Peter Ustinov, helps the track team of newly arrived coach, Steve Walker (played by Dean Jones), win an invitational track event between four schools.
The acting is OK, with good performances also by Suzanne Pleshette, Elsa Lanchester and others.
I just can't find words to say something bad about this movie, I mean it.How can one not give a single good laugh after seeing Blackbeard (Peter Unistov) put Steve Walker (Dean Jones) into trouble with a police officer?
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tt3748528
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Rogue One
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The film begins with the traditional text: A LONG TIME AGO IN A GALAXY FAR FAR AWAY... but instantly leaps to the action. No opening crawl.In the early years of the Galactic Empire, an Imperial ship lands on a planet. Lyra Erso (Valene Kane) runs to warn her husband, Galen Erso (Mads Mikkelsen) and their young daughter Jyn Erso (Beau Gadsdon). Lyra calls Saw Gerrera (Forest Whitaker) and tells him that they have come. Galen says goodbye to his daughter and tells her that he loves her, calling her "Stardust," as he heads off to face the Empire. Lyra gives Jyn a necklace, telling her that the force will always be with her and she can trust it.Outside, Galen meets Orson Krennic (Ben Mendelsohn), a high-ranking Imperial military officer, who tries to get Galen to come back to work for the Empire. He asks about his family, and Galen lies that his wife is dead. When Orson tells his stormtrooper bodyguards to check the area, Lyra appears and draws a weapon on Krennic; they have a standoff. Lyra shoots Krennic, hitting his arm, and is killed. A stormtrooper toy is discovered, and Krennic tells his guards to find Galen's daughter (who stayed out of sight to watch all this). Jyn runs away and hides in a prepared bolt-hole under a rock in a cave, from which Saw rescues her.Fifteen years later in the Ring of Kafrene an adult Jyn (Felicity Jones) is held in a cell. Meanwhile, commanders of the Rebel Alliance, led by Mon Mothma (Genevieve O'Reilly), a senator of the Old Republic Senate-turned-Imperial Senate, discuss the Empire's plan to create a giant weapon capable of destroying entire planets.On the planet Jedha, Bodhi Rook (Riz Ahmed), a pilot who has defected from the Empire and wants to join the Rebels, arrives and is apprehended by the local forces there.On the planet Wobani, Jyn is being transferred with other prisoners. Suddenly, Rebel forces break in and free them. Wanting to escape, Jyn attacks the Rebels and tries to flee but is stopped by K-2SO (voice: Alan Tudyk), an Imperial enforcer droid who's been repurposed to work for the rebellion.On moon Yavin 4, the location of the Rebel base of operations, Mon Mothma and other Rebel leaders talk to Jyn about her father. She says that she last saw her dad 15 years ago. The Rebels question her about Saw Gerrera and tell her that he is an extremist causing problems in Jedha. The Rebels say that finding Saw and the captured pilot is paramount to find out what the Empire is plotting. They offer her a deal: find Saw, and she is free to go. As Jyn boards the ship taking her to Jedha with K-2SO and the pilot Cassian Andor (Diego Luna), Cassian is told to kill their targets and not perform any extractions.At Jedha, Bodhi is confronted by Saw, who now has prosthetic legs and gets supplementary oxygen from a mask. Saw doesn't believe Bodhi's story and interrogates him harshly, eventually bringing in a Bor Gullet, a tentacled creature that terrifies Bodhi and can apparently read his mind.Aboard an Imperial Star Destroyer, Krennic discusses with Grand Moff Tarkin (Guy Henry), the Imperial governor of the outlying areas and overall commander of the Imperial Navy, the "ultimate weapon" they are creating. Krennic urges that they perform a test of the weapon.As this happens, Jyn, K-2SO, and Cassian arrive at Jedha. K-2SO is told to wait at the ship, and while Cassian scouts the area, Jyn is approached by Chirrut Imwe (Donnie Yen), a blind warrior who notices her necklace and the quality of the stone. Later, when Jyn and Cassian roam the city, Jyn notices snipers and the area quickly errupts into a battle. Rebel and Empire forces fight, and while Jyn and Cassian are nearly killed, K-2SO arrives and defeats the stormtroopers. Chirrut then tries to let them in his location but is ambushed by stormtroopers. Showing excellent skill despite his visual impairment, Chirrut defeats the stormtroopers, but all, including Chirrut's friend Baze Malbus (Wen Jiang) are eventually captured by Saw's crew.While Cassian, Chirrut, and Baze are in a cell they quickly notice that Bodhi is in the cell next door. Jyn is brought directly to Saw. Saw is surprised to see Jyn, but Jyn instantly confronts him about abandoning her when she was 16. Saw replies that he did it to give her her best chance and suspects Jyn of being told to head there to kill him. Jyn says that she wants nothing to do with the rebellion at all and Saw, looking defeated, tells her that there is no rebellion without hope. While this is happening, the Empire decides to test their weapon.Saw shows Jyn a hologram sent by her father. Her father says in the message that he went with the Empire to give the rebels their best chances and that the weapon they were building is called the Death Star. He says that he made a fail-safe in the death star by placing a trap -- explode it, and the entire thing dies. He also apologizes to a tearful Jyn and tells her to fight for him and to finish what he started: "Save the rebellion and save the dream."Suddenly, the Death Star attacks Jedha. Chirrut, Bodhi, and Baze head to the ship while Cassian gets Jyn. Despite Jyn's help, Saw acknowledges his weakness and tells her to leave him. Everyone else escapes in the ship with K-2SO while Jedha is destroyed and Saw is crushed to death.With their test being successful and Jedha gone, the Imperial leaders rejoice. However, Grand Moff Tarkin decides to claim all the credit, shutting out Krennic, the director of the project. Tarkin threatens further action against Krennic should he protest against his or the Empire's policies.On the ship, Cassian is secretly given instructions to kill Galen if they find him. The people on the ship discuss Jyn's report of the hologram but as she left it behind in Jedha, they don't believe her. She convinces them, however, to head to Edu and find Galen.On Edu, an Imperial mining planet with constant darkness and rain, the crew crashes their ship and decides to find a new one. As Cassian and Bodhi head out, Jyn questions Cassian's motives. Upon hearing K-2SO say that Cassian's weapon was in sniper mode, she heads out with Chirrut and Baze.Nearby at the Edu Mining Facility, Krennic is interrogating Galen and six other engineers working for the Empire because he believes one of them is secretly working for the rebels. When Krennic threatens to kill everyone, Galen steps forward and confesses. Krennic still kills the other engineers. While this is happening, Cassian has his rifle sights on Galen but eventually does not pull the trigger.Meanwhile, having snuck up on the rebels, Bodhi and Jyn arrive. Jyn calls out to her father just as rebel forces arrive in X-Wing fighters and cause an explosion and a fight. When she regains consciousness, Jyn finds her father in critical condition. She tearfully reunites with her father before Galen passes away and Cassian pulls her from his body as they head out of Edu.On the ship, an angry Jyn questions Cassian on his motives and he replies that everyone has lost something for the rebellion, and that she only truly started to care because of her father.Krennic arrives on the planet Mustufa and reports everything to the chief enforcer, Darth Vader (Spencer Wilding and Daniel Naprous; voice: James Earl Jones). Vader is angry and Force-chokes Krennic, letting him go after ordering him to make the Death Star work without any flaws.At a meeting back on Yavin 4, the rebel leaders, among them Senator Bail Organa (Jimmy Smits) and General Dodonna (Ian McElhinney), are doubtful of Jyn's story and her credibility. Jyn proposes to infiltrate the Empire's data storage facility on Scarif and get the plans for the Death Star, ending her argument by saying rebellions are built on hope. She fails to get approval, as Mon Mothma opposes any strike against Scarif and the other rebel leaders agree it's too risky. Senator Organa then leaves to travel back to his homeworld of Alderaan to have a talk with his adopted daughter to try to help and seek out a former Clone War veteran who may help out the Alliance.Outside, Cassian approaches Jyn about the mission -- a dozen other rebel fighters have decided to join them. With their crew in tow, they use the call sign 'Rogue One' and head to Scarif to find the Death Star plans themselves.At Scarif, Bodhi uses his old Imperial passwords to get through the gate in the force field that protects the data storage facility and get permission to land. K-2SO, Jyn, and Cassian head into the facility to get the plans while the other rebels plant explosives around the landing pads on the perimeter of the facility's island atoll. Director Krennic arrives on Scarif around the same time to review transmissions involving Galen Erso as well as Grand Moff Tarkin.Soon enough, the rebels detonate explosions all over the island. With a full-on battle emerging, the rebel fleet arrives -- the leaders had a change of heart. (There's a cameo scene of R2-D2 and C-3PO in which C-3PO comments on the rebels going to battle.) The rebels' first challenge is to slip through the gate in the force field before the Imperial forces close it and block their access to the surface of the planet.In the access room for one of the storage units, K-2SO opens the door to allow Jyn and Cassian to enter the data storage area and extract the plans to the Death Star. While they search for the plans, K-2SO fights off stormtroopers. They eventually identify the plans under the code name of the nickname Jyn's father gave her -- Stardust. When they find the files, K-2SO notes the force field and tells them to deliver the plans by getting the physical media themselves -- it's in a structure that's designed to be accessed by mechanical arms -- and then climbing all the way to the top of the tower to transmit the data. Stormtroopers then overpower him, and K-2SO dies, permanently locking the door to the control room with Jyn and Cassian inside -- where Directory Krennic has spotted them.Outside in the battle, the rebels are able to take down several AT-AT's, and Bodhi manages to find a way to the control switch to turn on communications. He is unable to turn the switch on during the battle, so Chirrut takes a risk and walks over to the switch and turns it on. He is, however, shot on the way back and dies in Baze's hands, telling him that he will always be one with the force.In the data storage area, Jyn and Cassian do some dangerous jumping and climbing to grab the cassette holding the Stardust file, but they're intercepted by Director Krennic. Although they take out the stormtroopers and shoot Krennic, the wounded Krennic shoots Cassian (who falls), while Jyn narrowly escapes. While this is happening, Bodhi gets communications working but is killed by a grenade bomb thrown by a stormtrooper. Baze is inspired by Chirrut's sacrifice and fights until he is also killed by a grenade bomb held in the hands of a fallen stormtrooper.Jyn finally makes her way to the top of the tower and sees the command console for transmitting data to the rebels. The console prompts her to recalibrate the antenna, and she does, not knowing that Krennic is headed up. The tower is hit by shockwaves from the battle, and Jyn nearly falls off. Jyn tries to send the data but is intercepted by Krennic. He claims that she will die and her rebellion will die with her, but a surprisingly alive (though heavily injured) Cassian appears and shoots Krennic, who falls.The rebel fleet destroys the force field gate, which is the last piece of the puzzle -- everything is now in place to allow the transmission of the plans to the Rebel fleet. Jyn starts the transmission. While this is happening, Grand Moff Tarkin watches the carnage from the Death Star with Vader and aims the Death Star at the base on Scarif.While Scarif is about to be destroyed, the Rebel fleet retreats to note the sacrifice of the Rogue One. Jyn and Cassian, having transmitted the plans, hold hands and embrace on a beach as the Death Star obliterates them and the entire planet.Darth Vader boards a Rebel ship and mows down scores of Rebel fighters with his lightsaber as he chases the memory card containing the Death Star plans through the Rebel flagship, arriving at the final hatch just in time to see Princess Leia's ship undock and escape. He reboards the star destroyer to pursue.Inside Leia's ship, C-3PO asks a partly CGI Leia (Ingvild Deila, voice: Carrie Fisher) what the plans mean and she answers, "Hope," signaling the start of the first Star Wars film... Star Wars: A New Hope.
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suspenseful, murder, violence, flashback, good versus evil, tragedy, revenge
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train
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imdb
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tt0373889
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Harry Potter and the Order of the Phoenix
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During another summer with his Aunt Petunia and Uncle Vernon, Harry Potter and Dudley are attacked by Dementors. After using magic to save Dudley and himself, Harry is expelled from Hogwarts, but the decision is later rescinded. Harry is whisked off by a group of wizards (including the real Mad-Eye Moody, Professor Lupin, and several new faces, including Nymphadora Tonks, a bubbly young witch who is a Metamorphmagus [a wizard who can change his/her appearance without a potion or spell], and Kingsley Shacklebolt, a senior Auror who believes everyone is equal) to Number 12, Grimmauld Place, the home of his godfather, Sirius Black. The house also serves as the headquarters of the Order of the Phoenix, of which Mr. and Mrs. Weasley, Lupin, Mad-Eye, and Sirius are members. Ron Weasley and Hermione Granger explain that the Order of the Phoenix is a secret organisation led by Hogwarts headmaster Albus Dumbledore, dedicated to fighting Lord Voldemort and his followers, the Death Eaters. From the members of the Order, Harry and the others learn that Voldemort is seeking an object that he did not have prior to his first defeat, and assume this object to be a weapon of some sort. Harry learns that the Ministry of Magic, led by Cornelius Fudge, is refusing to acknowledge Voldemort's return because of the trouble that doing so would cause, and has been running a smear campaign against him and Dumbledore.
At Hogwarts, Harry learns that Dolores Umbridge, a senior employee under the Minister of Magic, Cornelius Fudge, will be the new Defence Against the Dark Arts teacher. Umbridge and Harry clash, as she, like Fudge, refuses to believe that Voldemort has returned. She punishes Harry for his rebellious outbursts by having him write "I must not tell lies" with a cursed quill that carves the phrase into his skin. She also refuses to teach her students how to perform defensive spells, prompting Harry, Ron and Hermione to form their own Defence Against the Dark Arts group (with students from Gryffindor, Ravenclaw and Hufflepuff), which they call Dumbledore's Army. Many students sign up, including Neville Longbottom, Fred and George Weasley, Ginny Weasley and Luna Lovegood. Struggling to find a place to practise, Dobby the house elf tells him about the Room of Requirement and its uses. The club meet there to learn and practise defensive spells under Harry's instruction.
Meanwhile, Rubeus Hagrid has not yet returned from the secret mission given to him by Dumbledore at the end of the previous book, and is absent for the first part of the school year. Upon his return, Harry, Ron, and Hermione learn that his mission, which was mostly unsuccessful, was to seek out the last giants to stop them from joining Lord Voldemort. Professor Umbridge has been steadily amassing more and more power and influence at the school, and as she begins regularly inspecting Hagrid's Care of Magical Creatures lessons, it is clear that she intends to get rid of him.
One night, Harry has a vision through the eyes of Voldemort's snake Nagini, possessed by Voldemort, attacking Ron's father Arthur Weasley. Harry informs Professor McGonagall and Dumbledore, and Mr. Weasley is rescued. Dumbledore arranges for Harry to take Occlumency lessons with Professor Snape to protect his mind against further invasions by Voldemort.
Umbridge finally sacks Professor Trelawney, the Divination teacher; However, she is outraged when Professor Dumbledore undermines her power by allowing Trelawney to continue living at the school, and hires Firenze, a centaur, to take her place, in spite of Umbridge's prejudice against part-humans. Soon after, Umbridge is given a tip-off about Dumbledore's Army by Marietta Edgecombe, who in doing so unwittingly activates a curse set by Hermione which disfigures her face. Despite Dobby's warning, the gang are caught and get into trouble with Fudge. When Dumbledore takes responsibility for the illegal organisation, he is forced to leave the school and go into hiding. Dolores Umbridge becomes headmistress, and Fred and George cause pandemonium around the school in revenge.
During one Occlumency lesson, Snape is called away and Harry, left alone, looks into Snape's Pensieve, viewing a memory of his time as a student at Hogwarts. Harry sees his father, James Potter, and Sirius bullying Snape. Snape catches Harry and, enraged, refuses to continue the lessons. Distraught, Harry talks to Sirius and Lupin by using Floo powder through the fireplace in Umbridge's own office, under cover of a distraction by Fred and George. The twins then leave Hogwarts to start a joke-shop in Diagon Alley.
Suspecting that he will be next teacher to be sacked by Umbridge, Hagrid confesses to Harry, Ron and Hermione that he has brought his giant half-brother, Grawp, to Hogwarts, and hidden him in the Forbidden Forest, with the intention of eventually introducing him to human society. Hagrid asks the three of them to look after Grawp if he himself must leave the school. Sure enough, Umbridge leads a party of Aurors to attack Hagrid in his house one night. Hagrid overpowers them and flees the school; McGonagall, trying to disrupt the violence, is badly injured and is put in St. Mungo's Hospital.
On the last day of O.W.L tests, Harry has a vision of Sirius being tortured by Voldemort in the Department of Mysteries. He tries again to illegally use Umbridge's office fire to communicate with the Order of the Phoenix's headquarters to make sure the vision was genuine, and is told by Kreacher the house-elf that Sirius is indeed at the Ministry, before Umbridge catches Harry and his friends in the act. Snape is summoned to provide Veritaserum in order to question Harry, but he claims to have no further stocks of the potion left. Remembering that Snape is also a member of the Order of the Phoenix, Harry gives him a cryptic warning about Sirius's fate, but Snape claims to have not understood it.
Umbridge decides to use the illegal Cruciatus Curse on Harry to interrogate him on Sirius's whereabouts. She also reveals she herself ordered the Dementor attack on him, intending to have him either silenced or discredited. Hermione intervenes and in order to create a distraction, convinces Umbridge that they are hiding a weapon of Dumbledore's in the Forbidden Forest. Harry and Hermione lead her into an area of the forest inhabited by centaurs, where Umbridge provokes them into taking her captive. The centaurs are furious upon learning that Hermione used them to do her bidding and turn on the pair, but Grawp arrives and clashes with the centaurs, allowing Harry and Hermione to escape.
Luna, Ron, Ginny, and Neville join them in the forest and all six fly to the Ministry on thestrals, expecting to find and rescue Sirius. Once in the Department of Mysteries, Harry realises that his vision was falsely planted by Voldemort; however, he finds a glass sphere that bears his and the Dark Lord's names. Death Eaters led by Lucius Malfoy attack in order to capture the sphere, which is a recording of a prophecy concerning Harry and Lord Voldemort, which is revealed to be the object Voldemort has been trying to obtain for the whole year, the Dark Lord believing that there was something he missed when he first heard the prophecy. Lucius explains that only the subjects of the prophecies, in this case Harry or Voldemort, can safely remove them from the shelves. Harry and his friends, soon joined by members of the Order, enter a battle with the Death Eaters, during which Bellatrix Lestrange kills Sirius and Voldemort himself arrives to kill Harry, but Dumbledore rescues him and climatically fights the Dark Lord to a stalemate. In the midst of the duel, Voldemort unsuccessfully tries to possess Harry in an attempt to get Dumbledore to kill the boy, then escapes just as Cornelius Fudge appears, finally faced with first-hand evidence that Voldemort has truly returned.
In his office, Dumbledore explains that Snape had understood Harry's cryptic warning, and had subsequently contacted Sirius, learning that he was still at Grimmauld Place. After Harry failed to return from the Forbidden Forest, Snape deduced where he had gone and alerted the Order of the Phoenix, allowing them to save Harry and his friends. It is revealed that during the Christmas holidays, Kreacher had interpreted a command of Sirius's as an order to leave the house, and went to Narcissa Malfoy, the wife of Lucius, and told them about Harry and Sirius's close relationship; Voldemort subsequently realised that he could lure Harry to the Department of Mysteries by tricking him into thinking that Sirius was in danger there.
Dumbledore then explains the prophecy: Before Harry was born, Professor Trelawney predicted that a boy with the power to defeat Voldemort would be born, would be marked as an equal by Voldemort and have powers unknown to him, and that one of the pair must kill the other, for "neither can live while the other survives". Voldemort learnt of the first part of the prophecy, and subsequently tried to murder Harry in the belief that he could prevent it from coming true, unaware that he would grant Harry power by doing so. Dumbledore tells Harry that he must stay with the Dursleys for one last summer because by taking Harry into her home, his Aunt Petunia, Lily's sister, seals the protection that Harry's mother afforded him when she died; as long as he is there, he is safe from Voldemort and his followers.
Harry comes to terms with the responsibility of the prophecy, but mourns for the loss of his godfather. Luna comforts him, telling him about her and her father's belief in heaven. Harry then finds an old hand-held mirror in his dormitory that was a gift from Sirius. He realises that Sirius would not want him to be depressed on the matter, and resolves to continue fighting Voldemort.
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good versus evil, cult, fantasy
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train
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wikipedia
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The Dead Girl
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The Dead Girl is a quintet of stories about seemingly unrelated people whose lives converge around the murder of a young woman (portrayed by Brittany Murphy). The characters in the film are linked not only by their connection to her murder, but also by the difficult hand life has dealt them. The film scrutinizes their inner struggles to overcome or surrender to their misfortunes.The first story, entitled The Stranger, focuses on Arden (Toni Collette), a quiet and diffident woman who lives with and cares for her verbally abusive, invalid mother (Piper Laurie). Arden is the character who finds the titular body and alerts the authorities, much to her mother's dismay. She later encounters Rudy (Giovanni Ribisi), a grocery clerk obsessed with serial killers, and agrees to meet him for a date. While Arden prepares for the date in secrecy, her mother calls for her assistance. Upon her arrival to her mother's room, Arden is berated with questions as to her appearance. Arden reacts angrily and attacks her mother before packing her suitcase and leaving home. She then meets Rudy and has masochistic sex with him.The second story, The Sister, revolves around Leah (Rose Byrne), a depressed forensics student, whose sister had gone missing 15 years ago. She is in despair over the fact her parents (Mary Steenburgen and Bruce Davison) are still searching for her lost sister and won't accept her not coming back. When she prepares the titular body for an autopsy, she finds a mole on the same spot, where her sister had one. There is a tatoo on the body, saying '12:13'. Searching '12:13' on the internet renders a bible quote on a sister. When Leah convinces herself the dead girl was her sister, she feels great relief and begins a relationship wth her colleague, Derek (James Franco). Their blossoming romance is cut short, however, when she finds out the dead girl is in fact not her sister and her parents keep denying she is dead. Leah is overwhelmed with sorrow and regret, but finds solace in Derek, whom she asks for help.The third story, The Wife, centres on Ruth (Mary Beth Hurt) unhappily married to Carl (Nick Searcy). She resents his frequent, largely unexplained absences, during which she has to stay at home and run his storage business, and then cook and clean for him thanklessly when he does return home. On one such occasion when Carl is away, Ruth discovers a chest of drawers in one of his storage units, filled with ripped and torn articles of women's clothing, some stained with blood. She suspects her husband of murder, and one night takes the clothes to a police station. When she pulls up outside the station, however, she has a change of heart and returns home and burns the evidence.The fourth story, The Mother, involves Melora (Marcia Gay Harden) a naïve, middle-American woman who was the mother of the dead girl, Krista (Brittany Murphy). She is called by police to answer questions on when she last saw her daughter, and then she herself goes to see where her daughter lived before her death. She meets Rosetta (Kerry Washington), a prostitute who was Krista's room-mate and lover. Rosetta allows Melora to see Krista's apartment, and tells her stories about Krista's life; how she was a sex worker, a drug addict and how she had a daughter of her own. She also reveals Melora's late husband had sexually abused Krista, of which Melora had no knowledge. Melora goes and finds her granddaughter, takes her from her caretaker (Carla Jimenez) and decides to take her home and raise her. She offers Rosetta to come and live with her as well, but she refuses. Melora asks Rosetta to write her at least.The fifth and final story is called The Dead Girl and takes place a few days before Krista, the titular character, is murdered. Although she has had a hard life, Krista has a positive outlook and a sweet nature. She buys a big stuffed toy and asks her john, Tarlow (Josh Brolin), to drive her to Norwalk where her daughter lives, as her daughter's birthday is the next day. Tarlow refuses at the last minute, however, so she has to borrow her landlord's motorbike. Before she sets off, however, she attacks Tom (Dennis Keiffer), a man who had recently just beaten her girlfriend, Rosetta. She rings Rosetta and tells her that she'll pick up her daughter and all three of them will move away and start a better life together. She asks Rosetta to tell her she loves her, but Rosetta simply tells her she has to go back to bed. Krista continues her journey to Norwalk but the motorbike breaks down and she has to hitchhike the rest of the way. She hitches a lift with Carl, who promises to take her to Norwalk. She is elated she will make it there in time for her daughter's birthday. The story ends with Krista smiling in the passenger seat of Carl's car, wearing a pink vest previously seen in the storage space found by Ruth (Carl's wife). She tells Carl her daughter's birthday was right at this moment, 12:13 a.m., which we saw tatooed on the arm of the girl Leah (the Sister) was examining in the morgue.
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atmospheric, violence, murder, romantic
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train
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imdb
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tt0056868
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Billy Liar
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Billy Fisher (Tom Courtenay) works by day as a clerk in an undertaker's office but lives his dreams in his own imaginary world. He is having such a dream when the film begins in which he is a returning war hero passing through crowds of applauding people. He is soon brought back to reality by his mother's call for breakfast. He sits at the table to eat with his father and grandmother who tell him that he should grow up and live in the real world.Billy arrives late to work and is questioned by his employer, Mr Shadrack (Leonard Rossiter) about the disappearance of a large number of calendars that he was meant to deliver to clients. The calendars are in fact locked away in a wardrobe in Billy's bedroom.Billy is also engaged to not one but two local young women, the sweet and virginal Barbara (Helen Fraser) and the rough and ready Rita (Gwendolyn Watts). Unbeknown to both women, they share an engagement ring. It is the freewheeling Liz (Julie Christie) who has just recently returned from London however that Billy is truly in love with.Billy comes to hear that comedian Danny Boon is making an appearance in town and tries to show him a script that he has written but is quickly dismissed by Boon. Despite this, he still tells people that he is going down to London to write scripts for the comedian.Under pressure, Billy arranges a date on the same night with both Rita and Barbara in the same venue, the local dance hall. It is not long before Billy's double engagement is discovered when Rita sees the ring on Barbara's finger. He quickly makes an exit as a catfight ensues. Whilst on the upper level of the ballroom, he encounters Liz and soon leaves with her. As they are walking outside, Liz asks Billy to accompany her to London that evening. He accepts and heads promptly home to pack his bags. Billy's father (who has been trying to reach him by phone at the ballroom) tells him that his grandmother has been taken to hospital. Billy heads to the hospital en route to the train station where he finds his mother in the waiting area. It is not long after his arrival that they are told that his grandmother has just passed away. Billy tells his mother of his plans to go to London and continues on to the station.He arrives at the station and meets Liz. They board the train and Billy decides to rush back to the station to get them both a carton of milk for the journey. Although hesitant, he moves quickly but just misses the train. A disappointed Liz looks on from the window. The film's final shot sees Billy walking back up a dark and deserted road to the family home.
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fantasy, whimsical, flashback, psychedelic, melodrama, storytelling
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train
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imdb
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Tragi-comic misadventures of a young man who invents a fantasy world as cover for his troubles and dreary middle-class existence in sixties Yorkshire.Billy Liar was always a terrific film, but like so many of its kitchen-sink contemporaries (Saturday Night and Sunday Morning, A Kind of Loving) it has actually grown in substance and depth since its release.
But looked at from the hindsight of 40 years he now seems symptomatic of what is today regarded as normal, almost aspirational, behaviour: self-absorption; avoidance of responsibility; glorification of celebrity; escape culture.Whether director John Schelsinger and writers Keith Waterhouse and Willis Hall foresaw all the cultural and sociological changes they captured is something only they would know (they surely couldn't have seen the significance of casting Julie Christie - one of the ultimate swinging sixties icons).
In fact I was able to appreciate it all the more on the second viewing.Tom Courtenay plays Billy Fisher, who is an immature, irresponsible young man living in a Walter Mitty-ish fantasy world, and invents implausible stories to attempt to hide his escapades, but his lies keep backfiring on him.His life is rapidly falling apart.
His grandmother is dying, his father is continually angry at him, and everything he does just makes matters worse.Fortunately, he meets Liz, (played by Julie Christie, who is the best thing in this great movie).
Effective slice of life comedy/drama tells the story of scared, optimistic Billy (Tom Courtenay) who lives in a fantasy world where he's always a hero.
Tom Courtenay and Julie Christie (Liz) leapfrogged to stardom with their performances but every actor is beautifully cast: Mona Washbourne, Wilfred Pickles, and Ethel Griffies are the character types who give Billy's family heartbreaking nuances while Helen Fraser and Gwendolyn Watts bring a refreshingly sympathetic humanity to his polar opposite fiancees.
A splendid, for that time spirited, and very good looking Julie Christie as Liz the new-age young girl, with no ties or limitations (responsibility ?) whatsoever to withhold her from doing what she wanted to.
Hence, he seeks solance,affirmation and escape in his fantasies and lies, but ultimately we know which track he ends back on.Tom Courtenay is simply 'Billy Liar'.
It was mentioned that Albert Finney and Tom Courtenay, who have both played the title character on stage, were considered for the the film role at the same time.
As someone that was forced to read the book several times at school I find the material and the morals worn thin - especially when it was later turned in to a TV series and then a musical!(The reason why it is so popular is that is about the limits of (English) working class life and, and if you are working class yourself, you are supposed to be able to "relate to it." Other suchlike novels (and later films) include Kes (which is better), A Taste of Honey (which is far better) and the Loneliness of the Long Distance Runner (which is even better still.)Good portrait of grey working class life in the sixties (if you are at all interested) and a template for a million films and television series to come (all barbs, mini jokes and evasions over the family breakfast table).
To think, this took place perhaps just months before the Beatles exploded on the scene; to me, it is a snapshot of how distressing the music and club world was before the British Invasion (yes, I know the British did not invade their own country).All the supporting cast are spectacular, from the old grandmother who doesn't understand why there are so many "Blackies" in town, to the two girlfriends, one an obnoxious bully, the other an annoying prude, to Billy's ever irritated father, who at one point calls Billy a "Mary-Anne" - oh dear!A particularly funny moment occurs when Courtenay has asked one of his girlfriends to go for a walk.
I loved Courtenay's performance and the style of comedy in the film(Billy as a soldier fantasizing about killing the annoying people in his life)is funny and original.
Tom Courtenay is colorless as a member of the British working class who daydreams his way out of the monotony of his life; Julie Christie is thoroughly charming as a local girl whose life really is a fairy tale.
Billy Liar (1963)Billed as a "gay" movie by TCM when they played this in 2017, and the basis for that is fair enough—director John Schlesinger was openly gay, and the feeling of this film is very much about being an outsider to a larger culture.
The flavor of it reminds me of "A Hard Days Night" and in fact they both come out of the so called British New Cinema.The film is imaginative in its structure, depending on the wandering thoughts of Billy to change the scene at will.
It isn't a question John Schlesinger's very fine film of the Waterhouse and Hall novel and play concerns itself with to any great degree preferring instead to take a sadly comic approach to Billy's predicament on the basis that he is fooling no-one, not even himself.Made in 1963 "Billy Liar" incorporated the trappings of 'the kitchen sink', (location filming in the grimy industrial North, real people filmed in real streets), to a Walter Mitty-esquire fantasy and if the fantasy sequences are the least successful things in the film, they don't really distract from the 'human' story at the centre.
Billy's a dreamer but, as the song says, aren't we all and Tom Courtenay's confident, likable performance in the title role gives the film a considerable lift.Indeed all the performances are first-rate, (even Finlay Currie's gruff old Counsellor); best of all was a luminous newcomer going by the name of Julie Christie who, in her few short scenes, stole the film from Courtenay and everyone else.
The rest of the time, he fights a losing battle with grim reality in the Yorkshire city where he lives, toiling as a mortician's clerk while dreaming of making a name for himself in London and lying whenever he feels threatened by reality, which is often.Tom Courtenay plays Billy as a mixture of dreamer and low-grade sociopath, drawing both our sympathy and scorn.
Taken from an even bleaker comic novel by co-screenwriter Keith Waterhouse, "Billy Liar" is an enigma of a movie, directed by a man, John Schlesinger, who liked to make enigmatic films.
A newspaper advertisement features an article about Billy with the headline: "Genius Or Madman?" When he's with one of the two young women he is presently engaged to, he imagines her slinking over to his bed in a negligee until his reverie is cut short when she catches his hand on her thigh.Schlesinger works the comedy more than the novel did, a good thing as "Billy Liar" needs a light touch.
"Billy Liar" unlike other British kitchen-sink dramas of the period, uses black humour and fantasy to put across its themes of thwarted ambition, the generation gap and revolt against conformity, with Tom Courteney, in the title role, superbly personifying if not teenage rebellion at least some sort of youthful angst as he strains to escape the confines of his stodgy, niggling, family, his literally dead-end job and last but not least his lack of a love-life.The device of Billy's "daydream-believing" of course dates back to James Thurber's Walter Mitty, only transplanted to the grim north of Britain with our (anti)-hero retreating to his make-believe world of Ambrosia where he fulfils every head of state and army chief position to boot.
The contrast with his day-job of being a clerk in a funeral director's business is obvious leading him to contemplate a migration to London egged on by the free-spirited Julie Christie, as natural and pretty here as she ever was, leading to the brilliant anti-climax of the inverted "Brief Encounter" ending.John Schlesinger's direction rises to the imaginative requirements of Billy's thought-processes, but equally knows when to employ quirkiness (the episode of the missing calendars) pathos, notably at the final scene and also during the scenes when Billy's bickering grandmother unexpectedly dies and of course humour.
But it's Courteney who essentially steals the show making it easy for us to identify with his character as we get inside his head and relate to his worm's eye view of the world only to share his final defeat as he retreats from his dream of escape to familial duty abandoning Julie Christie (whose knowing expression on the train as she in fact leaves him behind is superbly conveyed).Silly Billy, if you ask me..
Life and death.******** Billy Liar (8/63) John Schlesinger ~ Tom Courtenay, Julie Christie, Mona Washbourne, Wilfred Pickles.
He's surrounded by people who don't understand him, except for one: Liz (a glowing young Julie Christie), who like him is a free spirit, flitting in and out of the boring routine of Billy's home town.
But will Billy dare to take the step to make his dreams come true?A near-perfect script is brought to life by a cast of real characters, under the sure direction of John Schlesinger in glorious black and white.
In BILLY LIAR the title character, played to the hilt by Tom Courtenay, is a bored young undertaker's assistant who gets through each day by distracting himself with fantasies of personal grandeur.
As the three women in Billy's life Gwendolyn Watts as a bitchy, vulgar, nasty-tempered waitress, Helen Fraser as a sweet, old-fashioned somewhat dimwitted girl and Julie Christie as a tenderhearted bohemian enchantress add humor, pathos and downright magic to the story line.
Watts is the present (she wants to marry Billy and wants the ring now and has no particular interest in what comes next; her high-pitched and grating voice and mound of teased hair, her overall coarseness, reflect the dirty, ugly and noisy environment), Fraser the past (pre-60s chaste, softer hair, gentler voice, lost in her own visions of a perfect marriage with country cottage and two children), Christie the future (mop of straight, uncombed hair, "chuck tradition" attitude, let's go to London right now and start fresh, and by the way, I've been with other men but you don't mind, do you?).Novelist Keith Waterhouse captured this brief moment between the old era and the new and John Schlesinger translated it to film in the best way possible.
It's a pretty sad tale about a young man (Tom Courtenay) in a dead end job with an unhappy home life who lies and constantly escapes into a fantasy world.
Indeed, Beatlemania, the seismic cultural and social phenomenon that began in the same year that "Billy Liar" was released, is the primal scream that is palpable in this film and in the original Keith Waterhouse novel as well as in other works from this era.If we use the Beatles' early album as an analogy then the young stars of the film (Tom Courtney and Julie Christie particularly) are the band while John Schlesinger the director is akin to George Martin, the older but supportive mentor who recognises, embraces and is inspired by the revolution in the air.
Schlesinger's direction is inventive and fresh, thrusting the audience into the unnamed Northern town by shooting on location in the city centre and in the real suburban neighbourhoods where Billy (Tom Courtney in a breakout performance) and his friends live with their parents.We are also privy to Billy's constant retreats to Ambrosia, the fantasy country in his mind where Billy is king and loved by all.
Waterhouse, however, was using his anti-hero Billy Fisher to satirise not only the limitations of provincial life but also the conventions of "kitchen sink" fiction and drama.The film generally follows the plot of the book- Waterhouse acted as scriptwriter, along with his friend Willis Hall- but there are a couple of differences.
(Liz is more attractive in the film than I imagined her in the book; if Billy had been able to pull a girl with the looks of Julie Christie I doubt if he would have bothered with the likes of Barbara and Rita).There are good performances from Mona Washbourne and Wilfred Pickles as Billy's parents, Leonard Rossiter as his boss Mr Shadrack and Helen Fraser as the hapless Barbara.
Billy has to hide behind his lies because he simply doesn't know how to interact with other people.His constant daydreaming is the highlight of the film, hitting home the fact that he is living in his own fantasy world while he can't face the reality of his disappointing life.
His propensity to make things up and shrug off his responsibilities, however, leads him to end up dating two women at the same time (Helen Fraser and Gwendolyn Watts), though ultimately he dreams of escaping with the liberated Liz (Julie Christie).As a snapshot of Britain at a particular time, this is a valuable film.
The whole film is really good - affectionate, compassionate - about Billy Fisher's (Courtenay) gradual slide towards needing to decide whether he really is going to go to London to try to make his advanced powers of imagination into a career, or whether he's going to stay in the small town with this family.
Not a chance, for Billy's home country is 'Ambrosia', the fantasy world in which he is King, Prime Minister, one legged war hero and much more.Julie Christie is great as Liz, the carefree beautiful girl that Billy knows is just like him, or is she?This film is inspirational and full of great quotes, to please give it a try..
Look at what David Lean could do with Courtenay and Christie in Dr. Zhivago to see what competent direction looks like.By the time you get to the end (if you last that long), you'll know that Billy Fisher is lazy, self-centered and dishonest, but a lot of women like him.
There is nothing that makes him relatable much less minimally likable.Liz, played by Julie Christie, comes off as if she were either stuck at age 12 or another figment of Billy's imagination.
Director John Schlesinger chose instead of Finney who had played the part on stage, an entirely asexual-appearing Billy and coupled him with Julie Christie, the hottest British screen love-Goddess of the era, possibly of all time, as his love interest (and Courtenay as hers).
For a long time, I've been curious about seeing this British comedy/drama starring Tom Courtenay and, in one of her earliest roles, Julie Christie since I read that a short-lived TV series starring Steve Guttenberg called "Billy" from the late '70s was loosely based on this.
In this movie, directed by John Schlesinger, Courtenay is Billy Fisher who has an overactive imagination whenever things bother him which seems to be nearly all the time what with the demands he gets from his parents and grandmother, his doing unethical things at his undertaker job and getting caught, and his getting engaged to two very different women.
There's not much plot to Billy Liar, but Keith Waterhouse in writing the original novel and John Schlesinger in making the film were obviously paying homage to that most beloved of American fictional characters, Walter Mitty.
We thought it augured well for a revival of the British film industry but this was only partly fulfilled.All the actors were excellent and were given great opportunities in Billy's fantasy sequences.On the stage Albert Finneys performance overshadowed the others but in the movie there was a feeling of an ensemble presentation which was all to the good..
Made at a time when the British Cinema was heavily under the influence of the French New Wave directors," Bily Liar" is a rather plaintive movie about a young man in the North of England,naif and not so clever as he thinks he is,who sees his future reflected in the life of his parents ,desperately wants to escape from what seems pre - ordained but lacks the courage to make an irrevocable step into the unknown.
Opening the film with the music from "Housewives' Choice" was a stroke of inspiration.The camera moves up along a street with net curtains and we enter Billy Fisher's home.Here lives one of the greatest tragi-comic creations of the 1960s novel.Blessed with loving but uncomprehending parents Billy has seen how the real world works and wants no truck with it.
More extended fantasies show us Courtenay as dictator of his own nation -- Ambrosia.Later in the film we get to know Julie Christie's character.
An 8 out of 10 with Christie giving the best performance.Schlesinger made some interesting films in the early 60's (along with A Kind of Loving with Alan Bates) that really touch the pain of ordinary life with touches of humor and desperation.
The title character, Billy Fisher (Tom Courtenay), lives with his parents (Wilfred Pickles and Mona Washbourne) and grandmother (Ethel Griffies) in a boring North England town.
Although Tom Courtenay is the star of "Billy Liar" and gives an outstanding performance as this British version of a "Walter Mitty-like" character, it's a very young Julie Christie who steals the show.
Her part isn't large and her on-screen time is limited, but Christie's free-spirited carefree role changes the dynamics of the film and challenges Courtenay's Billy Fisher to do something with his life besides living in a complex fantasy world of his own making.
The final scene where Christie leaves alone on the train to London stays with you long after the final reel is over."Billy Liar" was Tom Courtenay's second major success after "The Loneliness of the Long Distance Runner" was released the previous year.
Billy Fisher ( Tom Courtenay ), a bone idle young clerk at Shadrach & Duxbury's Funeral Emporium in the provincial Northern town of Stradhoughton, escapes from his humdrum life by retreating into a private fantasy world ( in which everyone looks like him ) called Ambrosia.
The acting is a little familiar (for those who can remember TV and films at that time) but good, with Tom Courtenay impressive especially at the end as he struggles to match leaving and staying at home, and living for himself.
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tt1189340
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The Lincoln Lawyer
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Moderately successful criminal defense attorney Mickey Haller (Matthew McConaughey) operates around Los Angeles County out of a Lincoln Town Car driven by a former client working off his legal fees (hence the title). Haller has spent most of his career defending garden-variety criminals, until he lands the case of his career: Louis Roulet (Ryan Phillippe), a Beverly Hills playboy and son of real estate mogul Mary Windsor (Frances Fisher), who is accused of the brutal beating of a prostitute. But the seemingly straightforward case suddenly develops into a deadly game of survival for Haller.Roulet is seemingly innocent and was at the wrong place at the wrong time. Haller and his investigator Frank Levin (William H. Macy) analyze the pictures and evidence, notably the injuries the victim sustained. It bears a similarity to a past case of Haller's that landed a previous client, Jesús Martínez (Michael Peña), in jail for murdering a woman, despite always proclaiming his innocence.Haller spends time with his ex-wife, prosecutor Maggie McPherson (Marisa Tomei), who has never appreciated Haller's efforts on behalf of guilty criminals when he ought to be trying to put them behind bars. All his clients claim to be innocent, but Haller begins to wonder if he should have tried harder on behalf of Martinez instead of convincing him to plead guilty in exchange for avoiding the death penalty.In prison, Martínez becomes agitated when Haller shows him Roulet's picture. Haller begins to suspect that Roulet could be the real killer in the Martínez case, but bound by attorney-client confidentiality rules, he cannot tell the police what he has learned.Levin is mysteriously killed after leaving a voicemail message claiming that he has found Martínez's ticket out of jail. Haller is suspected of killing Levin because a collector's gun missing from his house was used to kill Levin, a gun that Haller believes was taken by Roulet after the latter broke into Haller's home.Obliged to do his best for his client, guilty or not, Haller ruthlessly cross-examines the beaten prostitute and discredits her in the jury's eyes. After a prison informant lies to the prosecution on the witness stand, the defense moves to dismiss all charges in the current case. Roulet is set free, delighting his mother, but the police then arrest Roulet immediately for the previous murder case, based upon testimony Haller coaxed out of the witness.Haller acquires a gun from his driver, Earl (Laurence Mason), as a precaution against any retribution he may face. Roulet is released due to lack of evidence and sets out immediately to kill Haller's wife and child, but Haller finds out in time to get them out of the house. He is waiting as Roulet arrives and draws his gun. Roulet mockingly tells Haller he won't be able to guard his family this way every day. But a group of bikers that Haller has previously represented brutally assaults Roulet.Upon arriving home, Haller discovers Roulet's mother inside. She shoots him with his own gun, the same one that killed Frank, confessing that she committed that murder. Haller, wounded, kills her with his new gun.After being discharged from the hospital, Haller discovers that Frank had found a parking ticket issued to Roulet near the house of the murdered victim, which constitutes strong evidence against Roulet in his pending murder trial. Martínez will be released, and Haller rides off to his next case.
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plot twist, murder, flashback
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train
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imdb
| null |
tt5895028
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13th
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The 13th Amendment to the U. S. Constitution abolished slavery. But it also included a provision many people don't know about and that is what this documentary brings to view. "Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist." That exception justifies the use of forced labor as long as the laborer is a convict. This documentary makes the case that inclusion of this loophole is only one of the justifications for continuing domination of people of color. The 13th Amendment was ratified in 1865 and director Ava DuVernay supports her thesis through the use of both historical footage and interviews. Film clips of former President Richard Nixon call for 'Law & Order' which has resulted in exploding prison populations. The U. S. only has 5% of the world's population but has 25% of the world's prisoners. This Law & Order policy enabled government to imprison blacks. John Ehrlichman was Assistant to President Nixon for Domestic Affairs: "Did we know we were lying? Of course we did." The documentary makes the case that those drug busts, Jim Crow laws and segregation are all variations of domination of black America. Currently the 'Prison/Industrial Complex' is just a new version of the same old problem. Here DuVernay returns to the 13th Amendment and makes the case that the system cannot be dealt with by making small changes. The system itself has to be rebuilt.
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tragedy, violence, cruelty, murder, sadist
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train
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imdb
| null |
tt0090163
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Threads
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It is March, 1984. In Sheffield, England, young Ruth Beckett & Jimmy Kemp are out in the country above Sheffield when a U.S. F-4 Phantom flies past overhead from the nearby R.A.F. Finningley base. Sheffield, the 4th-largest city in Britain, is close to a prominent R.A.F. Base and also has a major component of steel, energy & chemical production. Jimmy flicks through the car's radio stations, missing a brief news story about a Soviet invasion of Iran in his attempt to find the broadcast of the latest football game. Ruth chastises him for his lack of taste, but after he gets out of the car & comes back with a flower the two start to kiss.Later that week, the BBC runs a story about a Soviet convoy moving through northern Iran. The convoys had apparently been spotted by U.S. satellites, traversing 3 of the mountain passes leading from the USSR. The story goes on to say the Soviet foreign minister had defiantly defended the invasion, and it soon becomes obvious that the Soviets are hoping to convert Iran to yet another Soviet satellite state. During this time frame Ruth also reveals to Jimmy she is pregnant, and wants to keep the baby. When Jimmy informs his parents his father reacts somewhat harshly; his mother tries to point out all the options available to them. Jimmy informs his parents that he & Ruth plan to get married and have the child. Jimmy works for a carpentry firm; it is not clear what Ruth works as. Michael, Jimmy's annoying younger brother, humiliates him in front of his sister Alison by mentioning the upcoming pregnancy, which provokes an angry reaction from both Jimmy and his mother.Soon after, the U.S. states it will send troops to Iran if the USSR doesn't cease its invasion. The Soviets apparently ignore the warning, and soon after U.S. paratroops go in near the Soviet base at Moshad in northern Iran. Hoping the USSR will back off, the British prime minister issues a statement of support for the U.S. action. Unfortunately the USSR ignores the international condemnation, and as Ruth & Jimmy's parents meet to discuss the upcoming wedding/pregnancy, a story is broadcast by the BBC advising that a U.S. submarine has disappeared while on reconnaissance duty. Days later, young Alison Kemp is doing homework when a story appears on the BBC - debris from a missing U.S. submarine has been found, apparently sunk by the Soviets. The U.S. President angrily denounces the Soviets' unprovoked attack against the submarine, as well as its invasion of Iran. He goes on to warn the Soviets that their leadership risks escalating things to the point of nuclear war.As the crisis escalates, Jimmy & Ruth pay little attention to it, focusing instead on finding an apartment and getting it ready to move in. Visiting his dad after work one day, Jimmy notices an F-4 flying past overhead from Finningley, and his father remarks, 'There's something going on, I'm telling you'. While at a bar that night, Jimmy and a young lady meet up and are happened upon by an Army convoy while making out in Jimmy's car.May, 1984: The United States issues an ultimatum to the USSR calling for joint withdrawal of all U.S. & Soviet forces from Iran. The Soviets arrogantly ignore it, and as U.K. residents pray for peace, the U.S. launches a conventional weapons strike against the Soviets' Moshad base, using high-level B-52 bombers. The USSR defends the base with a nuclear-tipped air-defence missile, annihilating the bombers. The U.S. retaliates with a single, low-yield tactical nuclear weapon on the Soviet base, and the exchange stops - for now.Anti-Soviet demonstrations are taking place in both the U.S. and East Germany, and people in cities such as Sheffield are heading for Wales, west England, and other country towns well away from major areas to avoid being caught in a possible nuclear war. The Kemps' neighbors, the Stothards, are among these. Leaving in their Peugeot station wagon, its roof & seats piled with belongings, the Stothards, their daughter, and dog find themselves caught up in the major influx of people heading for remote towns. Stopped by police on an 'essential service route', they are directed to the M1 where single-lane traffic is being allowed to proceed. Mr. Stothard takes the officer's suggestion and carries on to his relatives using this route.Sheffield's peacetime chief executive, Mr. Sutton, is also being advised of changes that need to be made to prepare for the possibility of attack. If necessary, the chief executive can be given full powers of internal government. He is advised to summon the pre-determined emergency committee, which he does. Some changes are already being made; key points are being guarded, known/potential; subversives are arrested, and the government is requisitioning raw materials for possible wartime use. As riots break out in the U.K as well, the government starts to reinforce Europe by taking control of British Airways and cross-channel ferries, leaving thousands of travelers stranded. The Royal Navy also moves in to guard the oil rigs of the North Sea. More disturbing, the U.S. aircraft carrier 'Kittyhawk' is sunk by a Soviet sub, and the U.S. begins an air & naval blockade of Cuba. Further riots in East Germany occur. The Sheffield emergency committee is summoned to the fallout shelter below the city hall.Hospitals are also cleared for expected casualties; Mr. Beckett's elderly mother is sent home to live with them. Art galleries are also cleared & the paintings put into storage (possibly the galleries were to be used as fallout shelters). 'Protect & Survive' PSAs are broadcast on U.K. TV & radio, and books outlining precautions to be taken are being delivered to U.K. residents. Ruth & Jimmy are removing wallpaper in their apartment one night when one of these PSAs comes on, and Ruth is so frightened she starts to cry. As Jimmy looks out their apartment window, the fire engines from the nearby hall are deployed to a safe location in an underground bunker - a sign that things are definitely worsening.May 26, 1984. Ruth's morning sickness has her in its grip, and her mother goes to call her employer to tell them Ruth won't be in. However, when she does, she discovers the phone line is dead. This is the U.K's Preferential Telephone System in use; non-essential phones are disconnected, leaving the lines open for emergency communications among government/civic officials only. The Kemps are trying to build a fallout shelter; young Alison is sent by her mother to buy canned/dry food - it is the last we see of her. At 8:30 a.m. people are going about their business, and the emergency committee is meeting in the bunker. Suddenly an alarm goes off from the UKWMO, followed by the chilling words, 'ATTACK WARNING! RED! ATTACK WARNING! RED!'. The committee immediately recognizes what it means; the USSR has decided to launch an ICBM attack against the UK, in retaliation for trying to stop the Iran invasion and its failure to support Soviet ambitions. NASA Space Command detected Soviet ICBMs in-flight minutes after launch, and the UKWMO also picked up the signal. Outside, Jimmy & co-worker Bob are arguing with people wanting to buy boards for fallout shelters, when the attack warning siren begins to wail - a long, wavering, incessant tone. Jimmy & Bob dive under their truck, and other people desperately try to find shelter before the attack hits. The first warhead explodes above the North Sea, causing the EMP - electromagnetic pulse - effect, crippling electronics & communications equipment. At R.A.F. Finningley, the U.S. F-4s stationed there desperately start to launch along with R.A.F. aircraft. Although they manage to get fighters into the air, at 8:37 the first tactical missile salvo hits most NATO military targets, including Finningley. The mushroom cloud bursts & looms high over the R.A.F. base, and the terrified residents of Sheffield see it. The blast wave hits seconds later, causing significant damage. Jimmy & Bob emerge from under the truck to see the horrifying cloud in the distance. Bob whispers, 'Jesus Christ, Jimmy.....they've done it!'. Jimmy attempts to head to Ruth's but finding his car disabled, he heads out on foot. As panic-stricken residents of Sheffield run for shelter, Mr. & Mrs Kemp, caught unawares, desperately try to improvise a lean-to as detailed in the survival information. The Becketts escape to their cellar, which is well fortified. The initial exchange results in 80 MT falling on the UK; as exchanges escalate, all major cities in the UK and U.S.A. become targets. Now, strategic rather than tactical weapons will be used. The total East-West exchange is 3000 MT; 210 of these fall on the UK alone. Sheffield, being a major industrial center, also becomes a target. A 1-MT ICBM hits near Crewe, annihilating most of Sheffield. Most of the population is destroyed along with the city; immediately after, firestorms rage through the city. With radioactive fallout imminent, firefighting & rescue attempts are unlikely for some time. With many roofs blown open as well, the survivors are especially vulnerable to the deadly radiation.The Kemps, badly wounded after being caught off guard, stumble out of their lean-to into a horrifying scene; everything is ablaze with fire. They find the body of their youngest son Michael under rubble in the back garden. Mrs. Kemp is horribly burned from fire; Mr. Kemp is suffering radiation sickness within hours. In the Becketts' basement, Ruth, her parents & grandmother are having a difficult time; Ruth is overcome with anguish at Jimmy's likely death (he was caught outside when the warhead hit) and is seemingly numb to what's going on. Several days after the attack, she flees into the street as her parents drag her grandmother's body upstairs (she had died in her sleep). As Ruth leaves her house for the outside, she enters a world she doesn't know. The fires are out, but nothing is recognizable. Death is everywhere; Ruth sees hands/feet/bodies extruding from rubble; she encounters a horribly burned mother with a dead baby; she also sees a man extracting relatively intact Star Wars figures from the rubble & placing them gently on a burned piece of wood. Overcome with grief, Ruth disappears into the streets.Not long after Ruth leaves, Mr. & Mrs. Beckett find their home invaded by looters, who kill them. Food stocks are now controlled by the central government; no food distribution is likely until 2 weeks after the attack. This results in food riots, in which some people are killed or injured. Mrs. Kemp dies of the injuries suffered in the blast; her body is discovered by Ruth a few weeks after the attack. Mr. Kemp dies several months after of radiation poisoning - ironically, he dies in a cemetery.In Buxton, 20 mile from Sheffield, Ruth enters a hospital that is filled wall-to-wall with people. With little in the way of medical supplies, doctors & nurses are forced to resort to primitive, sometimes horrible measures, to save lives - such as sawing off infected limbs without benefit of an anesthetic!Months after the attack, Ruth finally gives birth to a baby girl - alone, with no medical support. Miraculously (?), the baby appears healthy. She is named Jane.The people under the city hall, in the bunker, are buried alive; with no heavy equipment available and fallout danger high, it is weeks before they can be reached. By the time a rescue team digs through to them, they have all died of suffocation.Collecting the first harvest is a matter of life & death after the attack; however, it is difficult to grow crops with radiated soil, no agrochemicals or fertilizers, and the crops are highly vulnerable to disease, viruses & insects. In the first few years, most of the very young & very old die due to extreme cold caused by the smoke & dust lifted into the atmosphere, shutting out the sun's heat & light.Years later, the returning sun is now heavier with UV light, causing a higher rate of cancers/leukemias, also caused by the lethal gamma radiation. Ruth runs into Jimmy's old friend Bob, and the two are reluctantly forced to butcher a dead sheep in order to survive. Ruth fears the sheep likely died of radiation, as cold doesn't usually kill sheep. Ultimately, she gives in to Bob's suggestion.13 years after the attack: Ruth, working alongside her daughter in the fields, collapses. She later succumbs to the insidious radiation-induced leukemia with Jane at her side. Jane, helpless, can only use the words, 'up', and 'work', as well as her mother's name. It appears that children born post-war cannot even learn the basic language skills.Jane, forced to survive on her own now, falls in with a pair of young men who are looters. Special courts have wide-ranging powers of justice; the killers of Ruth's parents are found & executed by firing squad. The army also has the authority to shoot looters on sight; this is the fate that meets one of the boys Jane falls in with.Christmas Day, 13 years after: Jane is raped (off-screen) by 2 men; we see her several months later in a building that looks much like a hostel. Jane tells the woman working there, 'Babby's coming!'. She is told to go elsewhere, but after repeating herself several times she is assigned to a bed. She gives birth to a horribly deformed, stillborn infant. As it is passed to her, she looks at it, and opens her mouth to scream, but the audience hears nothing but the howling wind. Silence follows as the credits scroll across the screen.
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violence, murder, flashback
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train
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imdb
| null |
tt0052564
|
The Angry Red Planet
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The movie opens with a night shot of the Capitol Building in Washington, D.C. Next is an aerial view of the Pentagon Building during the day. A limousine is escorted to the Pentagon by police motorcycles. Two military officers exit the vehicle and walk briskly to a conference room. Major General George Treegar (Paul Hahn) introduces himself and convenes the meeting. He reports that the Rocketship MR-1 to Mars was detected in orbit around the Earth after being lost for 61 days. Treegar proposes to retrieve the rocket and return it safely to Earth. Brig. General Alan Prescott (Edward Innes) notes, "That's a tall order, George." Professor Paul Weiner (J. Edward McKinley) is asked about the chances for a successful retrieval, and voices his opinion. Major Lyman Ross (Gordon Barnes) is asked about establishing any communications with the ship and reports none. Treegar adjourns the meeting, telling all assembled they will leave for a base in Nevada immediately.A B-52 is flown to the Nevada Base. Inside the control room, the ship is spotted on radar. They are able to remotely return the rocket to Earth. Prof. Weiner leads the effort. Treegar orders Lt. Col. Davis (Jack Haddock) to compute and report the arrival time for the ship. The newspaper headlines inform us, "Mars Rocket Due Tonight, Landing in Nevada at 9:12 p.m.," but another asks, "Is Mars Rocket Crew Alive?" A TV newscaster (Don Lamond) informs listeners that the ship will be returned to a remote Air Force Base in Nevada. We are introduced, via earlier broadcast footage of the crew: Col. Tom O'Bannion (Gerald Mohr), Dr. Iris Ryan (Naura Hayden as Nora Hayden), Prof. Theodore Gettell (Les Tremayne), and Chief Warrant Officer Sam Jacobs (Jack Kruschen).The military men and firefighters wait for the landing and speculate on the crew's condition. The ship is spotted in the night sky. It lands successfully. A radiation detection crew is sent over first and reports that all counts are safe. The recovery squad is sent next. The door opens on the ship. Two Jeeps and an ambulance rush to the rocket. Dr. Ryan is alive, but must be assisted. O'Bannion is carried off on a stretcher. Prof. Weiner comforts Ryan and tells her everything that can be done for O'Bannion will be done. Her reply is, "How can anyone cope with that?"At the USAF Norwood Hospital, O'Bannion is being treated behind a screen. Dr. Frank Gordon (Tom Daly) tells the other doctors that he has administered a sedative. He removes his examination gloves and places them in a bag being held by Nurse Hayes (Brandy Bryan). Dr. Muller (Duke Norton) asks about the growth on O'Bannion's arm, but Gordon admits he is stumped. He notes only that it is growing. Muller asks if there was any information gleaned from the tapes and is told that all the tapes examined to date were blank. Dr. Hawley (William Remick) asks, "No tapes at all?" Gordon clarifies that the tapes were marked, but there is nothing on them--as if they were all erased by a powerful magnetic force. Dr. Hawley expresses hope that Iris may be of some help.Dr. Ryan is resting in a hospital bed. Treegar is talking to her about the flight. Nurse Dixon (Joan Fitzpatrick), Dr. Gordon and Prof. Weiner are standing next to her bed. Iris asks about Tom. She is frustrated that she cannot remember any details about what happened to Tom. Treegar asks her to start from the beginning. Iris tells her story.After takeoff, the radiation counter jumped. It was attributed to a radioactive meteor approaching. Visual examination by Iris and Sam at the view window confirms its approach. It comes close, but misses the ship. Tom and Gettell join them at the window, and they see the planet Mars in the distance. Sam performs a routine radio check while iris and Gettell take notes. Sam and the professor take a nap leaving Iris and Tom for the first watch. 17 days into the flight things are still fine. Tom and Iris get lunch: canned rations. They talk about Mars and their mission. Tom constantly addresses Iris as Irish, and Iris calls him on it. Sam reads a pulp science fiction article about creatures on Mars. It is Day 29 and still things are normal. Sammy labels and stores the tapes and Iris cleans the microscope and camera. It is now Day 47 and Sammy reports that they are orbiting Mars and beginning their descent onto the planet. They land and Sammy jokes, "Well, should we go out and claim the planet in the name of Brooklyn?" They open the view plate and turn on the outside microphones. It is still and silent. Gottell and Iris start their tests. A crash is heard on the deck above, but it was only Iris dropping a tray of test tubes. She tripped over Sammy's flight suit. Gottell determines the atmosphere is thin but contains oxygen. They landed near the Martian Equator. The thin atmosphere accounts for the silence and lack of movement of the plants. They decide to suit up and explore outside. Iris looks to the outside via the porthole window and sees the face of a three-eyed monster. She screams, and she is back in her hospital bed.Treegar asks her what happened. She can't remember. Gordon orders a sedative, sodium aluminol. Nurse Dixon prepares the drug. Gordon states she has a mental block, "Her mind refuses to remember." Treegar speculates that the alien infection could spread to all humans and that every moment counts. Weiner proposes narcosynthesis. Gordon is reluctant to use that technique, "Her mind might snap if we forced her to remember the horror she has so carefully obliterated from her conscious level." Iris asks Gordon how Tom is doing, and Gordon reveals that Tom is getting worse. She agrees to the narcosynthesis. Gordon injects Iris with the drug and she nods off.Iris wakes on the ship, surrounded by the crew. They ask about what she saw, and she tells them it was horrible. They see nothing, but she describes it as a, "huge distorted face with three bulging eyes." Tom and Gettell set off for the outside. They intended to leave Iris and Sammy behind, but both object and join their colleagues on the journey outside. Tom is the first outside. [Note: We are now experiencing "Cinemagic", which is nothing more than filming through an orange filter, with the picture somewhat solarized.] We see the Mars landscape of weird plants and a stalagmite-shaped rocky landscape. Iris is next out of the ship, followed by Gettell, with Sammy last out of the rocket. Sammy carries a new weapon, an ultrasonic freeze gun. Sammy test fires at a plant, and Tom hits it, knocking off a piece which sounds like breaking glass. They head off into the jungle. Iris and Gettell take pictures, then stop to get a better look at some plants. Iris notes the plants have very little chlorophyll, but seem to have a nervous system. She picks up a vine and follows it to a very strange plant. It resembles a monstrous venus fly trap. She finds what appears to be the bone of some creature. The arm of the plant wraps around her and pulls her towards its mouth. She screams for help. Tom hacks at its arms with a machete. Once free, Sammy shoots the plant with his ultrasonic freeze gun. They return to the plant and Gettell explains that it is more than a plant, "Its a low form of neuromuscular vegetal creature." They decide to return to the ship and call it a day. Iris takes Sammy's picture with his new toy. Gettell suspects they are being watched and that some control is being exerted over the plants. They notice their Earth contact is an hour late. Their radio transmission bounces back, so they are now out of contact with Earth.The next morning they venture out for another exploration mission. They leave the jungle and enter a drier area. They spot what appears to be a grove of strange looking trees. Tom and Iris walk over and Iris uses the machete to remove what appears to be a dead branch. The tree screeches and begins to move. What we see is described by Sammy later as a "rat-bat-spider nightmare," an apt description. It lumbers over Tom and Iris and approaches Gottell who has wedged himself between two rocks. Sammy fires the gun at the creature, but it has no effect. Finally a shot in the eyes blinds the creature and it walks away screeching in pain. They decide to continue their journey. They find a lake. Gottell checks it for radiation. Iris swishes her hand in the liquid and discovers it is somewhat oily. They agree to return the next day with a boat. After they depart the area, the three-eyed creature pops up from behind a rock to watch them. Tom and Gettell discuss the day's events and decide to cut the mission short. Tom proposes they depart tonight. Gettell is convinced there is something dangerous observing them. They launch the rocket, but a very powerful force holds them on the surface. They are stuck on Mars. Gettell is vindicated and says, "The control. Whoever they are, they don't want us to leave." They speculate on why they are being held prisoners on Mars. Since they are stuck, they decide to use the boat and see what is across the lake. They paddle until they see a huge city of skyscrapers a half-mile high. The lake begins to boil and something rises before them. It is dome-shaped with a central crest running down its length. It sports an eye that stares at them. They paddle their inflatable boat as quickly as possible as the creature chases them. Once on land they are again observed by the three-eyed Martian. The creature makes land, rolling over their boat. Sammy's gun has no effect on this weird blob with tentacles. It chases them through the jungle to their ship. The crew runs into the ship, but Sammy makes one last attempt to stop the creature. He is pulled into the blob. It consumes the man and his body disappears. Tom orders the door closed. Gettell opens the view ports. They see what appears to be multiple colored blobs of Jello being smeared on the glass--the creature has surrounded the ship. Iris notices Tom's arm is covered with a piece of the creature. It has burned through his suit. Iris treats the wound. Gettell asks Iris about the creature. She speculates it is a single-celled creature, like an amoeba, that digests using a strong acid. She explains that amoeba are very hard to kill, but they do respond to electricity. The plan is to route the ship's power to the outside hull through the instrument cable. They agree and electrocute the creature. Unfortunately the stress and strain causes Gettell to have a heart attack. Gettell dismisses it as just a bit of strain. The radio activates and Iris turns on the recorder. The Martian has a message for the crew, "Men of Earth, we of the planet Mars give you this warning. Listen carefully and remember." Iris sees the three-eyed creature in the view plate and collapses.The ship is far out into space when she comes to. Gettell is in command and very sick. He blames the takeoff and acceleration pressure. He has a trickle of blood down the right side of his mouth. With his dying breath he tells her to check on Tom in the cabin above. Tom is in his bunk, covered with a blanket. When Iris goes to pull back the blanket, Tom's arm swings down. It is covered with a green and black substance like Jello. It runs from his elbow to his knuckles. Iris goes below and looks outside through the view plate. She sees the planet Mars in the distance. She tries to make sense of the wiring mess then returns to stare at Gettell's body.She is back in her hospital bed and calls to Tom. Treegar asks about the warning. She remembers the last tape may have the answer. Gordon concludes they are facing an enzymatic infection. Tom is awake and being treated, but with little improvement. It is only slowing the growth. Iris assists with the research. She tells her colleagues, "Dr.Gordon, I think we've found the solution." She tells them electricity can be used to lure it to a tissue culture to avoid the electric shocks.Sometime later Iris sits by Tom's bed. It is clear he has improved as the bandage on his arm is very small now. Treegar and Weiner come into Tom's hospital room with a tape recorder. The last tape had the warning, "Men of Earth, we of the planet Mars give you this warning. Listen carefully and remember. We have known your planet Earth since the first creature crawled out of the primeval slime of your seas to become man. For millennia we have followed your progress. For centuries we have watched you, listened to your radio signals, and learned your speech and your culture. And now you have invaded our home. Technological adults but spiritual and emotional infants. We kept you here deciding your fate. Had the lower life forms of life of our planet destroyed you we would not have interfered, but you survived. Your civilization has not progressed beyond destruction, war, and violence against yourselves and others. Do as you will to your own and to your planet, but remember this warning. Do not return to Mars. You will be permitted to leave for this sole purpose. Carry the warning to Earth. Do not come here. We can and will destroy you, all life on your planet if you do not heed us. You have seen us, been permitted to glimpse our world. Go now, warn mankind not to return unbidden." We close with title and credits.
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cult
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train
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imdb
| null |
tt0034587
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Cat People
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While sketching a panther at the zoo, Serbian fashion artist Irena Dubrovna [Simone Simon] meets American Oliver Reed [Kent Smith]. She invites him to her apartment for tea. A few months later, they are married.Irena is a strange and lonely woman with no friends. She has a fascination with panthers, but animals don't seem to like her very much. When Oliver brings her a Siamese kitten as a gift, for example, the cat hisses at Irena, so they return to the pet store and exchange it for a bird. While in the pet store, Irena's presence sets all the animals to caterwauling. Several weeks later, the bird dies in fear when Irena reaches for it in its cage.Irena is haunted by a tale from her country that tells how the people of her village were witches, devil worshippers, and, under strong emotions like jealousy or anger, could change into panthers. She refers to them as the 'cat people.' Oliver takes it as a folktale, but Irena takes it for real, so real that she refuses to sleep with her husband because she believes that she might kill him.Oliver suggests that Irena see a psychiatrist, so she goes to see Dr Louis Judd [Tom Conway], who was recommended to Oliver by his co-worker, Alice Moore [Jane Randolph]. When Irena returns home after the first session, she finds Oliver and Alice seated on the couch, talking about her. Irena gets angry when Oliver reveals that he has told Alice about her problem.About a week later, Oliver runs into Dr Judd and learns that Irena has stopped seeing him. Concerned about Irena's belief in these folktales, Oliver again confides in Alice. Alice lets on that she's secretly in love with Oliver, and Oliver admits that he isn't so sure anymore that he really loves Irena. When Oliver gets home from work that evening, he and Irena quarrel about her not keeping her appointments with Dr Judd, so Oliver goes back to the office, stopping first at the snack shop around the corner. Irena calls the office, but when Alice answers the phone, she hangs up. When Alice learns from the cleaning lady that Oliver is in the snack shop, she decides to join him. Irena walks down to the office, passing the snack shop along the way and sees Oliver and Alice in there together. When they leave the shop, Irena follows Alice, scaring her badly.One afternoon, Oliver, Irena, and Alice go to the museum. Oliver and Alice are interested in seeing the scale models of boats, and they suggest that Irena look at some other displays on the next floor rather than being bored by boats. They plan to meet in about an hour, but Irena does not show. After leaving the museum, Alice goes to the gymnasium for a late swim. Irena follows her. The place is empty, save for the desk clerk and cleaning lady. As Alice gets into her swimsuit, she hears what sounds like a growl. Scared, Alice dives into the deep end of the pool and treads water in place. The growling gets louder. It's in the pool room with her. Alice starts to scream. Suddenly the light goes on, revealing Irena standing there. Irena asks if Alice knows where Oliver is, and then leaves. When Alice gets out of the water, she finds that her robe has been torn to ribbons.Alice goes to see Dr Judd. She tells him about being followed twice by something inhuman, which she believes may be Irena's cat form. Judd thinks it's all in her imagination. Irena consults Dr Judd, too. She tells him about the incidents with Alice, but he tells her that she is on the border of insanity and he could have her put away. He advises her to forget all this cat people stuff and lead a normal life. When Oliver comes home that evening, Irena is setting the table for a romantic dinner. She tells him that she's no longer afraid, but Oliver says that it's too late. 'I love Alice,' he admits. Irena tells him to leave. The next afternoon, Oliver and Alice have lunch with Dr Judd to discuss how to proceed with Irena. Dr Judd recommends an annulment so that they can marry, but Oliver and Alice opt to have Irena committed to a mental hospital where she can get the help she needs. They arrange for a meeting with Irena at 6 pm at her apartment.It is now 7:30 pm, and Irena hasn't shown, so the three of them leave, Oliver and Alice intending to return to the office. Dr Judd walks out with them but then asks for the key to the apartment so that he can retrieve his cane, which he conveniently 'forgot'. What he really does is to leave the door unlocked. Oliver and Alice are working when the telephone rings. Alice answers, but the caller hangs up. Alice is scared and wants to leave. They turn out the lights and go to the door, but it is locked. Then they hear a growl and see a panther in the room with them. Oliver grabs a cross and tries talking to Irena, pleading with her to leave them alone. Oliver and Alice manage to get out of the building but not before smelling Irena's perfume.Dr Judd has gone back to Irena's apartment. When she comes in, he tries to kiss her. Irena turns into a panther and kills him, but not before he stabs her with his cane. Irena goes to the zoo and unlocks the panther's cage with a key she stole from the zookeeper several days ago. The panther leaps at her, knocking her over and killing her. Oliver and Alice find Irena lying dead on the ground outside the panther's cage.'She never lied to us,' Oliver says to Alice.
[Original synopsis by bj_kuehl.]
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cult, murder
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train
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imdb
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Had he shown Norman's "mother" from "Psycho" killing the girl in the shower in greater detail, the horror of the scene would have been more greatly ineffective as compared to just how haunting it is today.Jacques Tourneur obviously understood this idea and used it to his advantage in "Cat People." An experienced director of cult horror films from the 30s and 40s, Tourneur's story of a woman with a mysterious background still works as a pinnacle thriller sixty years later.
The bird dies from fright weeks later.When she meets Oliver Reed (Kent Smith) downtown in the city, she falls desperately and hopelessly in love, but the depression of her own fear of unleashing the cat within prevents her from coming in close contact with her own boyfriend--and eventual husband.Left untouched by his own wife, Oliver eventually turns to his co-worker Alice Moore (Jane Randolph) for satisfaction (only lightly hinted at by the film), which ends up sparking a terrifying anger and hatred within Irena.
This was director Jacques Tourneur and producer Val Lewton's first horror/thriller film together (they were to do two others together, I Walked With A Zombie (1943) and The Leopard Man (1943)), and for my money, this is the best of the three.
This tale about a young, beautiful, Serbian immigrant named Irena, who marries a man named Oliver, but can't have sex with him because she believes she'll kill him, is a movie that speaks to me every time I watch it.
Lewton also had on his side, in this instance, the best of his directors, Jacques Tourneur, a sensualist (which could scarecely be said of his successors, Mark Robson and Robert Wise) who makes of the story a sort of tactile poem in the textures of the black fur of Irene's coat, the silk of her stockings, the flakes of falling snow on Irene and Oliver's wedding night, the wet tarmac across which Jane Randolph has to make her scary walk home, the ebony of an Egyptian cat-statue, the fabric of a couch torn by Irene's fingernails, the white enamel of Irene's bath-tub and the gleaming dusky hunch of her wet shoulders as she sits weeping within.
An American man (Kent Smith) marries a Serbian immigrant called Irena Dubrovna (Simone Simon) , a shy woman who fears that she will turn into the cat person of her homeland's fables if they are intimate together .
The movie was produced by RKO and its most known and famed producer , Val Lewton , the biggest producer of horror classics (I walked with a Zombie , Leopard man , Bedlam , Ghost ship ), plus he produced for director Mark Robson (in Cat people he works as an editor) numerous films (Isle of the dead , seventh victim) with similar technicians and artists .
'Cat People' was the first collaboration between director Jacques Tourneur ('Curse Of The Demon') and producer Val Lewton, and is still one of their greatest achievements, and one of the most influential horror movies ever made.
After several movies made in his native France ,Jacques (Jack) Tourneur makes his first American works in the late thirties."Cat people" is the fifth one;the others are difficult to see and anyway this is this movie that is looked upon as his towering achievement(with the exception of "out of the past") .His female star,Simone Simon,whose English was perfect,enjoyed a career in both countries too:her best part is easily Jean Renoir's "la bête humaine" ,(human beast:it's funny when you know she's playing a woman-animal here)."Cat people" belongs to the fantasy and horror genre,but it does not really follow its rules.We're close to psychological drama.(Almost) deprived of "special effects" -which is a blessing-Tourneur works with his camera the way a painter does with shadow and light to create strange dreamy atmospheres The pièces de résistance are the scene in the swimming -pool that creates a feeling of terror without using the tricks of the trade,and the scene when Oliver and Alice are in the flat,hearing roaring.The movie was ahead of its time in several respects:the Freudian allusions would later be developed by Fritz Lang("secret beyond the door",1945) and of course Hitchcock ("Spellbound",same year).You're going to say that these two great directors give their movies a "realistic" treatment and Jack Tourneur does not.Actually,he takes a divergent way:he introduces ambiguity,this ambiguity dear to Roman Polanski .After all,it could be a mere ,so to speak, neurosis.Few of the sequences actually deal with the supernatural :most of the time,it's a couple then a triangle:the "fantastic" elements could be real :the disturbing woman,who calls Irene "my sister",the scenes with the panther at the zoo,and the pool sequence can be explained by Irène's jealousy.Although,it's only understood ,it's obvious that the marriage Irène/Oliver has not been consummated,because of a not clearly defined reason-how can a man as pragmatist as Oliver believe in such a far-fetched curse?Isn't it the fear of woman,of the original sin?.This topic will be brilliantly taken on by Christian de Challonges "l'alliance" (1970).Note also how Richard Donner aped the pet shops scene for "the omen" (1976).It seems that Alice's character is an easy way out,and the weak part of the movie because she's essentially here to comfort the audience,to show the way to "straight" life and to secure a happy end.The remake (1982) destroys all ambiguity,keeps nothing from the original story but the proper nouns ,and fills its quota of nudity and blood.Stick to the Tourneur version..
Jacques Tourneur directed this Val Lewton production that stars Simone Simon as Irina Dubrovna, a Serbian immigrant working as a fashion artist in New York City who meets Oliver Reed(played by Kent Smith) at the zoo.
Get ready to suspend your disbelief, because the beautiful Ms. Simon won't have martial relations with her husband - in fact, they've never even kissed
Simon fears, with any hint of sexual pleasure, she will turn into a big cat and scratch Mr. Reed's eyes out!It all has to do with a dreadful, ancient Serbian curse (of the "Cat People").
Somehow, Reed also manages to resist beautiful co-worker Jane Randolph (as Alice Moore), who throws his jealous wife into a feline rage.The combination of producer Val Lewton and Jacques Tourneur works magically on this modestly budgeted suspense thriller; more of the "horror" is suggested than shown, which is always most effective.
Sets creep, vehicles hiss, and smoke billows artfully.********* Cat People (12/6/42) Val Lewton : Jacques Tourneur ~ Simone Simon, Kent Smith, Jane Randolph, Tom Conway.
Kent Smith and Jane Randolph are great in support, while Tom Conway shines like he has in several other Val Lewton films in his small but effective role as the psychiatrist.The second side of the film concern's its story.
The film was followed by a sequel, "The Curse of the Cat People" in 1944, which again starred Simone Simon as Irena, Kent Smith as Oliver and Jane Randolph as Alice.
This film is the brilliant collaboration of two of cinema's most ingenious minds - the first film produced by legendary producer Val Lewton, "Cat People" is doubtlessly also the greatest work of director Jacques Tourneur.
While we never actually see a drop of blood shed, Tourneur's brilliant sense for atmosphere and cinematographic style creates unspeakable eeriness by the mere use of shadows, light and darkness.The film tells the story of the incredibly beautiful young Irena (Simone Simon).
A third unexpected scare takes place in Olivers shipbuilding office; a panther stalks Oliver and Alice across a dark floor to a vivid white pin-up wall; with the beautiful film noir lighting the movie is known for.Something no one has mentioned so far; Irena has a strange dream with animated superimposed panthers padding around.The psychiatrist is the classic slimeball, but the script provides an interesting rationale for his provocation of Irena.
Irena becomes jealous of Alice and you know what that means.In two of the film's classic scenes, Lewton gives us the first of his "shadows in the dark" scares.
Jealousy rears its ugly head when Irena realizes that Olivers' co-worker Alice Moore (Jane Randolph) is in love with him."Cat People" was the first in a line of low budget black & white horror films produced by Val Lewton for RKO Studios.
The story, and the atmosphere it has, is one of the main reasons why Cat People works so well, this is more than a monster/ghost feature, this is more a psychological horror that relies on suspense and playing on the audience's fear.
As Oliver turns to an attractive co-worker (Jane Randolph) for consolation, a series of strange occurrences leaves them wondering if Irena's curse is real or if she is just mentally ill.Cat People is a classic.
Val Lewton and Jacques Tourneur team up to create an eerie foreboding world of shadows, a black panther Irena visits at the zoo, that likes to eat birds.
Of these, the first film, "Cat People", is usually cited as the best of the lot.The story concerns a young Serbian woman who falls in love with and marries an American man.
Jack Tourneur's low budget horror film Cat People suggested a new way the genre could go.
A couple of French imports, director Jacques Tourneur and star Simone Simon, helped producer Val Lewton create one of the most haunting films you'll ever see in Cat People.
Actually Simon lived to be 95 and had quite the life, giving gold keys to her bedroom to men she considered worthy.The movie was a huge hit and set the stage for horror films to come, and it was producer Val Lewton's first and directed by Jacques Tourneur.
And no one was a "sex kitten" like she was, as her performance in her second American film, "Ladies in Love" proves.Many of the excellent scenes in "Cat People" have been imitated, even by Alfred Hitchcock and Dario Argento, but they've never been equaled.
The result was a tremendous critical and popular office success and the first of nine celebrated horror films Lewton would make for the studio between 1942 and 1946.Directed by Jacques Tourneur, the 1942 CAT PEOPLE offers the story of Slavic beauty Irena Dubrovna (Simone Simon) whose marriage to the all-American Oliver Reed (Kent Smith) goes awry when she confesses to her new husband that a man's kiss may turn her into a ravening beast.
For when Irena becomes jealous of Oliver's co-worker Alice (Jane Randolph), the young woman suddenly finds herself being stalked through the night by a cat-like creature that is more sensed than seen.At the time, CAT PEOPLE was an extremely startling: films of the early 1940s did not often deal with psychiatry, still less present marriages tainted by sexual problems; horror films were expected to be direct in terms of imagery.
When Irena sees that she is losing Oliver to Alice, she becomes jealous and hateful, leading to a tragic end."Cat People" is a metaphoric suspenseful classic, where the viewer has to "read" between the subtle lines of the narrative.
In the dark, all sorts of things come alive." Shields was obviously referencing Jacques Tourneur's 'Cat People (1942),' the brainchild of legendary horror producer Val Lewton, who made B-movies so professionally-crafted that to call them B-movies would be to do them a disservice.
If this film is a triumph, then it's a triumph of atmosphere, with Nicholas Musuraca (one of film noir's most accomplished cinematographers) prolonging the intrigue and suspense through his masterful use of lighting and shadows.When American Oliver Reed (Kent Smith) marries Serbian immigrant Irena Dubrovna (Simone Simon), he convinces himself that his wife's fear of intimacy is simply a remnant of her superstitious childhood.
The film also lacks the slinky sexiness you'd expect from a woman who turns into a black panther when sexually aroused or angered, some of which can be attributed to the production code at the time, and some of which are due to director Jacques Tourneur and his leading lady Simone Simon.
The film became a cult favorite to supernatural/horror fans, that there was a sequel maded in 1944 called The Curse of the Cat People.The film's story starts when naval construction designer Oliver Reed sees Serbian-born beauty Irena Dubrovna at a zoo, he flirts with her, and soon they fall in love and marry.
It's been many years since I've seen this film, but from memory, it's about a European woman in the US who thinks she is cursed and will turn into a cat or something.Now, the REAL reasons to watch the film: for aspiring movie makers, the scene in the pool is one of the greatest of all time, and just utilises editing and shadows.
Based on a legend of the cat people this lack of physical closeness sees Irena withdraws more into herself despite Oliver's attempts to help her by sending her to see Dr Judd.Having seen a handful of atmospheric and effective films from producer Val Lewton and director Jacques Tourneur I eventually got the chance to watch Cat People (having already watched them out of order by see Curse of the Cat People a few years ago).
The first of the three movies Tourneur would do for Lewton, was also his debut on feature length films: the now classic 1942 film, "Cat People"."Cat People" is the story of Irena Dubrovna (Simone Simon), a Serbian fashion designer who has moved to New York and spends her free time watching the animals at the zoo.
And this is because "Cat People" is more than a tale of horror and suspense, it is a subtle metaphor about sexual repression and mainly, the fear of losing control over the passions of the body.If the script is worth of praise, the directing by French filmmaker Jacques Tourneur is simply outstanding.
With a high emphasis on mood and atmosphere, Tourneur plays with sensuality and subtlety in ways no other director had done before in a horror film, employing the power of suggestion to create fear instead of direct graphic horror.Now, as written above, Irena Dubrovna is probably one of the best written characters in the horror genre, but it wouldn't had the impact it had without the remarkable performance by the beautiful French actress Simone Simon.
While nobody else in the cast reaches her level of talent (Kent Smith is particularly weak), they are all very effective in their roles, with Tom Conway being remarkably good as Irena's psychiatrist, Dr. Judd.While personally I consider "I Walked With a Zombie" as Tourneur's horror masterpiece, "Cat People" is probably the most influential film that came out of RKO studios during Val Lewton's years.
As one of the most influential horror films in history, Jacques Tourneur's "Cat People" is a definitive must-see.
Though it does not get the modern press of the Universal horror films of the same era, it clearly holds its own and indeed succeeds as a thriller for grown-ups.What makes 'Cat People' good is that you care about the title character (well played by Simone Simon) and her anguish as she struggles between her love for a man (Kent Smith) and the curse which she believes she is under.The story builds from a common 'young love' theme, to relationship struggles, to outright jealousy and maybe revenge.
****SPOILERS**** The first and best of the producer Val Lewton and director Jacques Tourneur collaborations in horror/suspense movies that they made in the 1940's that was to start a trend for many other horror/mystery/suspense films for years to come.With a limited budget, the movie "Cat People" cost something like $140,000.00 to make.
I have no doubt this scene was a direct tribute to the careers and films of an unjustly obscure pair of visionaries, producer Val Lewton and director Jaques Tourneur and their most "famous" film, 1942's Cat People.Shot at RKO in under a month for less than $140,000, this dark little gem stars Simone Simon as Irena, a Serbian woman (immigrant?
Cat People was the first collaboration between the RKO producer Val Lewton and director Jacques Tourneur that later resulted in more two films I Waked with a Zombie and The Leopard Man forming this way now classic and at the time commercially successful Horror Trilogy.
Cat People is generally considered the best of the three and it was the first film where Jacques Tourneur used his innovative, which later became his trademark suspense technique in direction, which basically consists in not showing the most frightening moments in the film's action using instead shadows and sounds leaving the rest to the viewer's imagination, a technique that resulted perfectly at the time of film's initial release in 1942, providing its astounding for the B horror movie success at the Box Office and establishing Jacques Tourneur as the master of the genre.
In Cat People, average American guy Oliver (Kent Smith) falls in love with the mysterious Irena (Simone Simon), a Serbian woman he met in a zoo, where she was drawing the big cats next to their cage.
It's budget limitations meant that it worked in shadows and light to bring an eerie atmosphere.In a Central Park Zoo, while sketching a panther, mysterious Serbian Irena Dubrovna (Simone Simon) meets and falls in love with Oliver Reed (Kent Smith.) Reed is enchanted by her story of how some people in her village could transform into a panther.
There is the scene in the swimming pool, Tournier makes use of light to give a sense of tension.Cat People might be dated now but it inspired the genre of film noir.
The cast of Cat People Kent Smith,Tom Conway, Jane Randolph, and Jack Holt were all character actors and competent craftsmen in their work and were recognizable to theater audiences but none were big stars.Simone Simon's portrayal of Irena is both exotic and vulnerable and remains her best known role to American audiences.
"Cat People" is the least interesting of the Val Lewton produced horror movies I have seen.Like "Ghost Ship" and "The Leopard Man", the movie doesn't seem to know if it is a horror movie or not, or if it even wants to be.It takes far too long to get to its suspenseful scenes.
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Omkara
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Omkara Shukla or Omi (Ajay Devgan) is a bahubali, a sort of political enforcer. He is the leader of a gang which commits political crimes for the local politician Tiwari Bhaisaab (Naseeruddin Shah). Ishwar 'Langda' Tyagi (Saif Ali Khan) and Keshav 'Kesu Firangi' Upadhyay (Vivek Oberoi) are his closest lieutenants.
The movie starts with Langda Tyagi gate-crashing a baraat and challenging Rajju (Deepak Dobriyal), the bridegroom, to try and stop Omkara from abducting the bride, Dolly Mishra (Kareena Kapoor). Rajju fails and the wedding never takes place.
Dolly’s father Advocate Raghunath Mishra (Kamal Tiwari), mostly referred in the movie as vakeel saab (lawyer sir), is furious and confronts Omi. He puts a gun to Omi’s head and demands the return of his daughter. Bhaisaab intervenes and resolves the conflict by mentioning the current political conditions and prevents bloodshed. Still unconvinced, Raghunath grieves to Bhaisaab the next day. To bring an end to this issue, Dolly is made to appear in front of her father and clarify that she eloped with Omi and was not abducted. She also tells the events of how she fell in love with Omkara. The father leaves feeling betrayed and ashamed. The director here references one of the most significant lines of the play Othello, with Dolly's father repeating the couplet almost verbatim, albeit in translation. The original lines read, "Look to her, Moor, if thou hast eyes to see. She has deceived her father and may thee."
After some crafty political arm-twisting, involving an MMS sex scandal, Omkara eliminates a powerful electoral rival. Bhaisaab is elected for parliament and Omkara is promoted from bahubali to the candidate for the upcoming state elections. Omkara appoints Kesu over Langda as his successor once he enters politics himself. Langda, disappointed with Omkara's poor judgment and jealous of Kesu, his younger, less-experienced, superior, hatches a plot to avenge both his offenders. He first causes a violent brawl between Kesu and Rajju by taking advantage of Kesu's low threshold for alcohol. Such irresponsible behaviour by Kesu infuriates Omi, who now starts having doubts over his decision.
On the one hand, playing the role of a concerned friend, Langda convinces Kesu to appeal to Dolly, Omi's lover and newly wedded wife, to mollify Omi. On the other hand, he starts to disrepute Dolly by implicating Kesu's visits to her as an illicit affair between the two. A kamarbandh carelessly dropped by Dolly and stolen by Langda’s wife Indu (Konkona Sen Sharma), which eventually reaches Billo Chamanbahar (Bipasha Basu) as a gift from Kesu, plays an important part in the plot, as evidence of Dolly’s infidelity.
During the climax, on the night of their wedding, Omi is convinced that Dolly and Kesu have been having an affair behind his back. In rage, he smothers his new wife to death. Langda shoots Kesu with a silent approval from Omi. Kesu is hit with a bullet on his arm. Hearing gunshots and in shock, Indu enters the room where Omi is sitting next to Dolly’s corpse in remorse. Indu notices the kamarbandh and confesses to stealing it; they both understand the fatal misunderstanding with Langda as its root cause.
In retribution, Indu slashes Langda's throat and Omi commits suicide. The movie closes with Omi lying dead on the floor and Dolly’s dead body swinging above him, while Kesu looks on.
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tragedy, brainwashing, cult, comedy
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Minnie the Moocher
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A Jewish mother and father scold their daughter, Betty Boop, not for her revealing dress, but for refusing to eat. Pa yells at her so much that his head becomes a phonograph playing the same old record. Betty runs away from the table. Even Ma is getting sick of Pa's yelling, so she turns over the record to play some music. Meanwhile, Betty sings about her woes as she walks up the stairs, declaring that she'll eat worms and die. Instead, she rolls up her toothbrush in a blanket and leaves a note. It says, "I'm leaving Home because you're not Sweet to me. I won't ever be Home again."She calls her friend, Bimbo the Dog, to come over. After Betty escapes through her window (by grabbing the blind and jumping out, letting it unroll until she reaches the ground), she and Bimbo head for a cave, where they meet a walrus, with Cab Calloway's voice, singing "Minnie the Moocher" and dancing to the melancholy song. Betty and Bimbo are subjected to frightening sights. Various dead things come to life and sing the chorus. Three skeletons drink from a bar, the booze turning them black. Their ghosts rise out of them and gyrate to the music.Bimbo looks down in a well, and sees three images of himself in the water singing along. Three ghost prisoners walk right through their bars and head to three electric chairs, which electrocute them, but don't stop them from singing.A mother cat with black circles for eyes, making her head appear skull-like, feeds her equally empty-eyed kittens. They feed from her and get large as she deflates like a balloon. She gives them a bottle of milk, with enough nipples for each, and they grow even larger.Bimbo and Betty are so scared they become negative images of themselves. Now an endless number of ghosts, phantoms, skeletons and other weird beings chase them out of the cave. Betty runs into her house and up to her room where she cowers in her bed. The note she left for her parents rips itself apart, leaving only the words, "Home Sweet Home."
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The Betty Boop cartoon 'Minnie the Moocher' has an advantage: at least the second half is entertaining whether you like the cartoon itself or not since Cab Calloway's famous song with the same name plays there.
Before the cartoon starts we see the real Calloway doing one of his dance moves, another little thing to make sure you probably will enjoy this.
The story deals with Betty's parents being mad at her causing her to run away with Bimbo.
After they have left they enter a forest where ghosts and other scary creatures all dance on "Minnie the Moocher".This cartoon is very nice.
The Calloway part is terrific with some inventive animation that fits the music perfectly.
I also liked the last moments when Betty and Bimbo have escaped the scary forest where the happy ending is found in quite a funny way.
If you like Betty Boop cartoons this one is not to be missed.
Betty Boop and Cab Calloway make a great team.
The first part of the film shows us a younger Betty Boop than we're used to seeing in the Fleischer Brothers cartoons.Betty is a girl in her early/mid teens, being nagged to tears by her immigrant parents.
Betty sings the 1911 Von Tilzer number "They Always Pick On Me".
Notice how the animator attends to such details as the bouncing of Betty's breasts on the staircase-- such details would soon be suppressed in USA animation by the Hayes Code.This is the first of 3 Fleischer cartoons with Cab Calloway featured on the soundtrack.
They proved popular-- and Calloway used them as advertising, having the cartoons shown in theaters of towns the week before his travelling band would arrive."Minnie The Moocher" is good, as is the last of the series "The Old Man of the Mountain", but Betty Boop's "Snow White" is the best of all..
Wow. The best cartoon I've seen in half a lifetime.
I only knew the Big Bad Voodoo Daddy version of Minnie The Moocher and only through coincidence did I find this and hear Cab Calloway's version...
all I can say nice.What else is there to say, you almost get nostalgia to the days when you'd sit at home on the Saturday mornings and watch cartoons till noon.
Back in the worry-less days.Perfect collaboration between the Boop and the Swing..
Perfect use of the song with the right character and the results are an excellent short.
Everything works here-the song, "Minnie the Moocher" goes hand in glove with the character of Betty Boop, the music and the animation are a wonderful fit, Cab Calloway has just the right flair to pull it all together, it all works splendidly and gives the viewer a treat for both eyes and ears.
Betty Boop was animation's answer to Clara Bow, the "It" Girl and the early shorts were more risque and playful than the later ones, after The Code took effect.
Entertaining, but I wanted to see more of Cab Calloway!.
This is a Betty Boop cartoon, though it starts with a bit of footage of Cab Calloway and his orchestra.
Calloway's song "Minnie the Moocher" is set to life using Betty, her friend Bimbo and an odd assortment of ghosts, though I really would have much preferred to actually just watch and listen to Calloway sing this song live--since it is very easy to like and quite funny (and a bit radical with its reference to cocaine).
However, as a cartoon, it's a very strange thing indeed as I really don't know who the audience for this Pre-Code nightmare would be!
After all, it is really scary and so younger kids would be terrified by it and the drug references, if the parents noticed, would really turn them off as well, as it's NOT good child fare!
Interesting, well animated but too bizarre, this one is great for adults who want to see just how subversive Betty could be in her wild Pre-Code days..
Quintessential Betty Boop.
Fleischer were responsible for some brilliant cartoons, some of them still among my favourites.
Their visual style was often stunning and some of the most imaginative and ahead of its time in animation.The character of Betty Boop, one of their most famous and prolific characters, may not be for all tastes and sadly not as popular now, but her sex appeal was quite daring for the time and to me there is an adorable sensual charm about her.
That charm, sensuality and adorable factor is not lost anywhere here, nor her comic timing and she is very well supported by the ever fun Bimbo, the two have great chemistry together too.'Minnie the Moocher' (title taken from the famous Cab Calloway song) is quintessential Betty Boop.
If anybody is a fan, 'Minnie the Moocher' is a must watch, and perhaps even people not so hot on her might get a lot of value out of it.As always, the animation is outstanding, everything is beautifully and meticulously drawn and the whole cartoon is rich in visual detail and imagination.
Every bit as good is the music score, which delivers on the energy, lusciousness and infectiousness, great for putting anybody in a good mood.Like with pretty much all the early Betty Boop cartoons, meaning before the production code tightened up and everything became tame, 'Minnie the Moocher' certainly does not disappoint when it comes to being risqué, creative or delightfully bizarre.
As a pre-code cartoon, a lot of the content here is very daring stuff, very ahead of its time back then and you don't see much like the pre-code Betty Boop cartoons made today.
And it's done in a very hugely creative and humorous way, with a very high spirit and spookiness throughout.
The voice acting is good as always.Overall, wonderful cartoon and for Betty Boop fans it's quintessential.
10/10 Bethany Cox. Betty and Cab. Minnie the Moocher (1932) *** (out of 4)Betty Boop gets yelled at by her parents so her and Bimbo decide to run away.
They don't get too far when they run into a group of ghosts.
The big highlight of this short is that Cab Calloway and His Cotton Club Orchestra play a big part in it.
The film opens up to a Calloway song and showing him do a dance and then once we get to the ghosts they are basically dancing to his music.
We also see the main ghost dancing like Calloway was at the start of the picture.
If you're a fan of the Betty Boop shorts then you'll certainly enjoy this one as there are some funny jokes throughout and the animation is extremely good.
Another highlight are the actual ghosts that look quite good and there's no question that the music is excellent..
Betty Boop has some right to feel a bit persecuted by her parents.
They nag and assault her verbally, causing her to run away with Bimbo.
Obviously, the cartoonist sided with the parents because once the two get into unfamiliar territory, they are bombarded by ghosts and demons.
The interesting thing is that this film has nothing to do with the character of Minnie the Moocher from the Cab Calloway song.
All of that said, the animation is superb, the characters terrifying, and everything is great fun.
Why is this sexy little thing with the garter and the revealing costume living at home with her parents.
Running away and being so inexperienced seems the action of a seven year old..
MINNIE THE MOOCHER {Short} (Dave Fleischer, 1932) **1/2.
Betty Boop is possibly the most durable of all Hollywood female icons, since she can still be seen adorning stationery items and girlie accessories almost 85 years after her creation!
Even so, her real stock-in-trade – the Max and Dave Fleischer series of black-and-white cartoon shorts throughout the Thirties – are among the least-seen items of classic animation.
Although I have collected many of the comprehensive classic animation box sets issued on DVD in the past decade (be it Walt Disney Treasures, Looney Tunes Golden Collections, Tom and Jerry, Woody Woodpecker or, best of all, Tex Avery), tellingly, I have not sprung for any of the 3(!) collections recently released on BluRay (no less!) dedicated to Betty Boop and what entries I will be reviewing from her filmography presently have been watched via "You Tube" and are simply more grit from the "Wonders In The Dark" mill.This particular "Talkartoon" short – which was obviously intended to highlight then-popular entertainer Cab Calloway's current song hit, who also appears with his jazz band in the brief, live-action intro – features Betty angering her parents by declining to eat her dinner (a helpful flower tastes it and promptly wilts away!) and fleeing the house with her dog Bimbo into the woods where they meet a bunch of ghosts, whose walrus leader scares them back home with a rendition of the titular tune.
Again, for a film of its age, the animation is pleasing enough (if not particularly inventive) and the song itself is now a standard..
Great Music, Bizarre & Fascinating Visuals.
The title is a song made famous by Cab Calloway, and we immediately see him making like Michael Jackson smoothly dancing as she leads his orchestra in the song.
Calloway was definitely a very cool cat, and ahead of his time.After that short performance comes the cartoon story, in which we see Betty being blasted by her father at the dinner table.
She's in tears, can't eat and walks away singing the blues, ready to leave home.
She writes a note: "Dear Ma and Pa, I'm leaving home because you're not so sweet to me.
Betty."She calls Bimbo and the two leave together.
They get scared when it gets dark and hide in a cave, where a giant walrus (Calloway) materializes and sings them the "Minnie The Moocher" song.
During the song we see skeletons, jailbirds singing on electric chairs, spooks, ghosts, all kinds of very strange sights.
After witnessing these strange sights, Betty changes her mind about never going back home.
Home, all of a sudden, looks pretty good.Not hilarious, but a very entertaining cartoon.
I love it when Betty and Cab get together..
The second is in the bizarre story involving a visit to hell.
Of all the strange Boop adventures, this is perhaps the most disconcerting (together with `Red Hot Mama') visits to the demonic side.
No Scooby do here, this is real.The third spookiness is in how the rotoscope imbues the ghost on the screen with the personality and very subtle movements of the lively Cab, a man haunted by his own demons.This was during the period that it was possible to have a character (in Betty) that superficially looked and acted silly but conveyed deep and dangerous tides of sex.
If these would have been in color, she would be redheaded, like Clara Bow.Ted's Evaluation -- 3 of 3: Worth watching..
Minnine the Moocher is a high-spirited Betty Boop cartoon with Cab Calloway from the Fleischers.
At the beginning of Minnie the Moocher, an animated cartoon from Max Fleischer based on Cab Calloway's famous song, we see the real Calloway doing his unique dance in live-action in what is supposedly the first time moviegoers saw him on the big screen.
Then we see Betty, supposedly a teen, being harassed by his immigrant parents about the way she lives her life.
As she cries in her bed at night, she writes a note saying she's running away and calls Bimbo to come with her.
As they leave, the go to a cave that has a walrus doing Cab's steps (which was rotoscoped from the man himself) and singing the title song with various ghostly jailbirds and some cats joining in.
During this sequence, Betty and Bimbo turn black before leaving the craziness behind in a rushed ending sequence that brings Betty back under the covers of her bed and the note she wrote ripping to just say "Home Sweet Home"...While Walt Disney seemed intent on using public domain symphony pieces for his Mickey Mouse cartoons, Max Fleischer was getting some of the best jazz musicians like Calloway and Louis Armstrong on his and Betty Boop benefits greatly from them.
I'm guessing Cab enjoyed what was done with him here so much, he eventually made a couple of other cartoons with the Fleischers, Max and director Dave, like Snow-White and The Old Man of the Mountain.
So on that note, I recommend Minnie the Moocher for any animation buff out there..
That age-old fathead Betty Boop decides to teach her tee-totalling ma and pa a lesson by running away with her hip little dog pal Bimbo.
Suffice it to say, what they experience on their little sojourn would make even the most die-hard of runaways run screaming back home to mama!
The whole short is packed with the patented loony and brilliant images that make these particular types of old cartoons dark works of art.
There's so many strange and macabre things to see that are leaping about and at the screen, fantastic indistinct blurry demonic things all swirling around the two characters in a satanic kind of dance around the maypole.
Some of my favourite sight and fright gags are when Betty's father warps into some kind of old-timey radio, the skeleton cat and her kittens-freaking twisted, and the skeletons who die again and come back as skeleton ghosts!
I don't know if other people thought so, but there seemed to be a great sense of depth to it.
This sense of added depth helps to create a much more atmospheric experience for the viewer, almost like we're right there in that nightmare cave with them!
It must have especially been something amazing to see way back in 1932!::: Once more we are treated to the magic moves and sweet soulful tones of Cab Calloway.(RIP) Hey, now we know where the Moonwalk came from!
Is there any greater honour than being animated as a jazz singing ghostly walrus version of yourself?
Loved this, another great little animated vision of madness.
Betty runs away from home.
As this short opens one could be forgiven for thinking it wasn't a cartoon at all as it begins with live action footage of Cab Callaway and his band performing the opening to 'Minnie the Moocher'.
When the cartoon proper begins we see Betty's parents remonstrating with her for not eating her dinner.
Her father clearly sounds like a broken record, stuck in the groove, to her as his head literally turns into an old fashioned gramophone player.
She soon has enough and retreats to her room; here she write a note informing her parent that she is leaving then goes off with her boyfriend Bimbo.
The two of them take shelter in a cave and things become very surreal; they see an apparition of a walrus like creature that is dancing and singing 'Minnie the Moocher'.
As the song progresses they see a number of disturbing images including dancing skeletons and ghosts going to the electric chair!
Understandably by the end of the song they are terrified and run back home as fast as their legs will carry them.While this short is hardly a laugh-riot, it isn't meant to be, it does have some amusing moments and the animation is very creative; far more surreal than most more recent cartoons.
This provides a good illustration of the fact that animation wasn't always considered to be a medium primarily aimed at children with the numerous creepy images and drug references in the song.
The combination of imaginative animation with Cab Callaway's classic song work brilliantly; any fan of classic animation is sure to love this..
We discussed this Betty Boop short along with The Jazz Singer and discussion on minstrel shows and racism.
This is an excellent example of racism in early cartoons and has a great study on gender.
Betty Boop is a flapper with her short hair, makeup, jewelry, short skirt, and rebellious attitude.
In this film, she writes a letter to her parents as she's running away, talks of killing herself, has noticeable stockings under her skirt, and becomes involved in subversive "black culture".
Betty and Bimbo both walk with "jive", the same way Malcolm X and Shorty did in the beginning of Malcolm X.
In this scene, Shorty tells X that he has to walk black and they walk in the same way Betty and Bimbo do, leaned forward, rhythmic, and arms swinging.
Here, Cab Calloway plays this ghastly ghost creature, while there are skeletons, ghosts, and other creatures dancing about.
This is quite exploitive, representing black culture and jazz as ghostly and evil in a way to almost scare kids away from getting involved in black culture and to stay in their comfortable homes, just as the monsters literally scare Betty and Bimbo back into their house.
In the beginning, her facist-esque father screams at her and his head literally becomes a record player.
Meanwhile, Betty is balling and she, her father, and her mother are all bouncing up and down in sync.
It is very uncomfortable and unsettling to me and makes me cringe a little bit..
Mediocre Betty Boop cartoon.
"Minnie the Moocher" is definitely among the most famous Betty Boop cartoons.
I probably don't need to say it, but these are black-and-white sound cartoons and this one here runs for 8 minutes, slightly longer than they usually do.
Betty is also as always not the only main character here.
Bimbo is of course also on board once again and so are many skeletons and other creepy creatures.
I am probably a bit biased here as I have never been a big Betty Boop fan, but for me it says a lot if this really mediocre little film is considered one of the best of the series.
As usual, with Betty it is all about the weirdness and awkwardness and maybe a bit about the music too.
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tt0081573
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Superman II
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Before the destruction of Krypton, the criminals General Zod, Ursa and Non are sentenced to banishment into the Phantom Zone. Years later, the Phantom Zone is shattered near Earth by the shockwave of a space-borne hydrogen bomb. The three criminals are freed and find themselves with superpowers granted by the yellow light of Earth's sun. They travel to the White House and force the President of the United States to surrender on behalf of the entire planet during an international television broadcast. When the President pleads for Superman to save the Earth, Zod demands that Superman come and "kneel before Zod!"
The Daily Planet sends journalist Clark Kent—whose secret identity is Superman—and his colleague Lois Lane to Niagara Falls. Lois suspects Clark and Superman are the same person. That night, when Clarks recovers Lois' comb from a lit fireplace, Lois discovers that his hand is unburned, forcing Clark to admit he is Superman. He takes her to his Fortress of Solitude in the Arctic, and shows her the traces of his past stored in energy crystals. One is the green crystal that created the Fortress and opened Superman's contact with his parents. Superman declares his love for Lois and his wish to spend his life with her. After conferring with the artificial intelligence of his mother Lara, Superman removes his superpowers by exposing himself to red Kryptonian sunlight in a crystal chamber, becoming a mortal. Clark and Lois spend the night together, then leave the Fortress and return from the Arctic by automobile. Arriving at a diner in Metropolis, Clark is beaten up by a truck driver named Rocky. It is there that Clark and Lois learn of Zod's conquest. Realizing that humanity alone cannot fight Zod, Clark returns to the Fortress to try to regain his powers.
Lex Luthor escapes from prison with Eve Teschmacher's help, leaving his accomplice Otis behind. Luthor and Teschmacher infiltrate the Fortress of Solitude before Superman and Lois arrive. Luthor learns of Superman's connection to Jor-El and General Zod. He finds Zod at the White House and tells him Superman is the son of Jor-El, their jailer, and offers to lead him to Superman in exchange for control of Australia. The three Kryptonians ally with Luthor and go to the offices of the Daily Planet. Superman arrives, after having found the green crystal that restores his powers, and battles the three. Zod realizes Superman cares for the humans and takes advantage of this by threatening bystanders. Superman realizes the only way to stop Zod and the others is to lure them to the Fortress. Superman flies off, with Zod, Ursa, and Non in pursuit, kidnapping Lois and taking along Luthor. Upon arrival, Zod declares Luthor has outlived his usefulness and plans to kill both him and Superman. Superman tries to get Luthor to lure the three into the crystal chamber to depower them, but Luthor, eager to get back in Zod's favor, reveals the chamber's secret to the villains. Zod forces Superman into the chamber and activates it; however, Superman crushes Zod's hand and tosses him into a crevice. Luthor deduces that Superman reconfigured the chamber to expose the trio to red sunlight while Superman was protected from it. Non falls into another crevice and Lois knocks Ursa into a third. Superman flies back to civilization, returning Luthor to prison and Lois home.
At the Daily Planet the following day, Clark finds Lois upset about knowing his secret and not being able to be open about her true feelings. He kisses her, using his abilities to wipe her mind of her knowledge of the past few days. Later, Clark returns to the diner and has a rematch with Rocky the truck driver and defeats him easily. Superman restores the damage done by Zod, replacing the flag atop the White House.
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good versus evil, revenge, action, violence
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train
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wikipedia
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tt1183251
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Beyond a Reasonable Doubt
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Shreveport, Louisiana TV reporter C. J. Nicholas (Jesse Metcalfe) is convinced that District Attorney Mark Hunter (Michael Douglas) is corrupt, following an unbroken string of convictions based only on circumstantial evidence. After flirting with Assistant D.A. Ella Crystal (Amber Tamblyn) to obtain an evidential videotape that he hopes will be revealing, they begin dating and fall in love.
The videotape suggests to Nicholas that Hunter is using one of his investigators, Lt. Merchant, to obtain DNA evidence from suspects in custody and plant the evidence to support a conviction. Still unable to prove his claim against Hunter, he is demoted from watchdog reporter to general assignment due to budget cuts. Nicholas becomes even more determined to expose Hunter, convinced that he will win a Pulitzer if successful.
He concocts an elaborate scheme to frame himself for the murder of a prostitute using circumstantial evidence. His passion for the project enlists support from Crystal—who still does not know he is gunning for her boss—and co-worker Corey Finley (Joel Moore). Finley accompanies him as he obtains objects online and from pawn shops that will circumstantially link Nicholas to the murder. Finley records these instances on video with Nicholas holding a newspaper showing the date to be after the date of the murder. The original video kept in Finley's desk and a back-up copy is placed in a safe deposit box.
Nicholas gets himself arrested for DUI while wearing his falsified circumstantial evidence. He is arrested and charged with the murder. Merchant, however, becomes suspicious and informs Hunter that Nicholas is trying to set them up.
Crystal, who still doesn't know what Nicholas has been plotting, visits him in jail and offers to quit her job and join his defense team, but he convinces her not to do so.
The next step in the plan is to wait until the prosecution rests its case, then introduce the documentary evidence exposing the truth. Hunter instructs Merchant to destroy the video evidence. Finley finds his desk ransacked. Panicked, he tries to retrieve the back-up, but is pursued by Merchant in a high-speed chase in which he is killed.
Nicholas reveals his plot in court using only the dated receipts for his falsified evidence, but Hunter casts doubt on his story. Nicholas has no proof that the victim's blood, which was found on the false evidence, was planted by Hunter's people. The jury convicts Nicholas for the crime.
Crystal still believes in Nicholas and begins her own investigation, unaware that Hunter knew she was dating Nicholas. She is followed by Merchant.
Nicholas is sentenced to death. Hunter visits him in prison to reveal that his phone calls to Crystal, guiding her investigation, have been recorded.
Crystal obtains crime scene photos from Hunter's convictions and takes them to digital photography experts, who determine that the objects containing the suspect's DNA evidence in each case have been digitally added to the original photos after the fact.
When she attempts to take this evidence to the police, Merchant tries to kill her with his car while she flees on foot. She is rescued by Lt. Nickerson (Orlando Jones), one of Nicholas' police contacts, who shoots Merchant dead. Nickerson reveals that he suspected Merchant was up to no good, and he had been "following him following" Crystal.
The doctored photo evidence leads to Hunter's arrest in a public scandal. Nicholas' conviction is declared a mistrial and he becomes a media celebrity. Hunter's convictions are re-examined by the state.
Crystal, however, begins to suspect that the evidence reveals something else, too. After re-watching Nicholas' award-winning documentary about the murder of a prostitute in Buffalo, New York, she recognizes the hands of a woman who supposedly died of a drug overdose during production as the hands of the victim in the murder for which Nicholas was convicted. She correctly deduces that the woman came to Shreveport to blackmail Nicholas, that Nicholas killed her, then used the murder in his scheme against Hunter.
Crystal alerts the police, and tells Nicholas that he is not subject to the double jeopardy law because he wasn't declared innocent. As the police arrive to arrest him, she tells him, "I just thought of one other thing. Fuck you."
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suspenseful, mystery, neo noir, murder, violence
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train
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wikipedia
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The only thing which stood out for me in the mediocre film Beyond a Reasonable Doubt (2009) was seeing the logo of the company RKO during the opening credits.Sure, it is a modernized digital version (I wish they had kept the "retro" look), but it was still nice to see that that legendary studio keeps being active (or maybe, a nostalgic investor simply bought the rights...I do not know).Unfortunately, that trivial detail was one of the best elements from this movie, because despite the main idea being slightly ingenious, the screenplay develops it on a boring and uninteresting way, at the same time the movie also has bad performances and bland direction from the mercenary Peter Hyams.The screenplay from Beyond a Reasonable Doubt (2009) discards any consistency, and it makes the characters to commit stupid mistakes which go against their character and the most basic common sense.We also feel the squeaks in the narrative gears when the screenplay tries to justify action scenes or moments of suspense in order to bring some life to the inert drama and also distract us from the multiple holes from the story.This film is the remake of a film which was directed in 1956 by the great Fritz Lang (1890-1976), and I suppose that many elements from the original film would feel anachronistic on a contemporary version, so Hyams (on his work as a screenwriter) faced the ungrateful homework of conciliating old concepts with modern technology.As a consequence, we have an erratic logic where the advanced digital analysis of a photograph is possible, but at the same time, the facility of duplicating the digital content of a DVD is ignored.So, the abundance of inconsistencies such as that one, hollow characters and hasty deductions are the main elements which make Beyond a Reasonable Doubt (2009) to be mediocre, boring and disposable.So, in conclusion I cannot recommend this movie.It may not be bad, but it is so mediocre and insipid that I feel I could have used the time I invested in watching it doing something more interesting..
That the police, the judge, the jury, or the viewers are gullible enough to swallow this nonsense is pure fantasy.Fritz Lang directed the 1956 original of the same title with a cast that included Dana Andrews and Joan Fontaine; however, that earlier decade was a period when purely circumstantial evidence could convict the innocent.
Joel David Moore as Metcalfe's sidekick brings some life and humor to a thankless role.In today's world of DNA testing, Photoshop manipulation, social media awareness, and police forensics, Peter Hyams's reworked script is incredulous and beyond absurd.
You take the plot line of a completely outdated 50's flick, set the story in whatever city's tourist board, gives you the best deal, hire couple of tepid and incredible uncharismatic young half-stars, add in a top billing a major star , little over the hill, and you have a movie.
The only thing the movie had going for it was a fairly good dialog (probably derived from the original manuscript to Fritz Langs original from 1956), but the lead actor and actress did a pretty poor job delivering them.
You've got the seed of a promising story featuring several characters who could have been interesting, some courtroom drama which could have been intense, some plot twists which could have been shocking and a star lead actor in Michael Douglas who could have sold you this movie with his charisma.
While he used to direct somewhat interesting films several decades ago, Hyams has long since lost any edge he might have had and every weakness in his style which we readily forgave back in the 80s are now terribly grating when seen in a 2009 movie.
Reporter sets himself up to take murder rap to show the errors of circumstantial evidence and discredit (D.A.) District Attorney (Michael Douglas who also starred other judicial thriller for Peter Hyams titled Star Chamber) .
Acceptable acting from protagonist trio , as Jesse Metcalf as a young reporter who pretends to be guilty of a murder to get first-hand view of corruption , enjoyable Amber Tamblyn as his girlfriend as well as prosecutor assistant and Michael Douglas as a nasty D.A. Thrilling and atmospheric musical score by David Shire .
Assault on the justice system this is not to be.Since Michael Douglas' name got a bigger font size on the poster, let's start with his character, the District Attorney Mark Hunter who is one case away from sealing his man made destiny to become governor.
He's quite the confident schmuck who can mesmerize any jury and his straight convictions of the accused through circumstantial and DNA evidence, raises the suspicion of investigative journalist C.J. Nicholas (Jesse Metcalfe of Desperate Housewives fame), whose research seem to point to Hunter artificially engineering evidence in his favour.An audacious plan gets concocted, and for the sake of a Pulitzer prize, C.J. and career pal Corey (Joel Moore) decide to entrap Hunter into using his deceiving tactics against them in a real murder which they will engineer the circumstantial evidence to point towards C.J., though I wonder if the quest to become famous and climb that corporate ladder would warrant something as risky as this, and what more, the lack of purposeful planning, which allows you the audience to stay one step ahead into just what would happen next.The second half of the movie then shifts its attention to Amber Tamblyn's Ella, while being the assistant to Mark Hunter, gets romantically involved with C.J. and decides to do a little probing herself, which of course led to her being a target.
I have to admit though that the final words uttered here was quite a ballsy way to end a story, although it can also mean the same words directed at the unsuspecting audience member who didn't come expecting B-movie through and through..
There even seem to be major problems in the editing, because the way certain scenes are cut, doesn't make any sense.Best part of the movie, at least for Linux and Apple users, might be the fact that the bad cop looks like Steve Ballmer..
Sounds good, but something goes very wrong.Not for a moment is the story believable, and it takes too many ways out of conflict, including rushing scenes, throwing in cheap surprises, and also a deus ex machina to conclude the whole thing.
Reporter C J Nicols (Metcalfe) believes District Attorney Mark Hunter (Douglas) gets most of his convictions by planting DNA evidence on the person arrested for the crime.
Jesse Metcalfe investigates, stupidly framing himself for a murder he didn't commit and see if Douglas messes with the evidence.He has a friend to help him and he stupidly doesn't bring the evidence to the court at the time so we have an uneccessary care chase.Some of the dialogue is daft.
I found the characters believable, the acting superb (Michael Douglas especially) and the story captivating, taking you up and down like a roller coaster.
I don't think this movie should have less than a 6, yes, the sound and photography is awful, but come on, the ending is a complete plot twist and will make you jump in your seat, just like I did.Seriously, watch this movie, it's only an hour and a half long and will make you go nuts right after you finish it..
Now to get his story, but some unforeseen complications do arise which if you've seen the 1956 version you have some idea what they are.Amber Tamblyn in an adult role does a fine job as Metcalf's girlfriend and one who works in the District Attorney's office.
Best supporting role is that of Joel David Moore as Metcalf's luckless cameraman who is the only other one who knows what Metcalf is trying to do.What this version of Beyond A Reasonable Doubt missed the most was the tension building direction of Fritz Lang.
the presence of Michael Douglas and Jesse Metcalfe , the fight for the noble purpose, the last surprise, the love story are reasonable ingredients for a sort of crime who reminds better examples of genre.
Not having seen the 50s original, I didn't know what to expect from this film—but being a fan of Michael Douglas and court thrillers, I gave it a go.The film is entertaining, with a likable cast of young actors in Jesse Metcalfe and Amber Tambyln.
By the midpoint, the lead has made so many poor decisions as a seemingly intelligent character, that we may not care whether he wins or not.The twist ending was as contrived as the rest of the plot and, while effective, did not have the chilling resonance it might have had if we were more emotionally connected to the characters.Finally, if as a film maker you have access to a talent as extraordinary as Michael Douglas, even if he not the lead, make sure that you every scene with him in it lifts the tension and advances the plot.
It stars Jesse Metcalfe, Amber Tamblyn, Michael Douglas, Joel David Moore and Orlando Jones.
He is convinced that high profile lawyer Mark Hunter (Douglas) is corrupting legal issues and sets about proving it...The 1956 film was the great Fritz Lang's last American film, more court drama than being overtly film noir, it was a film well tuned into legalities of its time.
Of course those things can often be forgivable if the film is well put together and holds some thriller/drama weight.The look of the film is cheap, as in a TV movie look, with the cinematography uninspiring, the young cast members hardly turn in characterisations to care for, while Douglas (who is very good) is surprisingly under used.
Wannabe law student CJ (Jesse Metcalfe) comes to think he's concocting evidence to notch up his conviction rate, and spots an opportunity to expose him when another murder case arises, implicating himself and conspiring to reveal the truth when Hunter's supposed corruption comes to light.
But this movie is also pretty good in originality and twists and turns of the story.
Aside from Michael Douglas as the DA of questionable ethics and court proceedings, the rest of the cast is a rather ill-prepared group of nascent actors in need of more experience than in the fluff films from which they came.C.J. Nicholas (Jesse Metcalfe) enters the Shreveport scene complete with a prize for reporting, eager to make it big and earn a Pulitzer: he seems to have an equal obsession with chasing young pretty women and finds one in the person of Ella Crystal (Amber Tamblyn) who happens to be the assistant to the DA.
Things change and the ending could have been surprising in the hands of better actors.The film is heavily padded with the requisite car chases and explosions and derring-do of the good cop/bad cop type, but the real problem with the movie is the weak presence of Metcalfe and Tamblyn.
A young reporter (Jesse Metcalf) is suspicious of a District Attorney (Douglas) who is faking evidence, so he sets himself up as the perp in a crime he didn't commit to trap the DA at his game.
Or have.Lots of crime thrillers have plots like this, good ones with twists that are calculated but great entertainment.
Take these mistakes, throw in some poor acting and a totally unnecessary car chase and you have "Beyond a Reasonable Doubt." Better yet, don't watch the movie in the first place, and save yourself an hour and a half..
I would even go further: this is a disaster of a wanna-be-thriller.Michael Douglas stars in a supporting role and only appears in the few courtroom scenes and two other short sequences - I'd be surprised if his shooting time went beyond two days of (really not convincing) work.
Once more,a remake of a Film Noir which was crying to be left alone."Beyond a reasonable doubt" which was Fritz Lang's final (and brilliant ) American movie has always been one of my favorites of the director ,perhaps my favorite of his American career along with "you only live once " and "fury".To write that I was eagerly waiting for Peter Hyams ' remake would be exaggerated .But I was curious enough to have a watch.It's moderately entertaining ,with full of filler (Russ Tamblyn's daughter chased by a car) ,bad acting (except for Michael Douglas who was given a role worthy of a cartoon villain) and little suspense ,particularly if you know the final unexpected twist.Lang's black and white gem was something like a Greek tragedy ,with immanent justice .We never feel that the hero is in jeopardy in the remake ,the scenes of the false clues seem like a game for big boys .
Lang wanted to express his disgust for death penalty (reductio ad absurdum) and for the last time to show that any man is a potential criminal.Here ,we have the good guy ( good because he wants to hit the big time,to win the Pulitzer) fighting the evil prosecutor .And to crown it all, the journalist's girlfriend works for his enemy ;an enemy so powerful he does not shrink from crime .In Lang's screenplay ,Sidney Blackmer dies in a car accident, period.The Dana Andrews/Joan Fontaine relationship was much more complex than it appeared : she was devoid of sex appeal (or Lang showed her so),often all dressed in black ,displaying no passion ;in direct contrast to that ,the good time girls her fiancé met ;whereas Barbara Nichols was cupid and crude,Fontaine looked almost frigid.The new screenplay oversimplifies all that and opts for the young beautiful couple with good prospects .Lang's screenplay was sometimes criticized for its implausibilities ;but the remake is worse for that matter.Many scenes are pathetic : the "coffee test" ,the two unbearable soon-to-be-doctors-of -computing,Michael Douglas scoffing at the prisoner in chains ,the chase in the parking lot,not to mention the "first cousin" episode.The only real good idea is the journalist's video and the idea that that poor mother's life is as important as any of ours.Peter Hyams was responsible for "2010" a disastrous "2001" sequel;he's better at doing movies of his very own,like "the star chambers"(also starring Douglas).Please take my advice :do watch Lang's black and white gem ;80 min only,beginning with a man walking on the death row ,and ending with a sinister telephone ring :the bell is tolling again..
The new version features Jesse Metcalfe,Amber Tamblyn,Joel Moore,Orlando Jones and Michael Douglas.Written, directed and filmed by Peter Hyams,it is about a high-profile criminal lawyer finds his bid for the governorship in jeopardy when an ambitious rookie journalist begins suspecting him of tampering with evidence in order to secure his many convictions.Mark Hunter has a reputation for putting criminals behind bars, and with elections approaching he seems a shoo-in for governor.
Now, as Ella discovers irrefutable proof of both C.J.'s innocence and her boss' shady dealings, the fate of two men rests in the hands of one woman whose life could be taken at any second.It could have been a great movie with an interesting premise and great elements for a crime thriller as well as a brilliant cast.However,it suffers from poor writing as it fails the screenwriter fails to update the tension and suspense to present-day audience.What turns out to be a would-be classic finds itself into a disaster of being a missed opportunities as it finds itself into numerous clichés and predictable elements to the point that it would insult the intelligence of the viewer.
Now, Hyams has appropriated the Douglas Morrow screenplay for the 1956 Fritz Lang thriller "Beyond a Reasonable Doubt" about the immorality of the death penalty and updated it with Jessie Metcalfe replacing Dana Andrews and Amber Tamblyn substituting for Joan Fontaine.
Michael Douglas, who worked with Hyams on the legal thriller "The Star Chamber," plays the villainous district attorney here rather than the hero, and Douglas gives such a polished performance that he dominates his co-stars in each scene.C.J. Nicholas (Jesse Metcalfe of "Desperate Housewives") is an ambitious investigative television journalist who works at a Shreveport, Louisiana, TV station.
Unfortunately, what's actually been produced is a thriller that's visually bland and compares unfavourably against the original because the plot changes and action sequences actively detract from the intrigue, impact and shocks that Fritz Lang's movie was able to deliver with such skill and ease despite having a very low budget to work with and a considerably shorter running time.In Shreveport, Louisiana, ambitious TV investigative reporter, C J Nicholas (Jesse Metcalfe) becomes interested in the extraordinary success that local D.A. Mark Hunter (Michael Douglas) has achieved by securing 17 consecutive guilty verdicts in murder cases that he's recently prosecuted.
This makes him suspicious that Hunter, who's been tipped to become the next Governor, is corruptly using planted evidence to win his cases.In order to pursue his investigation, Nicholas befriends Ella Crystal (Amber Tamblyn), an Assistant D.A. who works with Hunter and as well as dating her, persuades her to supply him with a video of the police interrogation of one of the convicted murderers.
Ella then embarks on her own investigation in the hope of completing it successfully in time to save Nicholas from being executed.Disappointingly, all the plot changes in this movie only serve to make the story worse than the original.
The flow of the movie is extremely streamlined and predictable, and with the exception of Michael Douglas, who has a much smaller part than I had hoped, no one really delivers any good acting performances either.
Amber Tamblyn does an okay job as Metcalfe's love interest, and Michael Douglas is good as the phony, icy DA..
Jesse Metcalfe plays C.J. Nicholas, a young and hungry-for-excitement journalist who frames himself for murder in order to expose the evidence-tampering and phony convictions by the corrupt D.A.of Shreveport, LA.
While I'm not personally a huge fan of Michael Douglas's too-cool-for-words acting style, his fans will probably enjoy his performance as the D.A.BEYOND a REASONABLE DOUBT is, of course, a remake of a somewhat better 1956 film by the same title.
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tt0448011
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Knowing
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The movie opens at an elementary school named William Dawes, in Lexington, Massachusetts, 1959. In the playground, we see Lucinda Embry (Lara Robinson) staring into the distance as if she is witnessing some catastrophic event. As she stares, whispering sounds are heard in the background. The teacher, Miss Taylor (Danielle Carter), repeatedly instructs Lucinda to come back into the class when the recess period ends. During the class session Miss Taylor tells the students that as part of the school's official Opening Day celebration, the students will draw what they think the future is going to look like, and place the results in a time capsule. She tells them this is Lucinda's idea (important later). As they start drawing, we see Lucinda in a trance, furiously scribbling seemingly random numbers onto a sheet. It appears that the mysterious whispering voices are controlling Lucinda's thoughts and actions. As she collects the students' work, Miss Taylor must grab the sheet from Lucinda due to her trance like state.During the ceremony, we see a crowd gathered as the time capsule is lowered into the school grounds. In the distance we can see Lucinda alone and staring at the proceedings. A few minutes later Miss Taylor notices Lucinda gone from her spot, and her balloon floating off. This sparks a search party for her. Alerted by noise coming from a door to a school storage closet, Miss Taylor finds Lucinda inside, her fingers bloodied as she's scratched even more numbers into the wooden door. She is still crying and acting as if in a trance, before she begs Miss Taylor to make the whispering stop.The movie then flashes forward to the present day 50 years later. We are introduced to M.I.T. professor John Koestler (Nicolas Cage) and his son Caleb at their house. John is cooking hot dogs for his son (who is holding a white pet rabbit). They talk about the possibility of intelligent life in outer space, and after dinner Caleb is in his bedroom watching his favourite show about tigers. As John tucks Caleb into bed, it's seen that Caleb thinks John's view on life life in outer space is tied to the tragic passing of Allison, John's wife and Caleb's mother. John kisses Caleb goodnight, and they go through a nightly ritual of using sign language for the phrase, 'You and me, together, forever;' Caleb is hearing impaired and uses a hearing aid (also important later). After Caleb is asleep, we see John drinking from a bottle of whiskey, and here we realize he is still coping with the devastating loss of his wife.The next day we see John giving a lecture to his class about determinism. Determinism is believing that everything that happens in the world is caused by something that happened before it, a deliberate cause and effect. The flip side is everything that happens in this world, even evolution, was all random, accidental, and without any order. When asked by a student what he believes in, John replies, s**t just happens. After the lecture, he is talking to his colleague Phil (Ben Mendelsohn) when he realizes he is missing Caleb's school's 50th year celebration where they are opening the same time capsule shown at the beginning of the movie.When he gets to the celebration he sees honoured guest Miss Taylor (now played by Alethea McGrath) giving a speech, and then the capsule is opened. Miss Taylor starts handing out the various pictures and drawings to the current students. As if by chance, Miss Taylor hands Lucinda's page of numbers to Caleb (all the other students get drawings of what the future would be like). As Caleb opens the letter and looks at it, he notices a strange looking man in the distance dressed in a trench coat, and starts to hear whispering voices in his head. This shows that there is some sort of tie between young Caleb and Lucinda as both can hear voices. Caleb takes the letter home.During dinner that evening, John notices the unusual letter with numbers sticking out of Caleb's backpack. After realizing it was from the time capsule, he admonishes him for taking it, as it is still school property, and sends him to sleep. A few moments later, when John goes to Caleb's room for his customary tuck in, he notices Caleb watching old home videos of Allison singing him to sleep. Instead of tucking him in, John closes the door and starts drinking heavily. As he pours himself drink after drink, he accidentally overfills his cup and spills alcohol everywhere. He goes to the kitchen to find something to wipe up the mess with when he notices that he placed his cup over Lucinda's list. The upper left part of the circular mark left by the wet cup's bottom highlights a section of numerals: 911012996. John takes a close look these numbers, which catch his attention. He walks over to his chalkboard and writes these numerals on it. After a few tries of separating them in different grouping combinations with no meaning, he suddenly finds the first five numbers are the date of the September 11, 2001 terrorist attack. Looking the event up on the internet, he finds that the 2996 was the total number of victims. Startled, he writes the entire page of numbers onto the board, and with the help of the Internet, he finds the number groupings seem to predict the dates of every major catastrophic event of the past 50 years, in the chronological order in which they happen, along with the body counts, including the bombing of the Pan Am flight over Lockerbie, the Oklahoma City bombing, and Hurricane Katrina. There are a few groups of numbers left that are not circled and accounted for, meaning that these numbers may predict future events. Suddenly John's gaze falls on the number sequence 102708 and drops his drink in horror. It becomes clear that 10/27/08 is the date of Allison's death.He tells his colleague Phil about the numbers and is met with ridicule, and John storms out of the office. Determined, John tracks down Miss Taylor and speaks to her at her home. He finds out about Lucinda, and how she disappeared, and how they found her in the closet when she scratched numbers onto the door (again, important later). Unfortunately, Miss Taylor tells him that Lucinda died a while ago. John hopes to get Miss Taylor to help corroborate his theory but it quickly becomes obvious that Miss Taylor, in her old age, has begun experiencing short-term memory loss that would make her word unreliable.Later that afternoon we see Caleb playing soccer by himself in the front lawn. John is on the phone trying to hunt down more leads, when a black car filled with several of the mysterious looking strangers approaches Caleb. As the car approaches, Caleb starts to hear whispering sounds and thinks his hearing aid is malfunctioning. One of the men reaches out of the car window and hands Caleb a smooth black stone. John sees this and rushes outside but the men leave.At his house, while looking up Lucinda's passing on the internet (her name is now shown as Lucinda Embry-Wayland, meaning she'd married), John is suddenly startled by his sister Grace (Nadia Townsend), who is worried about how he is still coping with his wife's death and how he doesn't talk to their father, who is a pastor. She offers to babysit Caleb so he can resume a social life. After a tense exchange of words, John asks her to leave.That evening and throughout the night, John stays awake searching the latest television news updates for any possible catastrophic event that could be a part of the remaining groups of numbers, as the next day is one of the last three dates listed. One news update briefly lists disruption of cell phone satellite networks due to solar flares (important).The next day John oversleeps and forgets to pick up his son from school. He calls Caleb and tells him he is on his way. On his way to pick up his son, John finds himself stuck on a highway in heavy rain, due to an accident. He phones Phil to apologize for their meeting earlier. He then uses his truck's GPS system to try and find an alternate route, but it shows that there are none. All of a sudden he notices the present latitude/longitude coordinates on the GPS system, and looks at Lucinda's letter and notices the same group of numbers immediately following the sequence that list the day's date. All the uncircled groups of numbers, as he now realizes, are the latitude and longitude coordinate locations of the disasters! He gets out of his truck and approaches the accident site. As he is talking to the police, an airplane comes careening out of the sky and crashes directly into the path of his truck before continuing on to the fields next to the highway, where it explodes. We next see a powerful and disturbing sequence of the aftermath of the crash. John does what he can to help the survivors, many of who are burning and in terrible pain, as explosions are still going off, before rescue workers hold him back.When he gets home his sister is waiting for him with Caleb. He asks Grace not to tell Caleb what happened. In the background, a TV news report lists the death toll from the plane crash at 81 people, and we can hear a reference to navigational malfunctions due to electromagnetic radiation (important). Caleb repeatedly asks him what happened but John will not answer and Caleb storms off crying. Later that night Phil comes to see John. Shown that the uncircled dates are lat/long coordinates and knowing that John was at the site of the plane crash has severely rattled Phil. John is certain that the numbers are a warning for him, but Phil wonders if they're warnings to stay away, despite John being heavily occupied with two major disasters remaining in the number sequence.Still later that night, Caleb is awakened in his room by one of the strangers, who points to the window. As Caleb goes to the window he is greeted by a horrifying sight, a terrible forest fire and hundreds of animals being burned alive. As he screams, John rushes up to his room to comfort him, and then he notices the stranger again outside the house standing by the trees. He attempts to confront him, but the man is gone by the time John gets outside.The next day John and Caleb track down Diana Wayland (Rose Byrne) and her daughter Abby (also played by Lara Robinson). Diana is Lucinda's daughter. They are at a museum when John uses Caleb as a ploy to start a discussion with Diana. He invites her and Abby for drinks and they walk to the restaurant. There John reveals the truth that in fact it wasn't a random meeting, but that he tracked her down due to her mother and the page of numbers. He tells her the truth about the numbers, and wants her help. Angered by this deception, Diana storms off with Abby; paying only minimal attention as he tries to tell her that he was at the plane crash the previous day, and that tomorrow, 170 more people will die in New York City, and then 33 more on October 19th (important again). John pleads that he wants to save his son, thinking caleb is in danger, but Diana says she can't help.Later on, John is at home when his attention is grabbed by a television news alert of a possible terrorist attack in New York (the camera pans outside his house to show several of the strange men standing outside). Checking the number groupings in Lucinda's letter, he finds that the coordinates show the corner of Lafayette and Worth streets in Manhattan. With a sense of urgency he anonymously calls from a pay phone and tells the FBI to block off the area.The next day he has Grace babysit Caleb, and drives himself to New York on a personal mission to try to do what he can about the potential terrorist threat. When he gets to the corner of Lafayette and Worth, he notices it is not blocked off by the police. He angrily confronts a police officer, and then runs off to a nearby subway station to avoid being detained by the police, who begin pursuing him. Believing this is the area where an attack may occur, he starts scanning the area for any suspicious activity. As he walks down the platform he notices a suspicious looking man holding a large object underneath his jacket. As their eyes meet, the man suddenly sprints off, and John goes after him, believing him to be the threat, and a nearby police officer notices them. They both get on the train right before it takes off, followed by the police.As they both near the front of the train, John starts warning people, particularly a young pregnant woman, to clear the train at the next stop. The police then catch up to them and try to arrest John. After John pleads his case that the man he was chasing is the threat, the police then switch their attention to the man. Frightened, the man drops what he was hiding: a bunch of DVDs he has stolen.We next see the tracks being improperly switched due to electrical malfunction, and this causes the train to veer onto the wrong tracks and straight into the path of a parked train at full speed. The train goes off the tracks and creates a path of death and destruction as it careens out of control through the crowded platform. After the crash we see John solemnly walking out of the station along with other survivors, covered in dust. Even though he was not able to prevent the disaster from happening, this event to John is the final proof that the numbers are meant to predict past and future disasters. It also seems to indicate that for some reason he is the chosen one that discovered this. On the news reports later, an anchorman says that the track malfunction is believed to be related to the same electrostatic bursts that caused the Lexington plane crash (again, important). John gets home and tells Grace he got held up by work, but he will be by to pick Caleb up in 30 minutes.When John gets back home, he finds Diana and Abby sitting outside his house. Diana is now sympathetic to him. She remembers what John told her about the date of October 19th (the date listed in the last grouping of numbers); Lucinda used to talk about that date often, saying it was the day that Diana would die. The four of them all drive to Lucinda's old trailer out in the middle of the woods to find more clues. As they drive, Diana reads the numerical list written by her mother, and how Lucinda's predicted date of Diana's death has haunted her all her life. She also talks about finding her dead body in the bedroom. John shares with her how Allison died. She died in a hotel room fire, and when she died he was out in the front of the house doing yard work. He tells her that he always believed that people deeply in love have a psychic connection even when apart, but when she died he felt nothing, and that is why he now believes in the randomness of things.When they get to the trailer, they leave the sleeping kids in the truck and walk inside. As they near the front door, Diana is still reading the numerical list and pauses; she says Abby sometimes wrote things backwards and the final number on the list, 33, Diana believes is actually EE written backwards.In the main room John sees numerous newspaper clippings of disasters around the world pasted on the wall. At the far end of the room he finds a drawing of Judgment Day with a picture of a large bright object in the middle. Diana talks about how she was nine when Lucinda died, and Lucinda always talked about hearing voices whispering terrible things to her. Lucinda moved out to the trailer to 'get ready,' although Diana never learned what for. Walking into Lucinda's bedroom, John notices a bible on the desk. As they are walking out of the room, he stumbles on something, and notices it's a smooth black rock similar to the one Caleb received earlier. He looks under the bed and notices more rocks, then looks at the underside of the bed. Noticing some writing, he turns the bed over to expose the underside of the bed. It is covered everywhere with the writing, Everyone Else (the EE from the last part of the letter). John then realizes that the final prediction will affect everyone on the planet.At this point the mysterious strangers appear again and approach the truck, and we can hear the mysterious voices start to appear. Caleb and Abby watch the mysterious men converge on the truck. When Abby starts to open one of the doors, Caleb jams on the truck's horn, John and Diana run to the truck. Abby mentions that the men were whispering to her and we realize that Abby, too, has the gift to hear whispered voices. John grabs his gun and runs into the forest to confront one of the men. As he enters a clearing, he sees the man standing still facing away from him. He points his gun at him and orders him to turn around. The stranger does, and then opens his mouth as a bright shining light emanates from inside his body. This light blinds John and the stranger gets away. Back at home, Diana and John both say they believe strange men have been following them and their children for several days.In the morning, Abby gives John the Judgment Day picture that was in the trailer. John notices that she had coloured in the shining object in the middle of the drawing and made it look like the sun. This is when it suddenly dawns on John that the final event is related to the sun. They all drive to John's lab office, where he meets Phil. John mentions to him about a hypothetical catastrophic solar flare model they worked on before. John says that in fact this model is of the earth, and that this flare will destroy all life on the planet. He tells Phil to go home and spend time with his wife.As he walks out he tells Diana about the coming disaster, and she breaks down and says she wants to protect her daughter. They both agree that they will try to hide out this event by going to some remote caves not known to the public. Going back to John's place, they all scramble to gather clothes and supplies to take with them. John takes a moment to call his father on his cell phone. He tells him about the coming disaster, and asks him to take his mother and both find an underground shelter. His father refuses, saying that he is ready to die if it's his time. The cell phone then goes dead, obviously being affected by the solar flares.As they are packing, John's thoughts go back to the last part of Lucinda's list, and he realizes that unlike the previous predictions, there were no coordinates. He then remembers Miss Taylor's discussion about Lucinda scratching numbers onto the closet door.They all rush to the school, much to Diana's rising panic, as John breaks into the school and makes his way to the closet. He finds the closet but notices the door has been painted over. He takes the door off its hinges and brings it back to his garage. Using a heating gun and scraper John frantically tries to find the numbers, as Diana's panic rises to fever pitch. Thinking the solar flare could happen at any moment, Diana takes Abby and Caleb in her own car and drives off to the caves, leaving John. As soon as he finds the last set of numbers, he writes them down and runs out to his truck but realizes they are all gone.Entering the numbers into the GPS he is shocked to find that the coordinates point to Lucinda's trailer. He takes off in his truck to find them. John is able to reach Diana on her cell phone, and he desperately tries to convince her to take both kids to Lucinda's trailer instead of the caves. He then drops the bombshell on her that this flare will penetrate miles underground and will kill everyone, making underground cave shelters meaningless, and that the only choice now is to go to the trailer. The conversation ends, and Diana stops at a gas station. As she goes to the pay window, she notices the television inside showing an emergency broadcast alert. The alert warns of the impending flare, and asks everyone to find underground shelter. As she is watching the alert, Caleb gets out of the car and calls his dad from a payphone. He is only able to tell his dad that they are at a gas station.As Caleb is talking, he is taken by the mysterious stranger, who gets in Diana's car and drives off with the two kids. Seeing this, Diana runs after them in a near hysterical state, and jumps into an idle SUV at one of the pumps to give chase. During the chase she sees several cars ahead of her stopped at an intersection. She swerves into the opposite lane, and as she crosses the intersection she is violently t-boned by a huge truck, causing the SUV to flip over and we see her unconscious.Next, John drives into the gas station and locates the pay phone Caleb used. He sees the same smooth black stone on top of the phone. He asks the store clerk if he saw a lady with two kids and the clerk tells him the kids were abducted and she gave chase. We can see that a large group of people at the gas station are already panicking and creating a small riot by looting anything inside they can carry.John takes off in the direction of the chase, and he comes across the intersection where Diana was hit. He walks to the rear of the ambulance where paramedics desperately try to revive her with no success. As they call her time of death, John notices it is just past midnight, signifying that it is now October 19, the date of the final disaster and Diana's date of death predicted by her mother. After holding her hand and saying a few final parting words, John goes off to Lucinda's trailer.When he reaches the trailer he notices tire tracks going off into the woods, and follows these tracks. When he gets to a clearing he notices the ground is covered in the exact same black smooth stones seen several times in the movie. Agonizing over his missing son, Caleb suddenly appears safe and calm, holding a white rabbit. He also finds Abby safe, also holding a rabbit, and she tells John that they (being the mysterious 'whisper people' strangers) told her that her mother is now in a safe place. We now realize that the reason why the stranger took Caleb and Abby was because Diana was not going to take them to Lucinda's trailer.Caleb tells his dad that the mysterious strangers are taking them away, meaning to a safer place away from the impending catastrophe, and they were the ones who sent out the mysterious message so preparations could be made. We then see four of the mysterious strangers standing in front of them.We then see a pattern of lights high in the sky, and then out of the clouds an enormous spacecraft emerges. The bottom opens up and a huge orb like transporter is beamed to the ground. It is now apparent that these mysterious strangers are beings from another planet, and that they have come to save this family. As they get ready to move towards the orb, John sadly realizes that the aliens came to specifically save Caleb and Abby, and not him. At first Caleb protests, but John convinces him that he will always be with him, and that he must go with Abby to be saved. After an emotional goodbye, Caleb and Abby walk towards the orb. As they do so, the strangers shed their human skins and reveal their true alien selves, bodies that give off bright lights. John and Caleb give a final heartfelt sign-language exchange of 'You and me, together, forever.' The orb goes back towards the mother ship and takes off into space. As the ship leaves the Earth, we notice hundreds of other ships also leaving, showing that many children from around the World were also being saved (John and Caleb's story was only one of countless others). John collapses on the ground, crying.John is awoken the next day by a light rain and eerie orange glow in the sky from the solar flares. We see him driving through the city being destroyed by the approaching flare: buildings on fire, rising temperatures, and people running in panic throughout the streets, with whatever they can carry. As he drives on he sees Phil holding his wife on the street. He goes to his parents' home, where Grace hugs him. He tells her Caleb is in a safe place now. John goes to hug his father, Rev. Koestler (Alan Hopgood), who reminds him that this is not the end. Grace and Mrs. Koestler join John and Rev. Koestler in a group hug and hold onto each other as the final massive solar flare incinerates and vaporizes everything in the city. The last shot of Earth is from space as it is breaking up.We then see what appears to be the landscape of a far away planet, full of odd colours, yet lush with plant life. The spaceship we saw earlier appears, and drops off young Caleb and Abby onto the surface with their pet rabbits before leaving. We see more spaceships arrive to drop more children, and the final shot is of Caleb and Abby running toward a huge and magnificent glowing tree in the background.
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paranormal, thought-provoking, mystery, stupid
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train
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imdb
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tt0074483
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The Enforcer
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In Marin County, two gas company men are lured by a scantily-clad woman (Jocelyn Jones) to a remote spot in Mill Valley and killed by Bobby Maxwell (DeVeren Bookwalter). Maxwell's gang, the People's Revolutionary Strike Force (PRSF), plans to use the gas men's uniforms and van as part of an ambitious series of crimes that will make them rich.
Inspector Harry Callahan (Clint Eastwood) and his partner Frank DiGiorgio (John Mitchum), after dealing with a chronic fainter, arrive at a liquor store where robbers have taken hostages. The robbers demand a car with a police radio; the inspector provides one by driving his squad car into the store and shooting the robbers.
His superior Captain McKay (Bradford Dillman) reprimands Callahan for "excessive use of force", injuring the hostages, and causing $14,379 of damage to the store, and temporarily transfers him out of the Homicide unit. While assigned to Personnel, Callahan participates in the interview process for promotions, and learns that affirmative action means that three of the new inspectors will be female including Kate Moore (Tyne Daly), despite her very limited field experience.
The PRSF uses the gas company van to steal M72 LAW rockets, Colt M16 rifles, a Taser and other weapons from a warehouse. In the course of the robbery, three people are killed: a security guard whom Maxwell kills for his keys; DiGiorgio, whom Maxwell stabs in the back after he stumbles in on the robbery after discovering the guard's body; and Miki, one of Maxwell's accomplices, is accidentally shot when DiGiorgio's gun goes off. Maxwell finishes her off as "dead weight" with DiGiorgio's weapon. To Callahan's distress, Moore is his new partner; she claims to understand the risk, noting that—besides DiGiorgio—two other partners of his have died. After watching an Army demonstration of the LAW rocket on a firing range, they visit the Hall of Justice to sit in on an autopsy on the security guard killed in the robbery. Shortly afterwards, a bomb explodes in the bathroom. Callahan and Moore chase down and capture the PRSF bomber, Henry Lee Caldwell, and meet "Big" Ed Mustapha (Albert Popwell), leader of a black militant group the bomber formerly belonged to.
Although Callahan makes a deal with Mustapha for information, McKay arrests the militants for the PRSF's crimes. Callahan angrily refuses to participate in a televised press conference in which the publicity-seeking mayor would commend him and Moore ("one of the first of her sex in the whole country") for solving the case, and McKay suspends him from duty. Moore supports Callahan and gains his respect.
The PRSF boldly kidnaps the mayor after a Giants game in a very orchestrated ambush. With Mustapha's help Callahan and Moore locate the gang at Alcatraz Island, where they battle the kidnappers. Moore frees the mayor but Maxwell kills her as she saves Callahan's life. He avenges Moore by killing Maxwell with a LAW rocket. The inspector is uninterested in the mayor's gratitude, returning to his partner's corpse as McKay and others arrive to agree to Maxwell's demands.
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comedy, neo noir, murder, violence, humor, revenge
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train
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wikipedia
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In this third chapter from the Book of Dirty Harry Callahan, there's plenty of action as Harry breaks in a new partner and goes after a ruthless bunch, some self-proclaimed revolutionaries who are nothing more than common criminals, in `The Enforcer,' directed by James Fargo, and starring Clint Eastwood and Tyne Daly.
McKay), DeVeren Bookwalter (Bobby Maxwell), John Crawford (The Mayor), Samantha Doane (Wanda) and Albert Popwell as `Big' Ed Mustapha (look for Popwell in the original `Dirty Harry' as the Bank Robber; in `Magnum Force' as pimp J.J. Wilson; and again in `Sudden Impact' as one of Harry's partners, Horace).
A well made and entertaining film, `The Enforcer' keeps the `Dirty Harry' series alive, well and on solid ground; in retrospect, it seems a shame now that Eastwood waited seven years to make the next installment, `Sudden Impact,' as with the dreadful `The Dead Pool' in 1988, it all ended with barely a whimper.
Director James Fargo ('Forced Vengeance', 'Every Which Way But Loose', 'Caravans' and 'A Game for Vultures') has appeared in some of Eastwood's early films as assistant director, and here he paces it well-enough and let's the foundation play out more like an expansive low-key action fling filled with the constant buddy routines (as Harry is paired up with a young green-horn female detective fidgety played by Tyne Daly.
The villains – this time a group of mere misfits who kidnap the Mayor of San Francisco for a ransom of five million dollars – just aren't as menacing as the crooks in DIRTY HARRY and MAGNUM FORCE.
Especially if you want them to live up to their proceeding movies."The Enforcer", like all five installments of the series, is a great action-crime film with it's own little individual plot and point.
Kindler, gentler Dirty Harry film which puts our bureaucracy-hating, crime-busting hero with a female partner played by Tyne Daly, who would later achieve fame on "Cagney & Lacey" and is currently seen on "Judging Amy." Thin plot, some classic Eastwood quotes, but the villains can't match Andy Robinson from "Dirty Harry" or David Soul from "Magnum Force." This might be the weakest Harry of the bunch..
Jerry Fielding is a great composer and had done many good movie and television music, but his style doesn't fit for the Dirty Harry film franchise.
The film score makes this movie feel unrelated and unnatural to the DH franchise, and feels like watching a different Clint Eastwood action flick.
Tyne Daly was wonderful, and had good chemistry with Clint Eastwood, though Mr. Eastwood seemed to be a little shoulder relaxed as Harry Callahan compared to the previous films.
The Enforcer (1976) *** (out of 4) The third film in the series finds Harry Callahan (Clint Eastwood) going up against a group of crazed Vietnam vets who take the Mayor hostage and demanding money for him before they not only kill him but blow up the city.
With a new partner (Tyne Daly) at his side Harry must try and find out who the group is.This here is quite as good as the previous film but it's certainly still a winner as everything that makes the series so memorable is on display here and considering it's the third film in the series, it's still rather impressive how fresh the lead character is as well as the story.
I think it's fair to say that the story is "B" movie material but it's still very effective and it's certainly good enough to hold your attention from start to finish and of course there are a few twists thrown in as well.This third film gives Harry a female partner, which allows for various sexist scenes that could only work in a film from this era.
The supporting cast also offers up good performances from Bradford Dillman, John Mitchum, Albert Popwell and Harry Guardino.THE ENFORCER contains all the elements that made the first two films great entertainment.
Once again, Clint Eastwood stars in an entertaining film playing Inspector "Dirty" Harry Callahan.
Released in 1976 and directed by James Fargo, "The Enforcer" stars Clint Eastwood in the eponymous role as a no-nonsense San Francisco detective, who teams-up with a novice female partner (Tyne Daly) to take down a terrorist organization made up of disgruntled Vietnam veterans.I'm a fan of all five of the Dirty Harry films, which are as follows: "Dirty Harry" (1971), "Magnum Force" (1973), "The Enforcer" (1976), "Sudden Impact" (1983) and "The Dead Pool" (1988)."Magnum Force" is my favorite, a rare case where the sequel is superior to the original.
"Dirty Harry" seems languid and hollow by comparison, but it gets points for being the original film and establishing the series."The Enforcer" starts out with a bang on a couple of fronts with perfectly-sculptured Jocelyn Jones being a highlight, although her character is a bit of a biyatch.
The Enforcer (1976)Plot In A Paragraph: Dirty Harry (Clint) must foil a terrorist organization with the hep of his new rookie female partner (Tyne Daly) With the commercial Success of Magnum Force, it was only a matter of time before we got a third Dirty Harry!!
While the character of Bobby Maxwell had a couple of occasions where he does show he is in fact a very bad dude, but the rest of the villains within the group were pretty thin.Also starring Harry Guardino who returns as Lt. Bressler and Bradford Dillman who is great as the hard-headed sometimes confused Captain McKay.Anyways, certainly worth a look if you enjoy cop movies or the other Harry movies.
He fights ex Vietnam vet who are now calling them self s "The People's Revolutionary Strike Force." I love this film to death I enjoy it very much.He is team up with a rookie female partner inspector Kate Moore (Tyne Daly).
I didn't mind the score for this movie, I thought it was alright beautiful direction.I enjoy "The Enforcer" more than "The Dead Pool", it is my third favorite film in "Dirty Harry" series the first one will be Magnum Force than Sudden Impact and than The Enforcer..
*Possible Spoilers Ahead!* If nothing else, The Enforcer proved to me that, yes, actions do speak louder than words, especially if you're packing a powerful .44 Magnum with you when your "action" plan goes into effect.And, you can be sure that "bad-boy" Homicide Inspector, Harry Callahan, and his beloved .44 Magnum, found plenty of hardcore criminal action to contend with on the seemingly safe streets of sunny San Francisco.And, since Harry always found that mere words were totally wasted on the hooligan, low-life types who operated within the city limits, the action that followed the point of his gun usually spoke a universal language all of its own.So, you can bet, without any remorse or second thoughts, Harry, and his trusty firearm, obliged the bad guys (and gals) without a word of delay.In this 3rd "Dirty Harry" vehicle, Clint Eastwood was clearly in top form as the snide, cynical, no-nonsense cop who breaks every rule and, typically, uses excessive force whenever dealing with the scuzzy criminal element, while always seeing to it that law and order prevailed.Surprisingly, this brutal, violent, fast-paced Crime/Drama from 1976 contained some very nice touches of humor, like, when Inspector Callahan delivers (in his dry, witless way) a literal barrage of hilarious one-liners whenever he's sneeringly talking back to his superiors or snarling at those whom he doesn't respect (which is pretty much everybody except, of course, for his colleagues).Even though The Enforcer is almost 40 years old, I found it to be quite an entertaining film from its particular genre.
Regardless of all of the super-violent cop films that have since been released in the wake of The Enforcer, I still thought that this one's action-packed story held up fairly well.And, yes, even though I'm certainly no Clint Eastwood fan, I thought that, as the Dirty Harry character, Eastwood carried off his part very convincingly, projecting just the right edge of macho-man masculinity into his role.In The Enforcer, Inspector Callahan reluctantly has to contend with his very first female work-partner (remember this was 1976) while, at the same time, he, and his .44 Magnum, diligently go after a ruthless, underground terrorist group who have (in storage) a literal stockpile of stolen explosives and various weapons (including "baby" bazookas) at their convenient disposal - And, boy, do these scum-balls mean serious business when they include the kidnapping of the Mayor in their destructive plans!.
Third outing for Clint Eastwood as "Dirty Harry" Callahan, this time, after taking direct action to stop a hostage situation(as only Harry can!) he is then given a desk job, and another new partner(played by Tyne Daly, the first woman he has had to work with).
It features one of the worst soundtracks for a chase sequence ever heard.Harry Callahan (Clint Eastwood) is assigned a new partner Kate (Tyne Daly) against his gender biased views.
Yet, Harry's assignment to personnel is not just the typical 'temporary' sanction before he would get back to Homicide, it's also a plot device allowing him to meet the future Inspector Moore during her examination."The Enforcer" features one of the most interesting twists of the series by assigning a new partner to Clint Eastwood, inspector Kate Moore played by a young Tyne Daly, who steals every scene she is, which is saying a lot, considering Harry's charisma.
The next best of the Dirty Harry quintuplets has Callahan (Eastwood) reluctantly paired with female inspector (Daly) as part of the San Francisco's affirmative action strategy to enlist more females and better reflect the constituency, the brainchild of Captain Mackay (Dillman) himself a former personnel manager and thorn in Callahan's side.
The Enforcer doesn't have the grit and suspense of the original, few sequels do, but I would recommend this to any Clint Eastwood/Dirty Harry fan looking for an enjoyable 90 minutes.Perhaps my only gripe is how boring Guardino's character is here, as he never butts heads with Callahan, and doesn't add too much of substance here, merely only agreeing with Harry, or laughing at anything he says..
In "The Enforcer", Clint Eastwood resurrects "Dirty" Harry Callahan for the second time (following 1973's "Magnum Force", a sequel to the 1971 original).
The second film showed promise but still remained in the shadows of the original and best, Dirty Harry.After first viewing The Enforcer back in 1977 I felt really disappointed with the entire story & the cheesy acting by Eastwood of all people.My attitudes haven't changed in 25 years of sporadic viewings of this rubbish.
I felt Eastwood was just going through the motions in this movie, showing little or no true conviction that was so apparent in the first two Harry films.I felt he was almost playing his character as some kind of pantomime parody of himself, with his tight jaw, blistering glare and his little soundbite of "marvellous", which just made the film lose even more credibility.I didnt like the way Harry's new female partner (Tyne Daley) was portrayed either.
The Enforcer sees tough San Francisco cop Harry Callahan less than enthralled to be partnered with inexperienced female inspector Kate Moore (Tyne Daly), who he considers to be far from suitable for the job.
The silly 'battle of the sexes' plot provides the film with some lame moments of humour at the expense of Daly, before giving her the opportunity to show what she is really capable of under pressure, ultimately sacrificing her life to save her partner.Naff female equality issues aside, The Enforcer also suffers from tepid direction from James Fargo (apart from the nudity and violence, this feels very much like a made for TV movie), stereotypical comic-book bad guys, and horrible, generic 'jazzy' music (although a Lalo Schifrin score would have been way too stylish for this!)..
Third "Dirty Harry" flick with Clint reluctantly partnered with Daly (making a memorable screen team) out to stop a kidnapping of the mayor by a group of militants.
The film?s plot has Inspector Callahan (Eastwood) paired with a new partner policewoman Inspector Kate Moore (Tyne Daly) as they hunt for a group of terrorists that are blackmailing the city of San Francisco for two million dollars.
It stars again Clint Eastwood as Harry Callahan, who this time gets a female partner (Tyne Daly) for himself.
The enforcer once again stars Clint eastwood as inspector harry Callahan who's partner is killed in action and he is partnered with a capable but slightly timid inspector Moore played by Cagney and laceys Tyne Daly .
This movie to me is the worst of the Dirty harry pictures simply because of the quality of the villains that are just a group of locals banding together to wreck havoc in san Francisco and go on a massacre throughout the city killing anyone who gets in there way there just clichéd villains who you could find in any action picture who could do the exact thing and the main leader of the gang named bobby Maxwell looks like a right retard throughout sure he has the appearance of a right psycho but when it comes to projecting dialogue he is stiff and dull .
Anyway the action scenes are average and the performances by Eastwood and Tyne are outstanding and are the only the things in the movie which are worth watching so I guess if you liked the other dirty harry pictures check it out but you really aren't missing much this is undoubtedly the worst film of the series .
number three in the series is not as good as the previous two,in my mind.i found it pretty slow going,and i didn't think the story was of much interest.the action is pretty limited.there are no one witty one liners that Harry Callahan(Clint Eastwood)is known for.Eastwood is good as Harry.Tyne Daly,probably best known for the 80's cop show Cagney and Lacey co-stars as Harry's partner.she is one bright spot here in what is other wise an average production at best.the music is actually pretty interesting though.in terms of quality thought this movie is quite a step down form Magnum Force,the second and best film in the series so far.for me,The Enforcer is a 5/10.
Callahan finds black militants are not his enemies but his allies: when 'Big' Ed Mustapha (Albert Popwell), the black leader, is arrested to boost the Mayor's prestige, Harry actually resigns this time and continues his pursuit of the revolutionaries as a loner
His female aide risks her own job to he1p him and eventually they chase a prime suspect through the seamy 'massage parlor' underworld of the city and kill a leading gang member, who has disguised, herself as a nun
And discovering that the Mayor is being held captive on Alcatraz Island, they make for an abandoned fortress for the final shootout
The film is a step backwards in style and content from the previous two
Harry seems to have reverted to his first incarnation: 'What kind of a department are we running when we're more concerned with the rights of the criminals than of the people we're supposed to be protecting?' and displays unusual brutality in roughing up a man who feigns heart attacks instead of paying his restaurant bills
Advertised as the 'dirtiest Harry of them all,' it is also the weakest
Without the experience of Siegel or Milius to help him, Eastwood took a gamble on James Fargo, his assistant director on some of his previous films and the result was competent action but a noticeable lack of depth and subtlety.
In this rock solid third film in the DIRTY HARRY series(and, in my opinion, the best sequel), San Francisco Inspector Harry Callahan not only must contend with a terrorist group but the breaking in of a new green partner, a woman as part of a political demand for female cops on the force.
So Harry and Kate Moore(Tyne Daly, easily the best partner of the series)join forces to find the People's Revolutionary Strike Force, motivated even further when the group successfully kidnap the city mayor(John Crawford), holding him for ransom.
Things get complicated though when he gets a new rookie female partner Inspector Kate Moore (Tyne Daly) & the People's Revolutionary Strike Force decide to kidnap the mayor (John Crawford) & hold him to ransom...Directed by James Fargo this was the third entry in the popular Dirty Harry series of action flicks to star Clint Eastwood as the title character & I must admit The Enforcer didn't do a great deal for me.
Clint Eastwood makes a welcome return as unorthodox SFPD Inspector Harry Callahan in The Enforcer, the third entry of the Dirty Harry series.
At the same time, a terrorist group named the People's Revolutionary Strike Force (PRSF) led by the Bobby Maxwell (DeVeren Bookwalter) is preparing to wage war on San Francisco after they manage to steal a large number of military weapons from a warehouse and kill Callahan's partner Frank DiGiorgio (John Mitchum).
Callahan and Moore work together to take down the terrorist group after they take the Mayor (John Crawford) hostage and hold him for ransom at Alcatraz Prison.I was delighted to see Clint Eastwood return as his iconic character "Dirty" Harry Callahan.
Also returning in the Dirty Harry series are Harry Guardino, John Mitchum and Albert Popwell (who pops up in a different role from the previous 2 movies).Third time was certainly the lucky charm and I had a good time watching Clint Eastwood return as Harry Callahan.
The Enforcer is a American police action film that stars Clint Eastwood as Inspector "Dirty" Harry Callahan together with Tyne Daly and DeVeren Bookwalter.
This third installment of the Dirty Harry Series is about the police detective being paired with a female partner.It is directed by James Fargo.Harry Callahan is paired with Kate Moore.Together,they try to bring down a terrorist organization that has kidnapped the mayor of San Francisco.
The Enforcer is Clint Eastwood's third of five outings as the iconic Dirty Harry – San Francisco's toughest cop, packing a .44 Magnum and no-nonsense attitude.
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tt0181865
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Traffic
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The film begins in Mexico, where police officer Javier Rodriguez Rodriguez (Del Toro) and his partner, Manolo, stop a drug transport and arrest the couriers. Their arrest is interrupted by General Salazar (Milian), a high-ranking Mexican official. The general decides to hire Javier and instructs him to locate and apprehend Frankie Flowers (Collins, Jr.) a notorious hit man for the Tijuana Obregón Drug Cartel.Meanwhile, Robert Wakefield (Douglas), a conservative Ohio Judge, is appointed to be head of the President's Office of National Drug Control, taking the title of Drug Czar. Wakefield is warned by his predecessor and several influential politicians that the war on drugs is unwinnable. Unbeknownst to Wakefield, his honor student daughter, Caroline (Christensen) is using cocaine and falls victim to drug addiction when she is introduced to freebase cocaine by her boyfriend, Seth (Grace). She and Seth are arrested when another student at her high school overdoses on drugs and they try to dump him anonymously at a nearby hospital. Robert finds out that his wife Barbara (Irving) has known about their daughter's involvement with drugs for over six months.In the third plot line, which is set in San Diego, an undercover Drug Enforcement Administration (DEA) investigation led by Montel Gordon (Cheadle) and Ray Castro (Guzmán), arrest Eduardo Ruiz (Ferrer), a high-stakes dealer posing as a fisherman. In the process, Ruiz is hospitalized and decides to risk the dangerous road to immunity by giving up his boss - drug lord Carlos Ayala (Bauer), the biggest distributor for the Óbregon brothers in the United States. Ayala is charged by a tough prosecutor, hand-selected by Wakefield in an attempt to send a message to the Mexican drug organizations through a conviction against the drug lord.Flowers is tortured and eventually gives Salazar the names of several important members of the Óbregon Drug Cartel, who are arrested in a large effort by police and army soldiers. Javier and Salazar's efforts start to cripple the Óbregon brothers cocaine outfit, but Javier and Manolo discover that Salazar is a pawn for the Juárez Cartel, the rival of the Óbregon brothers. The entire Mexican anti-drug campaign is a fraud, as Salazar is wiping out one cartel, not out of duty, but rather because he has aligned himself with another cartel for profit.Wakefield realizes that his daughter is a drug addict and finds himself caught between his demanding new position and his worrisome family life. When he heads to Mexico, he is encouraged by the successful efforts of Salazar against the Óbregon brothers. When he returns to Ohio, Robert learns that his efforts to see Caroline rehabilitated have failed, and she escaped into the city and no one knows her location. Secretly, she's forced to prostitute herself and rob her parents to procure money for drugs.As the trial against Carlos Ayala begins, Carlos' pregnant wife, Helena (Zeta-Jones) learns of her husband's true profession. With her husband facing life imprisonment, and death threats against her only child, she decides to hire Flowers to assassinate Eduardo Ruiz. She knows that killing Ruiz will effectively end the trial nolle prosequi.Javier's partner, Manolo, sells information to the DEA, but is killed for his betrayal. Javier, who can no longer stomach working for Salazar, decides to cut a deal with the only non-corrupt organization he has access to - the Federal Government of the United States and the Federal Bureau of Investigation. In exchange for his testimony, Javier requests electricity in his neighborhood, so that kids can play baseball at night rather than be tempted into street gangs and crime. General Salazar's secrets are revealed to the public. He is arrested and tortured to death shortly after.Wakefield begins a search for his daughter and drags along Seth after interrupting one of his classes. After being threatened and nearly killed by Caroline's regular dealer, he follows Seth to a seedy hotel room in Cincinnati and finds a semi-conscious Caroline prostituting herself to an older man. Wakefield returns to Washington, D.C., to give his prepared speech on a "10-point plan" to combat the war on drugs. In the middle of the speech, he falters, then tells the press that on a war on drugs is a war against many of our own family members, which he cannot endorse. He quits his job and heads home.Flowers' assassination attempt on Ruiz fails, when he himself is assassinated for his betrayal by a sniper working for the Óbregon Cartel. Helena, knowing that Ruiz is soon to testify, then makes a deal with Juan Óbregon (Bratt), lord of the drug cartel, who forgives the debt of the Ayala family. Helena gives Óbregon the formula and procedure to turn Óbregon cocaine into harmless-looking plastic rabbit dolls that are undetectable by DEA dogs and can be shipped across the Mexico/US border. Óbregon agrees to the deal and to the stipulation that Helena's husband will be the sole distributor of Óbregon cocaine in the United States. Óbregon also agrees to have Ruiz killed.Carlos Ayala is released, much to the discomfort of Montel Gordon, who lost his partner, Castro, when Frankie tried to assassinate Ruiz with a car bomb. Ruiz is eventually given poison-laced food in his hotel room and dies. Soon after, Montel bursts into the Ayala residence and illegally plants a microphone under one of the tables, before being kicked out.Robert and Barbara begin to go to Narcotics Anonymous meetings with their daughter, to support her and everyone else there. Javier takes the media to Mexico and explains what he can about the widespread corruption in the police force and army. The film concludes with him watching some Mexican children playing baseball at night, at their new stadium.
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realism, murder, violence, flashback, humor, suspenseful
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train
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imdb
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Now, with the release of his latest film, Traffic, Soderbergh stands to earn Oscar nominations for Best Director and Best Picture for both of these movies.
It's no wonder, either, as Traffic is one of the most gripping films to hit theatres in 2000.Traffic takes on the complex issues involved with the war on drugs in the United States and Mexico from the view of these nations as a whole to the very personal level.
His arrest leaves his pregnant wife, Helena (Katherine Zeta-Jones, who was really pregnant during the film), to fend for herself while taking care of their son, court costs, and a $3 million dollar debt to the drug lords in Mexico.Traffic, written by Simon Moore (the writer for the British miniseries, Traffik, upon which this script is based), is superbly crafted and woven.
A dazzlingly complex film, `Traffic' takes a hard, unflinching look at the so-called `war on drugs' that is perfectly clear and uncompromising.
In terms of story, direction, and characters, `Traffic' is easily Soderbergh's best film to date, and one of the best films made in recent years, period.`Traffic' takes a look at the world of drugs through the stories and lives of different characters.
There is the story of Javier Rodriguez (Benicio Del Toro), a Mexican policeman struggling to keep his distance from the corruption that seems to follow him everywhere; there is the story of Ray Castro (Luis Guzman) and Montel Gordon (Don Cheadle), two DEA agents trying to turn the low-level drug dealer Eduardo Ruiz (Miguel Ferrer) against his drug cartel boss; there's the story of Helena Ayala (Catherine Zeta-Jones), the unsuspecting wife of the drug cartel boss who suddenly learns who her husband really is and what he does for a living; and then there's the new head of the DEA, Robert Wakefield (Michael Douglas), a man so wrapped up in his mission to stop the war on drug, he fails to notice that his own daughter Caroline (Erika Christensen) is becoming addicted to crack.
If Mr. Douglas had been playing ONE of the top drug officials in the federal government, instead of THE top official, I would've found his character to be infinitely more believable.)Soderbergh's also at the top of his game with his direction of `Traffic'.
Soderbergh shot the film himself (under the pseudonym Peter Andrews) and Traffic takes all of his past experiments with color, available light, and hand-held work light-years beyond The Limey and Out of Sight.
(The Mexico story involving Benicio Del Toro is told in earthy saturated yellows, the story of Michael Douglas and his daughter Erika Christensen is told in an aquarium blue, while the Catherine Zeta-Jones, Luis Guzman-Don Cheadle story gets a natural available light look).
The movie is visually stunning, loved the different filters for the three locations.That the war on drugs cannot be won, and is hypocritical to boot, is a message that needs as much air-time as it can get..
The movie's director, Steven Soderbergh, won Oscar nominations for both of his movies last year: "Erin Brockovich" starring Julia Roberts, and this epic about the never ending war on drugs.
"Traffic" doesn't really make drugs personal, although the plot featuring Michael Douglas' drug addicted daughter touches on the idea, and the actors do a good job of making the character's attitudes hit home, but the film is more about the war on drugs within America as a country, and how it is a battle not likely to be won anytime soon.
A top notch cast contributes superb performances in "Traffic." We expect and receive good performances from actors like Michael Douglas, Amy Irving, Dennis Quaid, Benicio Del Toro, and Albert Finney, but there are also some newcomers who shine with their material, including Erika Christensen and Topher Gracer.
There are three loosely related stories, each with its own color coding--and as with Pollock, there is nothing random about where the paint splashes upon the canvas.Blue hues bathe blue bloods in Cincinnati where an Ohio Supreme Court Justice (Michael Douglas) is flattered into taking a job as national drug czar, just as his bright young daughter (Erika Christensen) is seduced into addiction by her prep-school friends.A rich golden-yellow surrounds San Diego where a comely couple (Catherine Zeta-Jones and Steven Bauer) occupy the upper links of the drug chain and spend ill-gotten cash on clothes, cars and country clubs.
They are pursued by two undercover cops (Don Cheadle and Luis Guzman) who spend most of their screen time cooped up in a surveillance van.In Mexico, a washed-out, burnished brown bespatters a desert of desperation as two Baja policemen (Benicio Del Toro and Jacob Vargas) pull off a major drug bust only to be themselves busted, by a sinister general (Tomas Milian) who notifies them that 'I will take over from here.' Each color signifies its own impenetrable culture, and when Douglas crosses into Mexico to meet his counterpart, we know (but he doesn't) that his fellow drug czar is really a drug lord.The performances were exceptional, especially considering that no one was given star treatment.
Douglas was surprisingly believable as the would-be czar and bookends an Oscar-worthy year with his scruffy professor in the earlier "Wonder Boys." His real-life wife, Zeta-Jones (carrying their child), gave a quite credible performance as a society snob who turns ruthless when her status is threatened.Other stand-outs include Christensen's drugged-out daughter, Del Toro's street smart Mexican cop and Cheadle's dedicated drug buster.
The combination of brutal honesty, teenage speeches, Beltway hypocrisy, the futility of the current U.S. Government direction, the hope brought on by living one day at a time make this the best picture to ask the question "what can we do about the culture of drug abuse in the U.S.?" The acting is spot on and the cinematography frames each character, coloring them appropriately..
Maybe I am just crazy but that's a lot of people paying way too much for something that amounts to a drink coaster.Well enough about the good things in the film, I'm going to go watch Requiem For A Dream again just so I can remember what a real movie about drugs is like..
With films like Traffic and Requiem for a Dream, drugs seemed to be a pretty big deal in the year 2000.
Traffic is a vignette of three different story arcs with a cavalcade of characters who are almost all played by huge names like Michael Douglas and Benicio Del Toro, who won an Oscar for his performance as Javier Rodriguez, a man from Tiujana working for the police gathering information about the drug cartels.
The other story lines are Catherine Zeta-Jones' story as a wife whose husband gets arrested for drug trafficking, and she must clean up his own mess, and Michael Douglas as a conservative judge who is appointed by the President to helm the war on drugs, only to find out that his own daughter is an addict.
As seen in 'Erin Brockovich', Soderbergh often deals with people under immense pressure, and this is quite evident here, telling the story of a new US drug control officer (Michael Douglas) whose daughter is rapidly becoming a drug addict (Erika Christensen).
As seen in 'Erin Brockovich', Soderbergh often deals with people under immense pressure, and this is quite evident here, telling the story of a new US drug control officer (Michael Douglas) whose daughter is rapidly becoming a drug addict (Erika Christensen).
Javier Rodriguez's (Benicio Del Toro) character and personality is both strong and incredibly well-acted - the quiet, thick skinned yet razor-sharp mind suiting his environment perfectly, and his acting is often crucial to the moods set in the film, for example in creating the tense, unearthly atmosphere of Mexico.
Javier Rodriguez's (Benicio Del Toro) character and personality is both strong and incredibly well-acted - the quiet, thick skinned yet razor-sharp mind suiting his environment perfectly, and his acting is often crucial to the moods set in the film, for example in creating the tense, unearthly atmosphere of Mexico.
This quiet confidence is also a key part of one of the film's many underlying messages, namely a study in resourcefulness and where it gets us, particularly in Catherine Zeta-Jones' character, a trophy wife of a drug trafficker who is under arrest.
This quiet confidence is also a key part of one of the film's many underlying messages, namely a study in resourcefulness and where it gets us, particularly in Catherine Zeta-Jones' character, a trophy wife of a drug trafficker who is under arrest.
The characters are all strong and well acted, I can't put my finger on a single bad performance, but Benicio Del Toro is by far the best on show and his Oscar was well deserved.
This technique shows you that even though these people are soldiers, collateral and casualties in the same war, they are living in very different worlds.At first the hopeful ending felt a little false to me for a film that spends two hours showing us that we are losing this war on drugs and for every win we are hit with two more losses, but after letting it resonate with me I found a sense of decency and humanism in it.
We might say that they preceded that movie with "Traffic", about the futility of the drug wars and how the whole trade affects various people.The movie starts off by showing Mexican cop Javier Rodriguez (Benicio Del Toro, who won Best Supporting Actor); he and his partner travel around the northern part of the country looking for drug smugglers.
And then, San Diego feds Monty (Don Cheadle) and Ray (Luis Guzman) have to bust drug smuggler Carlos Ayala (Miguel Ferrer), leaving his pregnant wife Helena (Catherine Zeta-Jones) with no one.I will say that the movie isn't perfect.
Zeta-Jones and Del Toro have both received Golden Globe nominations for Best Supporting Actress and Actor in a drama for their roles in this film.
Zeta-Jones and Del Toro have both received Golden Globe nominations for Best Supporting Actress and Actor in a drama for their roles in this film.
Dennis Quid's character, while played adequately, is underused.The stories were shot using various filters and lenses, neatly separating them as the film went from one to another and adding to the viewing pleasure of the movie.
Dennis Quid's character, while played adequately, is underused.The stories were shot using various filters and lenses, neatly separating them as the film went from one to another and adding to the viewing pleasure of the movie.
Zeta-Jones' story is filmed without the use of lenses, suggesting that her situation and actions are the most realistic and achievable of all those presented.Despite some dialogue that spouts off statistics and seems a bit preachy, Traffic ranks among the top ten films of 2000, surpassing even Soderbergh's other venture, Erin Brokovich.
Zeta-Jones' story is filmed without the use of lenses, suggesting that her situation and actions are the most realistic and achievable of all those presented.Despite some dialogue that spouts off statistics and seems a bit preachy, Traffic ranks among the top ten films of 2000, surpassing even Soderbergh's other venture, Erin Brokovich.
The screen play is by Stephen Gaghan, who transfers the action from Europe to America and makes it compelling as it involves us because both the director and the writer are speaking about things we all seem to be familiar with.The drug traffic in the film is basically from Mexico into the United States.
Steven Soderbergh is marvelous as the director of this movie, he is up there with the best in the business by way of possessing the golden touch on any film he gets involved with!!.
It's enjoyable in the fact, you follow the characters and stories, in realistic terms, like how this bloody drug problem is approached, and the affect it has on the needed addicts, and the ones that try their hardest to takes these pr..ks down.
Meanwhile two detectives in Mexico (Oscar-winner Benicio Del Toro and Jacob Vargas) are walking a dangerous line of corruption which involves the government, the police, the drug traffickers themselves, and a war-like general (Tomas Milian).
"Traffic" is a film easily on par with "The French Connection", another movie that deals with drug-trafficking.
And what "Traffic" does is reconciling a new positive mindset with big-scope storytelling, showing how the titular word is handled by Mexican law enforcers, one of them is Rodriguez, played by Benicio Del Toro in his Oscar-winning role, and American cops played by Don Cheadle and Luis Guzman.Many things happen that don't seem to have a connection, but we suspect they are many pieces of jigsaw puzzle.
The life of his socialite wife (Catherine Zeta Jones) all falls apart and she receives threats against her son and must find a solution to live up to her imprisoned husband's contract, going against the usual trend of drugs movies that reflect the way it affects impoverished lives, driving people into the corners of dealing and prostitution (and "Traffic" is no exception).Speaking of the rich, the core of the story is Michael Douglas as Robert Wakefield, appointed as a head the President's Office of National Drug Control Policy against drugs, ignoring that his daughter, a honor student played by Erika Christensen is a drug addict.
This epic of a movie tells you all you really need to know about the drug culture in American and Mexico without preaching or relying on plot exposition: instead it puts you in the thick of the action by getting you involved in the lives of a number of characters.The plot is complex and demands close attention, as half a dozen different story lines converge and drift throughout the movie as each moves towards its relative conclusion.
An all star cast with a great story, the film also hints at how Mexico who mass produces the drugs aren't only to blame, as the demand is coming from the U.S. Read more movie reviews at: championangels.wordpress.com.
In a world where "the war on drugs" has escalated to unprecedented heights and profits are raging uncontrollably, this is a film that doesn't age with time and shows more than what should've been allowed.To put it simply and bluntly, Traffic is a work of an anti-anthology, where we are introduced to a number of characters in similar situations, yet none of them ever come full-circle in a wraparound story.
Like many instances in Traffic, Soderbergh leaves you to be the judge.Starring: Michael Douglas, Erika Christensen, Benicio Del Toro, Catherine Zeta-Jones, Dennis Quaid, Don Cheadle, Luis Guzman, Steven Bauer, and James Brolin, and Topher Grace.
Steven Soderbergh's 2000 film Traffic was based on a British television series from the back end of the 1980s that I have not seen, here translated into a two hour plus opus revolving around a bunch of disparate characters of different ages, classes and nationalities; the item that ultimately connecting them all being that of drugs, which, on the whole, works really well.
It is a punishing, refreshingly multi-stranded and supremely mature piece that never preens nor lectures to an audience whom can be young enough so as to pick up on the film's message, and to those old enough to appreciate what drama Soderbergh has pulled off here.Traffic will predominantly revolve around American judge Robert Wakefield (Douglas), and his attempts at stopping the growing number of drug distributors whom operate across the U.S./Mexico border; his daughter Caroline (Christensen), an actual addict highlighting Wakefield's inability to deal with what should come first and foremost closest to him before going international; Benicio Del Toro's Mexican narcotics cop Javier Rodriguez, whom prowls the urban and desert zones of Mexico with beat partner Manolo (Vargas), as San Diego based DEA officers Montel Gordon (Cheadle) and Ray Castro (Guzmán) are employed to keep an eye on the wife of a highly wealthy man, of whom is unaware of the true extent of his career, in Helena Ayala (Jones).
With the likes of Benicio Del Toro, Catherine Zeta Jones, Michael Douglas, Don Cheadle and Dennis Quaid you may expect the film to feel very "mainstream Hollywood".
Even though the parts aren't always that great on their own, the mosaic-like effect created by writer Stephen Gaghan and director Steven Soderbergh adds up to an often-compelling whole, as an array of compelling characters weave in and out of each other's stories "Magnolia"-style.The resemblance of "Traffic" to a P.T. Anderson film is cemented near the beginning when we see two familiar faces from Anderson's "Boogie Nights," Luis Guzman and Don Cheadle, a.k.a. Maurice and Buck, walking into the middle of what turns out to be a very screwed-up drug bust.
Alternately comic and harrowing, and very real-feeling, it's a standout sequence in a movie with several such highlights.Cheadle and Guzman have the best time with their characters, while Del Toro won a well-deserved supporting actor Oscar for the harrowing ride of conscience he gives viewers as Javier.
The narrative is told in the form of 3 interspersed stories set in the US and Mexico: a high-level DEA official (Michael Douglas, who's actually good in this movie!) whose efforts to curb the traffic are contrasted with his own daughter's addiction problems, the wife of a gang boss (Catherine Zeta-Jones, thankfully not stripping) who struggles to gain control of her life in the aftermath of her husband's arrest (and ends up doing more than that) and a Mexican cop (Benicio del Toro, good debut) who is trapped in a suffocating haze of corruption around him.
Great acting by Benicio Del Toro - maybe the best in the film.Praise for Michael Douglas for playing semi-weak and being part of an ensemble cast, although wife (in real life) Zeta Jones's accent seems to wander all over the place like provincial rep.As I said before, television has moved on to do human drama better than cinema anyway.
By contrast, `Traffic' looks like home movies developed by five different drug stores.Contributing even more to the confusion is the casting.
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tt0338512
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Deux frères
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Set in 1920s French Indochina, two tigers are separated as cubs after the ancient temple where they live is disturbed by Aidan McRory (Guy Pearce) who intends to steal and sell the ancient statues.Two tiger cubs are playing when one (later named Sangha) comes upon a young civet. Sangha chases the civet into its burrow and the mother civet appears and chases Sangha up a tree. The other tiger cub (later named Kumal) appears and chases the mother civet away. Gunshots are heard, and the tigress arrives to protect the cubs. She picks Sangha up and runs for safety. Kumal follows, but can't keep up and falls behind. The cubs' father appears, but the men have caught up with them and he is shot dead by McRory.McRory is an unscrupulous explorer, big-game hunter and temple looter. He discovers Kumal and befriends him, but McRory is arrested for stealing from the ancient temple and Kumal is kept by the chief in the Cambodian village where McRory had been staying. The chief then sells Kumal to a circus where he is to be the star attraction.
Sangha remains in the jungle with his mother, but both are soon trapped by McRory as game for a vain Khmer prince to hunt. The mother is shot in the ear and thought to be dead before she jumps up and runs off with a hole in her ear. Sangha is discovered by young Raoul, son of the French administrator, Normandin, and becomes the child's pet. However, Raoul's mother's dog, Bittsi, a schipperke, is a constant antagonist to the young tiger.
Kumal is trained by cruel circus ringmaster Zerbino to do tricks, such as jumping through a flaming hoop. Sangha meanwhile dwells peacefully with Raoul until he is at last cornered by Bittsi following a prolonged chase. In self-defence, Sangha attacks Bittsi, badly wounding although not killing him. This provokes a hysterical reaction from the household, particularly Raoul's mother, who insists that Sangha has "got the taste of blood now" and gets rid of him. As a result, he is made a part of the prince's palace menagerie, where he quickly gains a reputation as a ferocious beast. Sangha and Kumal are now very close to each other.The prince then decides to hold a festival in which a battle between two great beasts - the brother tigers - will be the centerpiece. When placed in the cage before the audience during the festival, the two brothers do not immediately recognize each other, and Kumal is afraid to fight. However, when the brothers finally recognize each other they begin to play together instead of fighting, and the audience likes this but the trainers don't. The trainer attempts to antagonize the tigers into fighting, but as he opens the cage to shoot one, the tigers escape, managing to frighten the trainers and the audience into the cage themselves.The two tigers escape, and McRory is determined to hunt them down. After Kumal showing Sangha how to jump through fire to escape, McRory and Raoul find them. However, as McRory takes aim at Sangha, Kumal appears, and demonstrates that he remembers the sweets McRory used to give him. McRory puts down his gun and vows never to hunt again.The two brothers make their way back to their temple home in the jungle where they meet up with their mother (who can be identified by the hole in her ear). Just before the credits, some comments to save the tigers (as a species) are shown.
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violence, flashback
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train
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imdb
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I loved this movie, not just for the obvious reasons of being a tiger loving artist that loves all animal films anyway.
This movie was making a statement regarding how these beautiful creatures are being hunted to extinction!How sad to have to hunt down and kill an animal to prove your manhood or to use them for mistaken ancient beliefs where their bodyparts are used for medicine.
But it was great, in fact, I love it, the tigers got billing over the human actors!It's the story of 2 tiger cubs that are captured when a hunter kills their father and they become separated from their mother.
All parents should take their kids to watch such movies, it will make them love and care for animals.
It is so precisely mixed, that at the beginning You will never realize is it real, You are watching or computer-made.In fact, the movie, I think I may say so, is sort of a masterpiece, but since I am not very competent of the technical details, will not discuss them, except mentioning just in brief.Wonderful graphics, exotic views, well mixed sound, good music, great story, interesting point of views...
Perhaps the people that promoted the film are to be blamed for that, or maybe Mr. Annaud was targeting the film for a more mature audience."Two Brothers" is a story about two tigers that are separated at a young stage of their lives, while their parents are killed by people that loved to engage in this type of hunting.
Freddie Highmore is a child actor with an expressive face that shows a child of great intelligence without any trace of ego.As Mr. Annaud proved with "The Bear", he has a good eye for involving the animals in his stories about them with surprising results..
Other footage seemed to be just film of the tigers acting naturally, which was important for the movie.Two Brothers was a great children's movie.
It is not a totally cheerful movie, but I did enjoy the parts where the tiger cubs were being brothers, and the ending.
Never even heard of this movie before.PlotTwo tigers are separated as cubs and taken into captivity, only to be reunited years later as enemies by an explorer (Pearce) who inadvertently forces them to fight each other.I love Animals, this movie really hard to watch, i felt very emotional about this movie and tigers in this movie, great and acting, You will actually real sorry for this man-eaters .This movie can be predicable however is still really moving movie, 8 out of 10 Great for all ages to watch!.
Simply a brilliant story and one that can hopefully , drill into peoples heads that animals , have feelings and desires just like humans.
Guy Pearce was effective as the hunter Aidan McRory, the movie was realistic for the most part yet hopeful towards the end...The Administrator and his oily obsequeisms to the Oriental Excellency were all too real for that time of the world's history, as for the village headman's playing both ends against the middle to survive was all too typical of what then called Indochine by the French at that time...Kumar and Sangha were endearing and ironic, the brave one became passive as a pawn of the Circus/System; while Sangha the gentle became fierce at being rejected by the Colony/System for him exhibiting his nature when cornered by that pestilential dog "Bitsy" - he was defending himself!
The story is touching, and I confess it had me a bit tearful during especially tense scenes.The interaction between the people and the tigers is unforgettable.The camera work and the top notch editing gave the film its life.Recommend..
i loved the scene of them playing with each other infront of ppl instead of killing each other ,, and also when saungha was a baby sleeping beside Raoul and the milk container in his hands like a true baby , so cute ,, I would recommend to anyone especially who don't care about animals and their matters ..
Those extremely adorable tiger cubs that I'm sure everyone will fall in love with the second that they lay their eyes on them.This is also an very emotional film for it depicts how cruel can humans be, and the moral of it all is to reserve wildlife and give these magnificent animals one more chance on this planet..
I was very much reminded of his 1992 film "The Lover" from a story that floats through a wonderfully thought out path without feeling like any story ever told."Two Brothers" is about a pair of baby tigers who are separated from their father and eventually each other.
Annaud's message communicated, through the different sections of the film, is that we must respect animals like tigers (who are dwindling in existence) enough to coexist with them.A pivotal character in the film is a famous, revered big game hunter played with charm, equanimity and excellence by Guy Pearce.
Although I instinctively recoil at any attempt by filmmakers to convert majestic animals into little more than furry, four-legged human beings, I had hoped that director Jean-Jacques Annaud would be able to avoid that pitfall in "Two Brothers," a tale of two tiger cubs who become separated for a year, only to be reunited when they are each fully grown.
Guy Pearce plays a pragmatic but tender-hearted hunter/black marketeer whose life path intersects with those of the cubs throughout the course of the story, and whose character transformation is one of the least believable aspects of a film that is not all that rooted in credibility to begin with.Admittedly, Annaud does an impressive job getting up close and personal with the tigers, and he certainly has an amazing ability to get these wild beasts to do what he wants them to do on camera.
In this, not really defined place (somewhere India or Bangladesh) they kill people and domestic animals (buffels).When Aidan McRory (Guy Pearce), who plays a man who steels authentic artifacts from the forests, kills the mother-or father of the two small tigers (not defined), the two brothers are brought to two different places.At that time the place is controlled by French politicians who have a colony in the region, and one of those high ranked officer s son gets a tiger.
But the two brothers recognize each other and wont fight and escape.In general not bad, but the visual effect could be done a lot better and off course in such sentimental films the script is made for children to understand.A feel good movie.Nice movie, but still: 5.5/10.
One was due to the fact that the achievement of training animals to work so immaculately is just an incredible achievement because the use of real animals in lieu of the visual effects that films today are fairly reliant on is excellent in making Two Brothers seem like nothing short of a true story, and it's so stunning that I cried within the first twenty minutes because the sound and sight of an actual little tiger cub crying for it's family and struggling to run from human oppressors just hit me all too hard.
Plus, the musical score is all too excellent and the cinematography was stunning, as well as the exceptionally beautiful locations it was all filmed on.The other part is the simple fact that I just loved the story and the adventure of this movie, as well as the fact that the tigers were so adorable as cubs and majestic as adults and so it was just a treat to witness, and at times it was funny.
And it's impossible not to get so attached to the animals because they're all such beautiful creatures that have been mistreated for so long, and as the end if the film reveals it's gotten to the point where the number of Tigers has decreased from 100,000 to less than 5000.
When you have such beautiful source material as a Tiger to work from, you'd better make it true to the original in a CGI movie-making world.
with the exception of the wonderful guy pearce and the little french boy- the actors/characters were silly generalizations.highly recommended and beautiful film..
They are parted and brought up very differently, one having a life of hardships and cruelty at the hands of circus people, while the other is pampered at the hands of a rich family, serving as an exotic pet."Two Brothers" is a movie that is fully wholesome, and watchable for the entire family, kids and adults alike.
There is action, there is sadness, there is joy, there is excitement, there are majestic animals, there are friendships between different species.I was especially impressed with how they had trained the tigers, because they were performing quite well.This was a nice surprise of a movie that actually proved worth sitting down to watch.
They have the power to transform minimal, routine story lines (two tiger cub siblings are divided from their mother, removed from the wild by separate parties of high-handed humans, grow up in different captive grounds and finally find themselves pitted against each other in the battle ring
okay, I'm sure we all know where this one's going, sweet and warm-hearted as it is it's essentially little more than a variation on the story of Androcles and the lion, in which both protagonists, on this occasion, are creatures of the wilderness) into gripping, engaging and dazzling delights, simply by being animals acting in their animal ways.
They're expressive, appealing and a pleasure to watch in whatever stage of their growth whether as wide-eyed, adorable cubs, or beautiful, majestic adults, they bring a real magic to the story that keeps it afloat and mesmerising, and if, like me, you're an avid animal lover, the odds are you'll fall completely in love with these beasts and everything they stand for.
It's refreshing to know, certainly, that not every animal-orientated flick aimed at the family market nowadays has to rely on smarmy human voice-overs and overdone special effects (of all the movies spawned by that phenomenon over the past decade or so, only 'Babe', their much-loved pioneer, had the charm or the subtlety to pull it off convincingly) to communicate the thoughts and feelings of its four-legged cast.
Though, to be fair, the scenes between the tigers themselves aren't completely spotless what probably should have ranked as the most powerful and gut-wrenching sequence in the film, that is, the showdown in the arena, in practice actually feels very rushed and docile.Still, the good intentions in this one always shine and, in spite of the problems mentioned above (or possibly in some small way because of) the central message, that the true spirit of nature has the potential to always prevail above humanity's short-sighted efforts to curb and control it, is still nicely delivered.
But if we suspend disbelief, Two Brothers is the classic animal story: two tiger littermates are separated by humans and of course, reunited as adults with lots of complications and cute animal scenes along the way.
This is clearly not a movie for children, if it had been would narrate the story of two tiger brothers living in the jungle.....but placing this story with humans it's bound to be a cruel and sad story as in fact it is.
The movie begins with the two precious, and beautiful Tiger cubs, Sangha and Kumal, as they frolic and play in the jungle with their parents.
If anyone thinks you can make a movie about tigers that live physically near humans without showing a dead tiger, then they have absolutely no idea of what life is really like.
Alhough this film may be too emotional for young children, I think this film said a lot of wonderful things and supports the humane treatment of animals FULLY.
The sense of family the tigers share is something I've seen in my own housecats.All in all, a visually beautiful movie, a disturbing movie, a thought-provoking movie.Because of the implied violence to animals, I would not take a very young child to see this movie, but perhaps a child of 10 or older..
Its about the tearful story of 2 beautiful wild animals who spend a wonderful childhood in the jungles and are torn away from their mother and each other by the cruel hunting nature of man.
Its about the tearful story of 2 beautiful wild animals who spend a wonderful childhood in the jungles and are torn away from their mother and each other by the cruel hunting nature of man.
No child screamed while we were there, but were instead enthralled in the tale of the two tiger cubs.Yes, I was disturbed by how badly the tigers were sometimes treated and grateful that no actual abuse was shown, but I was also glad for the opportunity to talk to my two girls, both during the film and after we left, about the correct and humane treatment of animals, wild and/or domestic.
Although not a film for preschool children, I would recommend "Two Brothers" to any of my friends and family as a great family film with a much needed message about wild animals and natural environments..
now i just saying that my kids that i was watching liked it, not that it is a horrible movie because my little baby was crying during the sad parts!:( well thats them not me not other people and maybe other parents or babysisters feel the same but THE TWO BROTHERS WAS A GREAT MOVIE AND ALL THE KIDS THAT I HAD LOVED IT AND WANT TO GET IT WHEN IT COMES OUT ON DVD!E-MAIL ME IF YOU HAVE PROBLEMS WITH THIS INSIGHT!.
I am afraid that I cannot provide a complete review of this film due to the fact that after fifty five minutes I could watch no more and headed for the exit.( I go to the cinema almost every week and I have never walked on a film before) Please believe me when I say that they should have saved this turkey for Christmas.You would think that the idea of two cute tiger cubs, beautiful scenery and Guy Pearce, would be a sure fire winner.
This movie was *painful to watch* if you believe in humane treatment of animals, and if you don't, then it's just boring.Don't see this film.
It seems to me like the movie makers shot a bunch of cute tiger scenes and then through together a film with 1) no plot/a whole lot of stories going on that don't go anywhere and that you don't really understand, 2) no diffinitive moral ending, 3) a bunch of stock character-- including a nauseatingly cute boy, 4) a main character who is passive and never stands out as good or evil.
I wonder about this as no matter how you slice it this is one of the worst films I have seen.My advice is to save the money and donate it to a more worthy cause...The movie ends with some trite message about saving tigers.
On the one hand, I think it IS fair to call this feel-good movie a compromised, saccharine, and childish story that panders to fearful parents who want to protect their children from real life.
This movie has it all...Love, Courage, Determination, Heroism, and Wonder, but certainly not cruelty, and hatred toward tigers or any animal for that matter.
In this film a tiger family teaches what it is to be human..
This movie makes things like Brother Bear and Old Yeller look like Mary Poppins!!I gave it a 3 for the truly beautiful shots in the movie and it's good message about saving the tigers.
Great tiger acting, and wonderful interaction between the tigers & the people.I have always thought that tigers were the most regal of all the great cats and these two are the most unforgettable and so is this movie, a real 'PIECE OF WORK' plus it took the film company, the actors & the cats huge commitment of over a year to make, and that is reflected in the final product, a genuine work of love by a genuine master of his craft.Another nod to Annaud by the animal loving Oscar Academy committee is highly probable..
I have seen other commenter's massively complaining and asking why the filmmakers had the beautiful tigers shot, and why the film was even made...I've also noticed most of these people left before the movie ended...here's a hint, watch the whole thing, wait for the ending.
My 6-year-old niece loved the movie and later asked questions about tigers, trophy hunting, Asia, and animal play.What about violence?
There's no need to "protect" your children from this film, in fact it would do them a favour to see it as who wants their children to grow up so sensitive that they think nobody kills animals - if anything this films will help raise kids awareness of the animals plight!P.S. The cute noises the tiger cubs make make it worth while seeing it tee hee - not depressing but a happy ending!.
I agonized over whether to take my mature 6 1/2 year old to see this film after reading some of the reviews about people walking out, etc?Bologna, this was a perfect child movie especially if they are cat kids like my grandson is!
For older kids and adults this film conveys an important message along with a touching story; tigers in the wild are in real danger of disappearing from this planet and the futility of a "just say no" approach to poaching (either animals or antiquities).
Writer-director Jean-Jacques Annaud has given us a beautifully photographed story about two tiger cubs who become separated from each other when their world is violated by man.Many have dismissed `Two Brothers' as a kiddie film.
Boy, was I wrong.Two Brothers tells the story of Kumal and Sangha, two tiger cubs, who get separated at a young age.
This movie reminds me of the animal films I saw as a kid, like "Born Free".
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tt0361127
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The Woodsman
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Bacon plays Walter, a convicted child molester returning home to Philadelphia after a 12-year stint in prison. Walter finds that his friends and family have abandoned him, with the exception of his brother-in-law, Carlos (Benjamin Bratt). He gets a job at a lumber mill, where he meets Vicki (Kyra Sedgwick), one of the few women working at the mill, who quickly sleeps with him. She initially rejects him after learning of his past, but eventually becomes his girlfriend, convinced that he is a good man at heart.Walter receives frequent visits from a verbally abusive cop named Lucas (Mos Def), whose role is to make sure Walter is staying away from children.Now that he is out of prison, Walter must learn to deal with the community's contempt and avoid temptation, including an elementary school across the street from his apartment and a young bird-watcher, Robin (Hannah Pilkes). He also comes to suspect that a man he has seen watching children near his apartment building is also a child molester. Over the course of the film, Walter observes the man (Kevin Rice) offering young boys candy, chatting them up, and abducting them. Walter nicknames the man "Candy".Walter's life takes a further downturn when a suspicious coworker (Eve) learns of his crimes and alerts the entire mill. Seeking "relief", Walter goes to the park intending to molest Robin who confides in him that her father is abusing her. Finally realizing the damage he has caused, Walter changes his mind and tells her to go home. As she leaves she hugs him. On his way home, he sees Candy dropping off a young boy at his school at night. In a fit of rage and self-hatred, Walter beats Candy so badly he fractures his jaw.Soon after, Lucas visits Walter's apartment as he is packing to move in with Vicki and tells him that a man was beaten across the street the night before, asks if he heard anything. He tells Walter that the boy can make a positive ID of the assailant, and that the victim is wanted in Virginia for raping a young boy, clearing Walter's conscience. Walter later meets his sister, who he hasn't seen in years, and she becomes very angry and leaves him. As the movie closes, in a voiceover discussion with his therapist (Michael Shannon), Walter explains that he understands and accepts her anger, and expresses optimism for his own future.
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dark, boring, thought-provoking, violence, dramatic, flashback
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train
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imdb
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tt0034493
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I bambini ci guardano
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After spending the day at the park with her son, Prico (Luciano de Ambrosis), Nina (Isa Pola) leaves the family to be with her lover, Roberto (Adriano Rimoldi). Embarrassed at being the subject of gossip in their condominium building, Prico's father Andrea (Emilio Cigoli) sends his son to stay with Nina's sister (Dina Perbellini) and then with his severe mother (Ione Fregiro) who thinks Andrea married beneath his station. When the sensitive Prico takes ill, Nina returns to the family, much to Roberto's dispeasure. Andrea is at first cold to her but under the influence of Prico, who clearly blossoms in his mother's presence, he agrees to reconcile with her. When Roberto comes to the apartment to beg Nina to return him, he strikes Prico. Nina kicks him out. She makes Prico promise not to tell Andrea that Roberto had been at the apartment.The family goes to Alassio, a resort town on the Italian Riviera. There they meet people of the upper class, including the shallow Dada (Claudia Marti) and her friend Mimi (uncredited) who is attracted to Nina. Andrea must return to Rome ahead of Nina and Prico. Dada invites Nina to dinner so Mimi can woo her back to his villa. Instead she learns that Roberto has tracked her to Alassio. She agrees to spend the next three days with him, and ignores Prico. When Prico sees her cuddling on the beach with Roberto, he runs away. The police find him on the beach and reunite him with Nina. When she and Prico return to Rome, she drops him off at the condominium and drives away to be with Roberto.Although the maid, Agnese (Giovanna Cigoli) offers to take care of Prico, Andrea elects to send him to a Catholic boarding school. Shortly thereafter, Andrea is killed. Nina goes to the boarding school to comfort Prico. Crying but no longer able to trust his mother, Prico walks away from her.
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bleak
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train
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imdb
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This distinguishes the film from the better known Italian neo realist works which typically take place against a backdrop of poverty and deprivation.
The story is seen through the eyes of their young son, Prico.Far more obscure than de Sica's other work, this is still nonetheless a classic because it endures, the story could take place just as easily today, with a few minor adjustments of clothing and details.I don t agree this film is sentimental, it manages to stay just the right side of mawkishness.
The sign of a genius director that De Sica was able to manage the logistics of the crew, the equipment and coax this sort of performance out of a four year old.This film put me in mind of Brief Encounter and it would be interesting to watch the two alongside.
We know at once that the hurt to Prico is more emotional than physical, and we sympathize, but at the same time we also are drawn into the father's anguish that has brought him to this abuse.
The moment is brief but hits home because it is well prepared for.Of course the story through the boy's eye is the film through De Sica's lens, and it is always a revealing lens, emotionally caught up, frequently looking around corners or looking up at adult gossip.
It's a bit melodramatic in parts but filled with scene after scene of immortal, poignant truths not only about the way a child sees adults but the way everyone sees everyone else in reality and in the 'real world' where purity of soul and honesty matters and is always heroic, where as Pascal wrote, man's greatness is so obvious it can even be deduced from his wretchedness.
Even if De Sica hadn't gone on to make "Shoeshine," "Bicycle Thief," and "Umberto D" he already had enough in this one little film to earn respect as one of the supreme artists of the 20th century..
THE CHILDREN ARE WATCHING US might be our favorite De Sica film and one of our favorite Italian films of all time.
It portrays with delicate sympathy the suffering of a child whose parents are separated because of the mother's love affair with another man.
While the husband and wife are perfectly portrayed, by Emilio Cigoli and Isa Pola, the film belongs to little Luciano De Ambrosis as the five-year-old Prico'.
But of course it was director De Sica who was to work miracles later with the child actors of SHOE SHINE and THE BICYCLE THIEF.
It also was the impetus for me to watch more of de Sica's films and then those of Rossellini and Fellini.A terrific 'tear-jerker' which SHOULD NOT BE MISSED if you ever get the chance.
De Sica's first Neo-Realist film had been neglected over the years and, so, it was a surprise to see it being added to "The Criterion Collection".
Ultimately, it's not up to his later more celebrated quartet - SHOESHINE (1946), THE BICYCLE THIEF (1948), MIRACLE IN MILAN (1951) and UMBERTO D (1952) - but, taken on its own modest merits, it's a reasonably effective work coming from an actor best-known for light fare!
As indicated by the title, the narrative is seen through the eyes of the sensitive young son of a working-class couple; the mother is having an affair and the boy is witness to - and the victim of - the inevitable disintegrating family ties, being bounced around from the household of one begrudging relative to another.
The couple make a determined effort to stay together for the sake of the child (having to contend, besides, with the nosy and gossiping tenants of their condominium) - but the impetuous young man who has come between man and wife won't give her up so easily, and he finally manages to tear her from them for good.
In desperation, the husband commits suicide…The plot is pretty melodramatic and the film is infused with a good deal of sentimentality (there are plenty of close-ups of the boy weeping his heart out, for instance); clearly, De Sica's hand isn't confident as yet in juggling the various elements that comprise such slices-of-life - for one thing, he has used actors rather than the non-professionals who would come to serve him in good stead in his subsequent Neo-Realist classics.
Vittorio De Sica, at this time better known for being in front of the camera, started to come into his own as a director with this touching story of a family coming apart at the seams in 1940s Italy.
The story centers around Luciano De Ambrosis as Prico, a young child who must suffer the consequences of his parents' actions, specifically his mother.
Her decision to run away with her lover causes serious turmoil amongst the father and son as well as her sister and the grandmother.De Sica tells most of the story from the child's point of view, which causes the audience to sympathize with Prico and the father.
At times it is almost too hard to watch; to see these people tear themselves from each other is almost unbearable, but De Sica has style and grace in his visuals, which makes it more emotional than difficult.This was the launching point for De Sica, who would go on to direct The Bicycle Thief and Umberto D.
While not his strongest, this is certainly a very good film that captures child memories and disturbances and makes us brace for them as much as Prico does..
Adults Behave Badly in The Children are Watching Us. Before his historical foray into neorealism Vittorio De Sica made this melodramatic tear jerker about a child witnessing the break-up of his parent's marriage in 1942 Italy.
As in Shoeshine and Bicycle Thief he employs a child as the major protagonist and shoots most of the film from the boy's point of view.
His mother, Nina, is also nurturing but caught up in a passionate affair with Roberto an impetuous lover whose selfish actions are all the more grotesque from Prico's vantage point.
Eventually Nina returns and the family begins to heal together but Roberto re-enters the picture where once again Nina's role as mother and wife are challenged.Considering the era and place (Fascist Italy) The Children are Watching Us is an audacious film for its time.
What separates it from similar formulaic tepid melodramas of the period is De Sica's decision to arrange it around the child's subjective viewpoint and to have the infidelity occur with the mother.
But even with all the benefits of the privileged child, Prico's painful experience is conveyed in the same stylistic subjectivity of jump cuts and revealing tracking shots that give the neorealist works their form and much of their power.
The director focuses on his eyes to remind us that children see (and sense) more than adults think they do.It has been written that the action of this movie is filmed from the child's point of view, but this is not technically correct.
What makes this film different is that the camera continually returns to the child and focuses on his actions, which are obviously in response to the actions of the adults.
Other films have centered on children, but The Children Are Watching Us juxtaposes and intertwines the actions of the adults and the actions of the child, creating a clear cause and effect relationship between the two.The son, Prico, has little control over the events of his life.
Sometimes the camera focuses on the magnitude of buildings or spaces, emphasizing the smallness of a child.This is a film that drags emotions out of the viewer by emphasizing the helplessness of children and the universality of its theme..
"The Children Are Watching Us" (1944) was the first film De Sica made in collaboration with the screenwriter Cesare Zavattini with whom he later made most of his films.
In this film, he immerses into the realm of the child's gaze.Although all the ingredients for a banal melodrama are present, De Sica eludes them with elegance.
Some may consider the adult characters of this divorce drama thin or black and white, and while this may be true, it is perfectly justified just as well because De Sica defines them by the child's point of view.
A certain climax of this theme of watching can be seen in the scene where the boy and his father remain quiet, but experience a moment of understanding which De Sica depicts only by using extreme close-ups of their honest faces.
This is equivalent with the philosophy of De Sica's masterpiece "Bicycle Thieves" (1948) where a child character is used as a moral observer or, should I say, the protagonist's moral conscience.
In fact, a film historian Peter Bondanella has well noted that Roberto Rossellini's manifesto film of Italian neo-realism, "Rome, Open City" (1945) established children as the symbol for the future of Italy as a nation.
This is evident in many films from the era and especially in De Sica's "Shoeshine" (1946) where boys must kneel down before American soldiers to shine their shoes.
Once in a great while, a child actor and a director are perfectly matched so that the child delivers an indelible performance that etches itself firmly into film history, as Jean-Pierre Leaud did for Truffault in The 400 Blows, or Haley Joel Osment accomplished for Shamalyan in The Sixth Sense; The child Luciano De Ambrosis performs with an incredible sensitivity to the insensitive adults around him, a mother and father who search for their own bliss while forgetting their child's well-being.
Because it was released during WWII in Italy, DeSica's early effort did not receive the kudos it deserved, but deserves to rank in the pantheon with Bicycle Thief and Umberto D; it's a simple story of learning bitter lessons, with a memorable, well-defined sense of time and atmosphere..
However, life deals Prico an emotional blow and he is forced to make a choice....It's a film about a kid so .....guess what......it's not very interesting.
The film builds towards a poignant moment and the story leans towards the more tragic interpretation......in reality, things will be fine, especially once the kid starts taking drugs to forget that his mum has given him the name Prick..
This movie displays an adult world caught up in its own silly preoccupations, where children are merely nuisances.
The boy's mother goes so far as to leave her son and husband to run off with a boyfriend.
The Beginning of It All. A four-year old boy, Pricò, becomes the subject of emotional folly by his fluctuant parents and inattentive relatives.Peter Brunette notes, "The Children Are Watching Us marks the first full blossoming of one of the most fruitful collaborations in world cinema history.
The brilliant pairing of legendary Italian actor and hitherto commercial director Vittorio DeSica with Cesare Zavattini, the talented screenwriter who was to become the chief theorist of the neorealist movement that flourished in Italy right after World War II, created a synergy of magnificent proportions, which allowed each man to transcend his own individual limitations." So, Brunette might be a little flowery with his prose, but he is spot on.
Competes with "Bicycle Thief" for best De Sica film.
The child acting performance of Luciano De Ambrosis is legendary, and I fail to think of a better child performance in film history ('Shoeshine' had some good performances, as well).
He would go on to direct at least two genuine masterpieces (and others might include other films that I either had a problem with or I haven't yet seen, e.g., Shoeshine), The Bicycle Thieves and Umberto D.
The Children are Watching has a couple of flaws, but it ends up being so emotionally powerful that those might escape you.Like The Bicycle Thieves (and like Shoeshine, from what I hear), The Children are Watching takes the point of view of a young child, Prico.
His parents' marriage is falling apart - his mother is in love with (and eventually leaves with) her lover, Roberto.
Eventually, after Prico gets deathly ill (a fever hallucination that the boy has seems suspiciously like Dorothy's tornado fantasy in The Wizard of Oz to me - even some of the music seemed similar; hmmm...), his mother returns because she can't stand being away from her son.
After a few months, Prico has recovered and his father and mother have begun to love each other again.The main flaw of this film is the fact that, because the point of view so adamantly sticks to Prico, we're never able to learn much about his parents.
Vittorio de Sica, at least in these neorealist films, has a marvelous knack for hitting the audience where it hurts with the ending.
The Italian Neorealist movement in films began about the time this movie was made and extended to the mid 1950s.
And, because so many of these stories were told with such love and depth, I am a huge fan of the genre.Of the Neorealist directors, my favorite has been Vittorio De Sica.
Again and again, the director made some very brave choices and risked alienating his audience in order to make a realistic and gut-wrenching film--not another Hollywoodized film with a happy ending.The film focuses on a short period in the life of a darling little boy ("Pricò"), played marvelously by Luciano De Ambrosis.
His was perhaps one of the best performances I have seen by a young child actor, as he was able to cry and react so perfectly.
When he has run out of options, his wife surprisingly returns and the man tries very hard to patch things up--taking them on a holiday and spending a lot of money trying to make her happy.
It was said that the director himself wanted the film to end on the negative note with the boy rejecting the mother.
First, the adult De Ambrosis (Pricò) talks about the filming and it gives great insight into the movie.
Some people call this the first Neo-realist film...some give that wonderful prize to Open City.
At any rate, this film is definitely early Neo-realist, and in fact is more like a prototype of the genre.
It contains a social message and doesn't attempt to show Italian society as an upper class wonder of the world, but it still is focused on the upper class and it lacks a lot of the grittiness that makes Neo-realism so impactive.The English title given to it is the very message of the movie: our children are watching us as we dissolve the family.
Neo-realism was filled with digressions and attempts at real movement through space, but this movie seemed to try to put importance on the train (danger, perhaps, martyrdom maybe) that I don't really feel was there.It's definitely an important movie that is of the very sort that people who like to be well-versed in film will probably want to see.
This is a heart-rending film, seen from a child's point of view.
In this one a four-year-old boy, named Pricò, is caught up in the separation of his parents.
He is really caught up in the middle of something WAY beyond his control.Near the beginning of the film, Pricò (Luciano De Ambrosis) and his mother, Nina (Isa Pola), take a walk in the park and see a puppet show.
Pricò later leaves his mother to play in the park but sees her talking to a strange man, her mother's lover, Roberto (Adriano Rimoldi).
Both Andrea and the housekeeper, Agnese (Giovanna Cigoli), know what this means: she has run off with Roberto and it is up to them to care for Pricò.
Once again, things go well but when he leaves Nina and Pricò alone to return to Rome early, Roberto shows up there and Nina can't resist him.
When Pricò sees him and his mother lying on the beach, he runs away, trying to return to his father in Rome.
Now it is up to Andrea to figure out what is best for his motherless child.Some of the final heart-rending scenes of this film remind me a bit of the father-son relationship in Bicycle Thieves (1948) in that the father has to take care of his son in an awkward situation.
In "Umberto D" later on,De Sica would describe a poor old man's end of life whose dog is the only companion.(remade in France as "Un Homme Et Son Chien" in the naughties) In "I Bambini Ci Guardano" ,he depicts the beginning of life ,a harsh one: a little boy,whose eyes are longing for love and affection,sees her mother taken away from him by a buck.The mother is selfish ,the father is weak ,and both do not even notice the tragedy in their boy's eyes.A clever boy,who knows that something is wrong in his small world: he refuses the shake the "gentleman's" hand;he asks her mother to kiss him good night,and he wonders why she keeps her hat on.Except perhaps during the holidays at the seaside,where the mother meets futile callow people -and meets again her lover,her evil genius -,the brat never enjoys moments of true happiness:for instance ,he almost never plays with friends his age,which seems to indicate that he's already in the hard adults world: he even thinks of suicide -in the extraordinary scene on the railroad track - ,which is rare for a child so young (Rosellini showed such a scene in his "Europa 51",but his unfortunate hero was older).There will be a suicide, anyway ,and a complete destruction of the family,no Hollywoodian happy end .De Sica's psychic son,as far as children's tragedy is concerned ,is arguably Luigi Comencini;both found the words,the looks that depicts a child's distress:for that matter ,see "Incompreso" (1967) and " Eugenio" (1979).At a time when divorce has become common,when many irresponsible movies treat it like a comedy,do not forget that the children are watching us..
As the forerunner of the Bicycle Thief it has all the same realist filming and it's a delight to watch in slow paced and close up the Italy of the 1940's.
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The Blue and the Gray
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The plot revolves around the families of two sisters; Maggie Geyser and Evelyn Hale. The Geysers are southern farmers and slave owners in Charlottesville, Virginia. The Hales own a small newspaper in Gettysburg, Pennsylvania. The Geysers are generally indifferent to the issue of slavery but are sympathetic to the Southern cause since slavery is a 200-year-old way of life in the south. The lone exception in the family is son John, an artistic young man who becomes sympathetic to the plight of southern slaves and free Negroes. The Hales are pro-Union and anti-slavery, but like many northerners at the time they hope for a peaceful solution to the nation's problems.The drama begins in October 1859 when John Geyser, the primary protagonist, wants to use his talent as an artist working for a newspaper and leave the farm. He travels to Pennsylvania to work as an artist correspondent for the newspaper of his uncle Jacob Hale, Sr. John's first assignment takes him to Charles Town, Virgina to cover the trial of abolitionist John Brown where he meets and befriends the mysterious Jonas Steele, a former Jayhawker and Pinkerton detective. Jonas returns with John to Gettysburg and falls in love with Mary, one of the Hale's two daughters but is afraid to commit to her to his troubling dreams to predict the future.After falling out with his family over the issues of slavery and secession over the Christmas of 1860, John returns to Pennsylvania. John's three brothers Matthew, Mark, and Luke will eventually serve in the Confederate Army. His three male Hale cousins Jake, Malachi, and James join the Union Army.James dies from an illness before the first battle of Bull Run in July 1861. Caught "betwixt and between", John will not fight for the South but is unwilling to bear arms against his own brothers. After being reunited with Jonas Steele, who has joined the Union Army as a scout, John becomes a war correspondent for Harper's Weekly.John travels with the Union Army and witnesses many of the important events of the Civil War including First Bull Run, the Peninsula Campaign, the 1863 Siege of Vicksburg, the 1864 Battle of the Wilderness (Mark Geyser is listed as an MIA in this battle), Lee's April 1865 surrender at Appomattox and Abraham Lincoln's assassination.At Bull Run, John meets Kathy, who despite her social standing proves to be a good war nurse.Jonas overcomes his doubts and marries Mary.Lester Bedell, who had married Emma Geyser, are caught up in the Siege of Vicksburg. Lester is killed and Emma and her child return home.The Battle of Gettysburg is a prominent focal point of the story (Mary Steele is killed as the battle rages near her and Jonas's home).John has a reconciliation with his family as he, his father and brother Matthew with a group of Confederate troops defend and drive off a Union Army attack against their house. Matthew is killed in the battle.A little later, Jonas wins the Geyser family heart by getting the youngest brother out from a Union POW camp but his strange dream of President Lincoln arrives too late to save the president at Ford's Theater.In the final scene, the Hale and the Geyser family are reunited after the war at John and Cathy's wedding.
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train
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I first saw this mini-series while in 5th grade history class as part of our studies on the Civil War, and I thought it was excellent.
Although the movie certainly takes dramatic license (the main character, a young Southerner who relocates to the north after becoming disillusioned with the cruel treatment of slaves, ends up stumbling across his staunchly pro-Confederate siblings as if they're all wandering around in the same town instead of an entire country!), you can see that the film makers took great pains to portray as many perspectives as possible, to show that each and every person involved in the war was human, with their own thoughts and feelings.
This mini-series should definitely be on any must-see list of war films..
This is such a good movie mainly due to the lack of bias and multiple story lines which keep you hooked throughout the extensive length of the film.
So when we finally decided to watch what seemed like a boring war movie...we never wanted to leave the trailer.
`The Blue and The Gray' is not a story about the Civil War. It is a long drama about a family set at the time of that war.
This was a very good film about the Civil War. It showed the mindset of people living in the south during that era; how they were swayed into entering a futile and dangerous undertaking.
As others have mentioned, this is a series of recollections of events which may (or may not) have occurred during the American Civil War. It is related from the point of view of a 'neutral' war correspondent, who's talent is for drawing sketches of what he has seen on various battle fields, from Bull Run to Appomattox Ct. House.
For me the best part of the mini-series was watching Gregory Peck (as Abraham Lincoln) deliver the Gettysburg address.
If you, on the other hand, are simply looking for a decent dramatization (ala "Gone With the Wind), you will enjoy this series.The acting by the cast was, in general, C+, with the exception of a few of the notables (Gregory Peck, for one).
Back in the early Sixties there was a short lived television series called The Americans about two brothers who after their father was killed decided to fight on opposite sides in the Civil War. The whole business about brother against brother was no exaggeration.
The Blue And The Gray brings that aspect of the Civil War better than any other film made for the big or small screen since The Americans.The families are the Geysers and the Hales related by the mothers, Diane Baker and Colleen Dewhurst being sisters.
A passing acquaintance played by Stacy Keach who gets himself involved in a lot of the major events of the war and married into the Hale family with Julia Duffy persuades Hammond to become a war correspondent and put his artistic talents to good use.
Hammond becomes a pictorial chronicler of the seminal event of his generation.Without ever losing control of the main story lines, what happens to the various Geyser and Hale family members, The Blue And The Gray captures the sweep and pageantry of the Civil War. Such real characters as Abraham Lincoln played by Gregory Peck and John Brown played by Sterling Hayden in what was his farewell performance do take a life of their own.
Young Harper falls victim to dysentery and his performance will move you.A few years later North and South covered a lot of the same ground that this particular mini-series did and it was as well done as The Blue And The Gray.
He is surrounded by relatives and friends on both sides, and the miniseries shows events through their eyes as well.The human side of the war is stressed, and it excellently portrays the toll the conflict took on families.Many of the subplots are taken from Civil War historian Bruce Catton's final work, "Reflections On The Civil War." However, none of the people in the book, including the real John Geyser, appear in the miniseries.
I thought the makers of this movie followed the history of the period and gave a good presentation of the issues that the people had to deal with at the time.
Of course it cannot compare to the recent Civil War Movies or even the Ken Burns series .
Given the time that it was made I think it was a good portrayal of the period.My only fault with the movie was the fact that it seemed to put the fall of Vicksburg after the Gettysburg Address.
Believable characters in the best Civil War movie ever..
It shows how families, North and South, were affected in a profound way by the Civil War.
Every time we watch The Blue and the Gray, it is easy to develop feelings for the characters, who could almost be members of our own family.
It is this humanistic feature rather than dwelling on the intricacies of the battles themselves which makes this film great viewing, even for those who aren't "into" war movies..
not the best civil war movie--but not the worst either.
I remember my high school history teacher making us watch this in class my freshmen year of high school....at that time in my life I could've cared less about seeing this film.
and I liked it, in fact I cannot remeber why I was unable to get interested in this film the first time I seen it(I was probably too young to enjoy a long drama back then).but although I have seen some civil war movies that blow this one away.
it is very much worth watching.---its funny to see this film now because this films cast looks like an episode of "where are they now?" this music score is fair , the costumes are good(same as any other civil war movie)...but Ouch, but I kept noticing that all the actors have early 1980's post disco era hair styles rather than 1860's hair styles and the hair styles cause this film to look dated.
I found it interesting that the 4 brother this film is about are named after the 1st 4 books in the new testiment of the bible(Mathew,Mark,Luke and John -I failed to notice that the 1st time i seen this film)This is not the best Civil War Movie(that honor goes to "Gettysburg"), but its not the worst civil war movie either(that honor/shame goes to "The Rose and the Jackail")I give this film 3 out of 5 stars..
I'm not going to nitpick this film because the wrong number of buttons are on a Civil War jacket nor am I going to criticize the fact that certain battles are presented out of chronological sequence, as some others have already pointed out.But taken as a Civil War drama, THE BLUE AND THE GRAY ranks with the very best movies made about this era of American history and all of the performances are splendid.
The human drama, both on the home front before the war and during the various battles, is portrayed very realistically, as are the graphic battle scenes.The cast assembled does a wonderful job with characters that come alive.
But STACY KEACH and JOHN HAMMOND carry much of the film as the two leading characters who witness various aspects of the Civil War, seen through their eyes and experiences, and they are excellent.The supporting cast includes vivid performances from LLOYD BRIDGES, COLLEEN DEWHURST, RORY CALHOUN, GERALDINE PAGE, RIP TORN, STERLING HAYDEN, DIANE BAKER.
BRIAN KERWIN is excellent as the Hale brother facing battle for the first time, and the sequence with the balloon to observe the enemy from the air is full of tight suspense.It may not be a perfect history lesson, but it is photographed beautifully in color (all of it filmed in Arkansas), has a fine musical score and is well worth the time it takes to unwind a very compelling story with characters any viewer can relate to.I consider it one of the finest made-for-TV miniseries ever made..
The Blue and the Grey had a great plot and I really enjoyed this mini series.
Gettysburg on the other hand had plenty of extras; almost all of them Civil War reenactors, making the battle scenes more realistic.
Perhaps if the producers of The Blue and the Grey had used reenactors they could have had better battle scenes and the mini series would have been more realistic..
It and was the first ever Civil War movie I ever watched in my life.
Yes, I have seen better mini-series since then(Lonesome Dove, Horatio Hornblower)...and I've even seen better Civil War movies (Gettysburg, Glory) but this movie still holds a very special place in my heart When I go back and watch this film, I am amazed at how well it has held up against the test of time.
Although I still haven't seen the Thorn birds (don't really think I want too though) I am saddened by the fact that there aren't more films like this one being produced these days.I really recommend this movie to anyone who like Long drawn out storyline (and there is nothing wrong with that) Good battle scenes.
My personal grade goes to Gregory Peck as Lincoln, Lloyd Bridges, Cooper Huckabee, Sterling Hayden (excellent part of the film!), Rip Torn, Royce Applegate (who will shine soon in Gettysburg), and Julius Harris.
Given the right amount of publicity and introduction the blue and the gray could become one of the nations leading civil war films.The Blue and the Gray does not in any way compare visually to films like Gettysburg and Gods and Generals but the plot and characters make up for the lack of that big budget film feel..
Stacy Keach does a good job playing a Union officer who loses his wife and falls in love with a nurse who saves his life, but most of the performances are cliched and the costumes are not authentic.
Over all this film is strickly for either 80's pop culture students or Civil War buffs and they might snicker at the late great Gregory Peck's Lincoln.
McLaglen, "The Blue and the Gray" covers the Civil War era from 1859-1865 focusing on two related families: The Geysers, farmers from Charlottesville, Virginia, and the Hales from Gettysburg, Pennsylvania, who own a newspaper.
When war breaks out after the Southern states secede from the Union, John covers the war for Harper's Weekly.MAIN CAST includes Stacy Keach as a Pinkerton-turned-Union-officer who romances John's cousin (Julia Duffy); Gregory Peck as Lincoln; Kathleen Beller as an aristocrat-turned-nurse; Dan Shor & Michael Horton as John's brother; Rip Torn as General Grant; and Lloyd Bridges & Colleen Dewhurst as Mr. and Mrs. Geyser.
Director McLaglen had decades of experience by this this time with both TV shows and films, including a few notable Westerns, like "Bandolero!" (1968) and "Chisum" (1970); in fact, his "Shenandoah" (1965) was a Civil War 'Western.' The first half is great, but the second half flounders a bit and includes some cheesy plot gimmicks, like the mad slasher Confederate officer and John mistaking his babe (the nurse) supposedly making out with the Union stud (Keach).
What I like best about this "miniseries" (i.e. long movie) is that, despite some elements of TV-production cheese (e.g. the two Union & Confederate deserters' almost goofy meeting in the woods), the film takes you back in time to the Civil War era and provides a quality picture of what it was like.Some of the notable events covered include: The Battle of Bull Run, Army camp life, dysentery in the camps, cowards in battle and the branding thereof, balloon reconnaissance, fraternizing with the enemy after hours, brother vs.
Yes, some key events are off-screen (e.g. the Battle of Gettysburg and Lincoln getting shot), but that's the nature of the beast with a TV-budget and an overview-styled story.
A far better soap opera on the Civil War is "North and South".
What's really a shame is that there is some very good talent in the mini series that is completely wasted.
Unfortunately that portrait is not the American Civil War of the 1860s, but the Mini-series boom of the 1980s.
Try as they did to bring their sweeping story to the screen, they ended up giving the impression that the civil war was fought by 50 men (25 per side).
Speaking of extras, tB&tG is interesting in that it was one of the last productions to make use of extras wearing classic Hollywood Civil War costumes (I can't rightly call them uniforms).
There was some fanfare at the time that the production had made limited use of Civil War Reenactors.
By 1989 (7 years later)one could see that "Glory" was such a far cry from all previous Civil War movies.
The cast featured some great actors doing mediocre work(Sterling Heyden, Coleen Dewhurst, Geraldine Page, Rip Torn, and Gregory Peck).
The first time I saw this mini-series I actually liked it.
That was several years ago, way before I became a Civil war Re-enactor.When I started the hobby I saw the series again.
Nowhere is that better illustrated in the event that is oftentimes known as the War Between The States (North and South), but generally known as the Civil War. A bitter war fought largely over the question of whether it was right to keep anyone, especially those of African descent, as slaves, the war almost eviscerated the country during four long bloody year, from 1861 to 1865.
This was the subject for the epic 3-part miniseries THE BLUE AND THE GRAY, which aired on CBS on November 14, 16, and 17, 1982.The principal focus is on two families: the Geysers, a farm family from Charlottesville, Virginia who have no prurient interest in the issue of slavery that is essentially fueling the war but are sympathetic to the South; and the Hales, who are owners of a small newspaper in Gettysburg, Pennsylvania and anti-slavery/pro-Union.
Both families, though, do reunite after the end of the war, but not before the war more or less claims its last victim in President Abraham Lincoln, when John Wilkes Booth guns him down at Ford's Theatre.In the meantime, the Civil War is re-enacted, under the bounds of what could be shown on television, with a fair amount of pain and horror without an over-reliance of melodrama, but with solid acting by a huge cast of great people, including Stacy Keach; Colleen Dewhurst; Lloyd Bridges; Warren Oates (in one of his last roles, as Major Welles); Sterling Hayden (as John Brown); Rip Torn (as General Ulysses S.
McLaglen, who had done the Civil War in fictional form prior to this, in the form of 1969's THE UNDEFEATED (with John Wayne), and 1965's SHENANDOAH (with James Stewart).Even in the restrictive confines of TV, and even when compared to later films on the subject like GETTYSBURG and LINCOLN, THE BLUE AND THE GRAY does very little skimping over what war in general, and this singular war in particular, does to people not only on both sides of the battle lines but also to those innocents caught in the middle.
It should be watched by anyone serious in understanding our nation's history in general, and the Civil War in particular, and is essential just for anyone still interested in historically based storytelling, small screen or otherwise..
Good cast and good acting all of which adds up to a very presentable dramatic view of the Civil War. The only (pleasant) distraction for me was John Hammond who is so good looking that one wonders if anyone alive in those days could have been such a beautiful, clean cut 'All American' male.
When you see old Civil War photos, most of the males, even the young ones, seem 'scruffy' and worn out before their time..
"The Blue and The Gray" was a TV miniseries that premiered on CBS in late 1982.Allegedly inspired by the works of famed Civil War historian, Bruce Catton, "The Blue and The Gray" follows the fates of two related families, the Geysers of Virginia and the Hales of Pennsylvania, during the American Civil War. The story starts in the aftermath of John Brown's (Sterling Hayden) failed slave uprising and ends with the assassination of Abraham Lincoln (Gregory Peck.) In between, we see various members of the Geyser and Hale families experience army life, battles, death, privation, and prisoner-of-war camps.The main focus is on the third of four Geyser brothers, John (John Hammond), a budding artist who finds a career as a combat illustrator for a northern paper.
As a neutral observer, John acts as a sort of "Zelig" for the rest of the series: romancing a senator's daughter, witnessing the battles of Bull Run, Vicksburg, and the Wilderness, and hobnobbing with the political elites such as President Lincoln due to his being the cousin-in-law of one of Lincoln's military aides (Stacy Keach.)"The Blue and the Gray" was unfortunately directed by Andrew V.
Plus, the combat scenes look like something out of the 1960's WWII TV show "Combat:" lots of indirect artillery fire going-off and the "sarge" leading his "squad." The people behind this miniseries had little or no interest in trying to recreate any resemblance to actual Civil War combat.Overall, "The Blue and the Gray" has some interesting story lines and nice acting by some of the supporting actors, but it is done in by pedestrian direction, atrocious acting by its two "leads," and a failure to adhere to any sort of historical reality when it comes to its battle scenes..
The character playing the artist/correspondent referred to "the Confederacy" before the Civil War even started.But when that brother was lauded for capturing all those prisoners and received a battlefield promotion and then saluted with his left hand, that was when I had to turn it off."North and South" was much better.
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Jersey Shore
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The gang still misses Vinny, who has gone back home to his mother. Nobody really misses The Situation, who has disappeared because everybody ignored his birthday. Later, the not-so-spectacular six get a visit from Danny, who is upset that he is short workers and that those workers he does have are lazy and terrible. He says to "make room" for roommates. She doesn't want anyone coming into the house and "#@% things up," Snooki says.The Situation then returns to the house and lets it be known that he is upset that everyone "forgot" his birthday. Snooki lets it be known that nobody "forgot." The next day, Snooki, Deena and Vinny head to work. Snooki is extra motivated because she does not want new roommates. Vinny is shocked to see the extra effort -- or any effort. Snooki and Deena then get temporary tattoos before heading home. Deena calls Vinny to see if he wants to come to Pauly's surprise birthday party. Vinny doesn't commit to anything.The ladies then take off to Karma to plan Pauly's surprise party. They meet a creepy stripper wrangler who assures the women that his employees "aren't shy." Well, thank goodness for that. Back at the house, Ronnie and The Situation head to work ... and they're late, of course. So Danny puts up a "help wanted" sign. A string of young Shoreians come in to apply, infuriating JWoww. She doesn't want a new roommate either. Nor does Ronnie, who vows to make any new roomie feel terribly unwelcome and uncomfortable.Snooki and Deena, in the meantime, head to the store to buy party balloons ... and bunny suits (not Playboy bunnies, but giant Easter bunnies). Weird. Hours later, the gang heads to Karma -- and Pauly and The Situation are SHOCKED to find all their friends waiting. So it's a dual party. Pauly gets a breast-shaped cake and The Situation gets a buttocks-shaped cake. "I feel really nice right now that the girls planned this great birthday," The Situation says. Soon, the strippers show up and handcuff the birthday boys to their chairs. A pair of busty ladies then burst out of two giant cakes and start grinding. "This is the best day of my life," Pauly tells the camera.Sometime later, Pauly meets -- and quickly starts making out with -- a cute brunette. Naturally, he wants to show her his birthday suit. She agrees. The Situation, meanwhile, is making nice with his stripper. After last call, they all head back to the house. Things get weird when Ronnie begins to cry because he misses Vinny. "I don't think he's coming back," Deena opines. A few minutes later, Pauly escorts his new lady friend to a waiting cab after "birthday sex."The next morning, The Situation calls a cab and escorts the stripper outside. He doesn't remember her name. Deena then calls Ronnie's friend Joey and asks him to come to the club with her. He accepts. "I have a date!" Deena squeals. Snooki then puts on her bunny costume and leaps out of the bathroom to scare JWoww. "It's awesome!" gushes Deena. Later, Jionni arrives with fresh flowers for Snooki. Snooki immediately takes Jionni to bed. The rest of the gang heads to Bamboo, where the drinks are flowing. The roommates aren't there for more than two minutes before they notice two women rolling around on the floor. But who are the chicks in this chick fight? It's Sweetheart!Seconds later, bouncers drag Sweetheart out of the club. She tells Ronnie that someone yanked her hair from behind. "I got attacked by, like, a swarm of bitches," Sweetheart says. She is quite proud of herself for emerging relatively unscathed. But the night is effectively over so everybody heads home. Deena gets under the covers with Joey ... but her alarm clock keeps going off. Four times. Poor Deena: she can't catch a break. Or work a clock. The next morning, The Situation says goodbye to Paula, who is slowly wearing down his defenses. "I haven't found one bad thing about her yet!" he exclaims.Pauly then declares that everybody is going to Staten Island to get Vinny. "I want him to feel welcome so we're all going to make shirts with Vinny sayings on them," Pauly explains. So they head to the t-shirt store and make shirts reading: "Vinning all day" and "Free Vinny." These are Vinny sayings? Anyway, the roomies pile into the SUV and head to Vinny's abode. They barge into the house, run upstairs and find Vinny waiting. Vinny appears to be very happy to see his friends and their shirts. He then shows off his new tattoo: "Let go, let God" right across his chest. "I have no idea what it means," Ronnie tells the camera. "But it looks cool." And that's really all that matters, right?So after a week of recovering from anxiety, Vinny follows his roommates to the car. Bye, Vinny's mom, who begins to cry watching his son leave. "I'm going to get laid tonight!" Vinny exclaims as the car pulls away from his home.
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Show fighting, swearing, drunkenness, lies and manipulation as being cool and in amongst young adults in their 20s over and over again so other young people can act just like that thinking its something to capitalize on..
Out of all of the bad reality shows on the air today, this has got to be the absolute worst of the worst, there is not one single talent in this thing, makes operation repo look like a good TV show and that is lot better than this retread able piece of trash, these guidoly untalented people live in a jersey shore house for what else, sex, sex and more sex, all of them are embarrassing, the music is a mess, the editing is a waste of true absolute time and the scenes are atrocious, Ronnie Ortiz magro looks like a bodybuilder and is terrible, the rest of them are a mess too, bad scripts, silly situations, the whole thing is truly idiotic and I Really Think the state of new jersey is losing faith with it's audience, their too good of a state itself (Cake Boss & The Sopranos), not to know that this show really stunk NO STARS..
As a transplanted New Yorker who spent years in South Jersey while growing up; I am ashamed of this addition to its so-called reality programming roster for young people.This show does seem like something The Science Channel, The Discovery Channel or Animal Planet should be showing.
But MTV Networks thought it would be entertaining to show the social retardation and animalistic behavior of these humans raised in this little area by a shore in New Jersey.
Who's kiddin' who here?) An example: New Jersey young women of 30 years ago had problems trying to find out what it is about them that makes them beautiful, wanted, intelligent factors of humankind.
is all okay as long as people laugh at it and you're on TV which makes them think they're the next Spencers or Kardasians or Hiltons instead of the next clowns.Bottom line, its showing youth that you have no real value to each other or anyone else: male, female or otherwise.
How many times need we say this - just what is wrong with people that they think their lives are enriched by going on shows like this?.
Everybody knows about Paris Hilton, the Kardashians (Khloe, not Kim, is one curvaceous Armenian-American bombshell, by the way), Kendra Wilkinson, the various "Love" shows on VH1, and now MTV has put out their latest: "Jersey Shore."Seriously, what is our American culture coming to?
According to Mike Judge's 2006 film, yes we have."Jersey Shore" became a huge hit when it debuted in December 2009, and also sparked a myriad of controversies stemming from its negative portrayal of eight Italian-American young people (according to Wikipedia, only five of the eight 20-somethings are actually of genuine Italian ancestry), who have a summer share on New Jersey's Seaside Heights community and thus bringing a lot of unwelcome notoriety to the area.
These eight self-proclaimed "Guidos/Guidettes" (four Italian-American men and four Italian-American women) - alpha male Mike "The Situation," DJ Pauly D, Ronnie, Vinny (my personal "favorite," meaning he's the least annoying and he is essentially a nice, good guy who for the most part stays out of the worst trouble), Sammi "Sweetheart" (the only one of the cast members who is actually from New Jersey), Jenni "JWoww," Angelina "Jolie," and fan-favorite Nicole "Snooki" Polizzi - spend their summer on Jersey Shore partying, hooking up, tanning, drinking, fixing their hair (guys and girls both), clubbing, fighting, and engaging in every other form of debauchery known to man while also finding some time taking turns working in a boardwalk t-shirt store."Jersey Shore" is pretty atypical when it comes to reality television.
But like most guilty pleasure television, "Jersey Shore" keeps you watching no matter how much it goes against your better judgment, and however many brain cells you might kill by tuning in to watch new episodes every week.
None of the characters are particularly likable or sympathetic (except for my "favorite," of course, Vinny), but they are engaging and have over-sized egos and personalities that have launched them into pop culture stardom, whether they are deserving of it or not.In other words, they're here to stay, whether we like it or not...MTV really outdid themselves with "Jersey Shore"; not only was the show a ratings success (as of now, a third season is already in the works), but it has become a bona-fide pop culture phenomenon complete with t-shirts, endorsements, and its own "Jersey Shore"-esquire lingo ("yo, that ugly chick in the jacuzzi's a 'grenade'").
And poor little "Snooki" was recently charged with annoying people on the beach while heavily intoxicated; and she also got her lights punched out by some guy at a bar during the first season (poor "Snooki" - she's got a big mouth, all right, but no one deserves to get hit like she did by a big drunken coward like she did, no matter how annoying she was being)."Jersey Shore" is trash entertainment, purely.
I'm addicted to this show now, I think, after having purchased the first season on DVD after scattered viewings on TV got my mouth watery for 20-something New Jersey-style antics and debauchery.
I say actors because SURELY there can't be people out there like this?If you can read, use a computer, do a maths sum, speak English properly and have some feint semblance of class then this REALLY isn't for you!If not, enjoy the glorified excuses for human life on this show..
Jersey Shore also feels fake and self-absorbed, both in how its written and delivered, the show shows drunkenness, verbal abuse, swearing to a sickening, degrading degree and the people presented are little more than stereotypes that I took an instant dislike to.All in all, Jersey Shore is an embarrassment.
Watch as desperate 20-somethings with names like Snooki, JWOWWW, and The Situation slave in a t-shirt shop by day and infect the Garden State's club scene by night.
Out of all of the reality shows that has been on during the past decade I can say upfront that MTV's "Jersey Shore" has to be one of the worst if not the worst of the decade.
"Jersey Shore" is pure unadulterated trash.From a previous comment,it is a sad representation of our youth and he is right,but what moron executive at MTV came up with the idea or the thought of it would be entertaining to show to social retardation of a bunch of twentysomethings each week make fools of themselves and others in public?
On the show they are being depicted as people who always go tanning, partying, always acting like idiots(also known as "Guidos/Guidettes").
I know at least one person who looks like a Guido and every time I see them, I always make faces like I was disgusted at them.It's because I really hate this show.Of course, it's MTV and there is not much to be surprised about when watching that channel.
Okay So after watching few episodes, I realized that this show is a complete failure, at least for a person who has at least some moral and healthy consciousness it's pretty obvious...I am really shocked how they air such kind of shows, I mean what do they expect by that to show the young people that life is all about partying, getting wasted and having sex...
even animals know how to be better than these jerks out there...This movie just makes me sick, it shares stereotypes about American Italians, And gee I mean look at snooki for example she is obviously labeling people for their appearance what a low perspective evaluation, I mean c'mon...
I get that sentiment exactly, but after watching a few episodes of Jersey Shore, I started to see beyond the fake tans, the fights and the horrible language (and bad grammar).
For some reason I was drawn in almost immediately and now it's like an addiction, I can't stop watching.Some people will criticize it for being "reality trash" but what reality show isn't?
It's about a group of young adults who rent a house at Seaside Heights, a prime shore resort town, in New Jersey.
It has a group of young people who are truly like the spawn of the New Jersey housewives.
Jersy shore is nothing but to teach young dumb kids that getting high and drunk, acting like a slut and sleeping around with everyone is OK.
For some reason people tend to think that America's youth will see them as some sort of idol and want to be like them...doubtful!
Well for starters i am writing this review because i was forced to do so by the depth and hight and magnitude of the sheer stupidity that unfolds in all 3 episodes i managed to watch.Thats because eventually i started having some stomach disorder...Not to worry though!A doctor told that it could be even worst.He had some patients that were transmitted with STDs just by watching.Imagine that for interactive TV!Back again to the review...and since there is no story except drinking ,chemically altering ones appearance and the mating habits of lizards(:P) i am gonna cut right to the chase!Usually a reality (sic) of this kind had to do with some young and attractive individuals.This is not the case.Oh my GOD!
Cameras following a group of locals around New Jersey as they try and struggle through not getting too drunk or having so much sex that their crotches hurt in the morning.Thought...I always want to know how this show keeps you tuned in.
They make Italians look like the f*cking morons.It's usually just sex, alcohol, and partying for these idiots, but I sometimes just want to know what will happen next.Don't watch this unless you REEEEEEEEALLLLLY are bored..
I used to be like many of the people reviewing, i thought it was complete dog-sh!t without even watching it.
Therefor i gave it a try and i actually enjoyed watching it, yes it maybe a reality TV show and not a fair representation of New Jersey (not that I've been) but what makes the show great is the banter between the house mates, Pauly d is just a funny guy plan and simple, mike and Vinny are just total legends.
jersey shore's not that bad i think anybody over the age of 11 should be allowed to watch it sure they cuss and crap but it's better than south park you guys have got everything wrong you make me sick you need to stop criticizing jersey shore its a good show okay for kids 11 and up so eat crap its awesome i love and so do a lot of kids despite the bad language everybody has their giulty pleasures they should stop cussing a little bit i agree but other than that it is fine but they don't show sex would you rather watch south park what in the world is so bad about it i do not know why it is so bad about it other than the cussing nothing that's what yo guys better shut your mouth im sck of you people writing crap on here about it jersey shore is not bad and the people of jersey shore and mtv are sick of it.
But in this case I think it is important for us to say what we think, so that the all mighty MTV will consider next time they put a show like that out in the open.So let me start by saying, that this show is absolutely outrageous, I guess I can understand how some people would be naturally attracted to watch this garbage, but I would want to believe that those people are a minority, and if they really want to watch it, they should have a special channel for that, I would even suggest that they have a specific psychological evaluation before they allowed to watch that channel, but that is only my 2 cents.
For example, Beavis and Butt-Head is a (surprisingly good) show about two idiotic teenagers who watch MTV all day and do basically nothing useful with their lives.
I think people who are giving this a bad rating are those who had not tried partying like crazy and live the life.
So let me give you a short bio of the show, guidos come to New Jersey, trash the place, then get their own TV show, and then New Jersey gets joked about because of it, only because people don't bother to do the research to know that most of the cast isn't even from New Jersey!
So let me give you a short bio of the show, guidos come to New Jersey, trash the place, then get their own TV show, and then New Jersey gets joked about because of it, only because people don't bother to do the research to know that most of the cast isn't even from New Jersey!
I won't stand for this, the people who ruin my home town, and those surrounding, who pass out drunk in the streets, urinate in public, start fights, break stuff, They get their own show, on a famous network live MTV, and kids will watch this and think "hey that looks like fun, i should go to the jersey shore and do that!" In the end, the show is nothing more than a glorified documentary about the guidos who destroy my home state, who i have to deal with first hand.
I won't stand for this, the people who ruin my home town, and those surrounding, who pass out drunk in the streets, urinate in public, start fights, break stuff, They get their own show, on a famous network live MTV, and kids will watch this and think "hey that looks like fun, i should go to the jersey shore and do that!" In the end, the show is nothing more than a glorified documentary about the guidos who destroy my home state, who i have to deal with first hand.
Adults will find it entertaining and laugh at it when it's really quite sad, and to us, the citizens of New Jersey, the people who actually live there, will be forever enraging.
Adults will find it entertaining and laugh at it when it's really quite sad, and to us, the citizens of New Jersey, the people who actually live there, will be forever enraging.
When I first heard of this show way back in 2009, I remember watching the hilarious trailers that showed these 8 people in their 20s and 30s working out, tanning, hanging out on the beach, partying in clubs, etc., and I just thought to myself "well, this is a horrible stereotype of Italian-Americans, portraying them as being something they may not all actually be." So initially, I really had no intention to bother with this show, because it looked really absurd and a waste of time.
I figured, if all of these holier than thou people are already freaking out about something they haven't even really watched yet, it can't be that bad for someone like me, who's in the same age group as these cast members, and needs something entertaining to watch.
Not only was I able to immediately relate to these people wanting to be young and have fun, but their lifestyles looked so exciting that I actually used a lot of what I saw them do as motivation for myself to enjoy my life more, and be really outgoing.
After watching Pauly D, The Situation and Vinny picking up girls in the clubs, dancing and talking with them, I wanted to follow in their footsteps, and for those 3-5 years, I went out to clubs and partied like crazy, and it was really fun, because it taught me to let loose and enjoy my youth, while I still can.
Well, it's been almost 10 years since the show debuted, and I'm still watching these old episodes today, and while I may not be the same kind of partying type that I wanted to be back then, a lot of what they do is still relatable to me today, and is always going to be extremely comedic and hilarious.It should also be noted that, while these people come off as extremely uneducated, self-absorbed, egotistical and arrogant (some of them can be), they are very close with their Italian families, and they take family very seriously.
Yes, it's true that they're not from New Jersey, and they may have kind of given the Jersey Shore area a bad name, but at the same time, they are having fun and living life, like anyone else in their age group.There are a couple reasons I wouldn't give Jersey Shore a 10/10, though...
Jersey Shore, a recent addition to MTV's fine family of reality shows, resembles the network's pioneering series "The Real World," which is now almost twenty years old—a human chemistry experiment with explosions guaranteed.
Promos showing a group of young men and women of Italian heritage making entertainingly ridiculous statements about themselves and whooping it up on the boardwalk at night—dancing, throwing punches, that kind of thing—advertised "Jersey Shore" as set in a "house like you've never seen, full of the hottest, tannest, craziest Guidos," and Italian-American groups, and eventually New Jersey tourism officials, protested and some of them called for MTV to cancel the series.
The fact that Jersey Shore has got that much bad reputation might be due to old fashioned people.
This life they live in this beach house would be most teenagers dream vacation, and by showing this on MTV teens and others can't watch this experience, and how people behave.
I've watched all 6 seasons of this show, and I think people are judging it way too fast.
And if you think Jersey Shore is bad, then watch Geordie Shore and get back here and redo your review.
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tt0078767
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The Amityville Horror
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In 1974, Ronald DeFeo, Jr. murdered his family at their house at 112 Ocean Avenue in Amityville, New York. He claimed that he was persuaded to kill them by voices he heard in the house.
One year later, married couple George and Kathy Lutz move into the house along with Kathy's three children from a previous marriage, Billy, Michael, and Chelsea. The family soon begins experiencing paranormal events in the house. Chelsea claims that she has befriended a girl named Jodie, a name belonging to one of the murdered DeFeo children.
One night the couple decide to go out, and they hire a babysitter to watch the three kids. When the babysitter, Lisa, arrives, they come to find out that she had previously been hired to babysit for the DeFeos. Lisa tells them about the murders that took place in their house. When she goes to Chelsea's room, Chelsea tells her that she is a bad babysitter, claiming that Jodie told her so. Lisa begins to scold Jodie for being the reason behind her getting fired. Then Billy dares Lisa to go inside the closet (the same closet where Jodie was murdered), and she gets locked inside. After a few seconds she encounters Jodie herself, and begs to be let out. She goes into shock and the paramedics arrive to take her away; on the way to the hospital, Lisa tells Kathy that she had seen Jodie.
George's behavior towards Kathy and her children becomes abusive and the paranormal activity continues. Kathy asks priest Father Callaway (Philip Baker Hall) to bless the house, as a protective measure to prevent any future paranormal incidents, but Father Callaway flees the house when he encounters such occurrences himself. Kathy discovers that the house once belonged to a cult preacher named Reverend Jeremiah Ketcham, whose evil actions towards Native Americans during his "mission" in 17th century Amityville are said to be the cause of the haunting at 112 Ocean Avenue. Meanwhile, George, as he is walking through the basement of the house, encounters the apparitions of the various Indians who were tortured and killed there by Ketcham centuries ago. Entering a dimly-lit room, George encounters Ketcham himself (though he is not aware of who he is), and the ghostly figure of the evil missionary turns around, picks up a knife, and slits his throat in an act of recreating his suicide, covering George with blood, and causing him to become nearly completely possessed.
Kathy becomes convinced that George's abusive behavior is owed to a spiritual possession. Following urgent advice from Father Callaway, Kathy tries to evacuate her children from the house and escort them to safety, but the possessed George attempts to kill her and the children; Kathy knocks him out to prevent him from doing so and transports him away from the residence. Subsequently, George is released from the spirit's control and the family permanently leaves the house. A title card states that the family left within 28 days of arriving and never returned. Jodie is shown standing in the now empty house and screaming in terror while the house rearranges itself. Subsequently, she is pulled beneath the floor by a pair of disembodied hands.
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gothic, murder, cult, haunting, flashback, romantic
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train
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wikipedia
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George (James Brolin) and Kathleen Lutz (Margot Kidder) buy a "dream house" in Amityville, New York for a "dream price".
I'm a fan of camp and "so bad it's good"; Amityville's performances often attain both.The commentary on the new DVD is amusing given the 1970s publicity that the book and film depicted a true haunting and the subsequent, thorough debunking by persons such as Stephen Kaplan.
He not only still talks about the story as true, he invents supernatural excuses for the DeFeo murders and then some, barely mentioning detractors such as Kaplan.If you haven't seen the film yet, you should base your viewing decision on whether you have a taste for deliberately paced horror as well as a tolerance for extremely over-the-top performances.
I was but a timid lad of 14 when taken to a drive-in theater to see this incredibly effective horror film.There is no better monster to create a film around than the Devil himself.When Rod Steiger's character,Father Delaney is in the process of blessing the house,and was greeted by a resounding shout of "Get Out!",I almost took it literally,it was that effective.The Devil is indeed one unwelcome houseguest that is very hard to kick out,as you will see when you watch this film.James Brolin and Margo Kidder head a young family who are the new inhabitants of a home where brutal murders had taken place years before.Soon,strange happenings begin to haunt the family,as the house has trouble letting go of what had happened there.This movie is definitely in my top 10 horror films that I have seen,and if you enjoy being scared out of your wits,this film will do it for you.Give it a look!.
Although a great horror classic Amityville's finale is somewhat anti climactic and after a long and impressively scary build-up it fails to deliver the end goods.
Semi-classic thriller of the 70's, requires some patience from the audience but ultimately becomes a nicely moody film about America's most infamous haunted house.Couple moves their family into a Long Island house, where the previous owners where murdered, and begins to believe that there are evil forces at work in the new home.Based upon Jay Anson's novel, which itself is supposedly a true story, The Amityville Horror is a film that largely relies upon it's eerie, unsettling atmosphere to induce chills and it often works well.
Now, here's my opinion: fiction or non-fiction, Stuart Rosenberg managed to make a fun, campy, and all around creepy horror film that resonates as one of the most famous haunted house movies ever created.Everyone knows the legend about that house in Amityville, New York, the Dutch Colonial on 112 Ocean Avenue.
If you can appreciate a good build-up without much special effects(until the dynamite ending), then you will probably like the movie.James Brolin and Margot Kidder are a joy to watch as George and Kathy Lutz.
In fact, he makes the role larger, and we're not just scared for the Lutz family, but for him also.Obviously, some events in "The Amityville Horror" are slightly exaggerated when you compare them with the book's events or the perspectives of others who have experienced the haunting.
The story starts with a grisly mass murder ; years later , a family moves to Long Island where is purchased a Victorian home , their house of dreams but they find only devilish horror and full of nightmares .
And soon the poltergeists make their nasty appearance originating a lot of unusual rattles and creaks before deciding to utilize its powers to possess the father and attack the family .The film contains restless terror and great loads of gore and blood and usual poltergeists phenomenon caused by the curse and the usual ghastly shenanigans result to be the cracking pipelines , wall ooze icky stuff, flies swarm manifest as attackers, and doors suddenly slam , among others .
However , recently is made a good new adaptation by Andrew Douglas with Ryan Reynolds (James Brolin role ) , Melissa George ( Margot Kidder character) and Philip Baker Hall (Rod Steiger), though this is a new take on from previous film, it's one of the highest earning horror movie of the last years and like the¨ Amityville ¨ original became a box office biggie .
Elsewhere, other scenes here that come of nicely are all in the finale, from the howling voices and demented workload trying to get out of the basement as the growing pit and spackled wall coming down are off-set with the realization of the creepy back-story and the action to get away which is pretty much all that works here, along with the overall look and appearance of the house for the film's positives.
Nothing in their so-called "haunted house' seems to match the documented accounts of true haunted houses.The movie proves it,the story is fiction.On the other hand,this neat little movie does set up a convincing psychological basis as James Brolin is slowly and methodically being driven mad by:a new marriage, obnoxious kids, a failing business, lack of money and then, just to push him over, a strange house and weird events.Great movie,great score [that nah-nah,nah-nah score would creep me out alone] and great build-up to a fevered ending.
However, after a while it becomes obvious that it's actually better seen as a character study as opposed to horror: George's menacing change of nature can be seen as a reaction to the stressful life situation he's going through: raising a family, running a business, moving into a new house and getting the bills paid.
Eleven months later, The George and Kathy Lutz moved into the house (which they bought as a suspiciously low low price) and 21 weeks later fled in terror leaving their belongings behind claiming that an unseen evil force drove them from their home For years, the Lutz family stuck to their story and it was only a few years ago that they went public again to say "Ya know, we gotta be honest here .
It is pretty faithful to the book except that, ya know, reading scenes in which characters walk around the house and scenes of chopping wood and scenes of sitting in front of the fireplace and scenes of aerobic exercise do not really translate well when you're making a HORROR MOVIE!!
It's a sad state of affairs when the scariest thing in a haunted house movie is hard rain.George and Kathy are played by James Brolin (the only straight man in the world who can freely admit a love for Barbara Streisand without getting quizzical stares) and Margot Kidder (trying to star in at least one movie that doesn't contain the word "Kryptonite").
And, then, of course, there was the year 2005 when the dreaded remake of TAH inevitably happened, which, naturally, wasn't a hell of a lot better than the original.(Why-Oh-Why do they continually persist with junk such as this?) For anyone who isn't hip - This film's story is based on the alleged "real-life" experiences of the Lutz family who (under full knowledge) bought the home on 112 Ocean Avenue, Long Island, where a mass murder had been committed a year earlier, in 1974.Shortly after the Lutz family moved into this place, they were reportedly subjected to a series of frightening paranormal occurrences, which eventually caused them to flee for their lives from the house only 28 days after checking in.As one can well-imagine - The validity of these so-called paranormal occurrences have been subject to much controversy, and several vicious lawsuits concerning truthfulness, as well.Actor James Brolin, who played the movie-role of George Lutz (the father of the family), had actually met the real Mr. Lutz while the filming of TAH was still in progress.
Based on the semi-true story of the Lutz family, "The Amityville Horror" tells the tale of a newlywed couple who move their nuclear family into a spacious and gorgeous house they purchased on the cheap.
What follows is either a shared hallucination by the Lutz family, a clever scam, or an unexplainable phenomenon.While "The Amityville Horror" isn't quite on par with other classics of its era such as "The Omen" or "The Exorcist," it's still good for a few quality late-night scares.
They seek the help of the church and their family priest, Father Delaney (Robert Steiger), but this only creates more problems as the horror grows into a creepy and exciting horror flick.Now the overhanging question on the mind of anyone who watches this film will surely be...
The Amityville Horror is a supernatural film with ties to real life events based on the murderer Ronald DeFeo, who confessed to killing his entire family(6 members in all)while they slept with a high-powered rifle.
So the stage was set for a haunted house movie that was hailed as being "Based on True Events." As a movie, The Amityville Horror is one of the better and well known haunted house films of all time.
While it is your typical haunted house movie, its ties with the real-life murders by Ronald DeFeo and the claims by the Lutz family is intriguing enough to keep your interest throughout.
I found the Amityville Horror to be a great movie although the film does look dated theses days.
Based on the engrossing best-selling novel by Jay Anson, this haunted house tale is set in the Long Island area of Amityville, 112 Ocean Avenue to be precise, where George & Kathy Lutz(played by James Brolin & Margot Kidder) come to reside with their children.
The Lutz family will flee from the house in terror 28 days after moving in...A prime example of a book being better than the film, as this picture is just too hokey and over-the-top to succeed, though it does have a good score and remains watchable in a crazy sort of way!
You decide...The Amityville Horror, based on Jay Anson's best-selling account of the Lutz's ordeal, was one of the biggest horror hits of the 70s and has since spawned loads of sequels and a remake; it's an effectively creepy, well acted, and competently directed effort that succeeds in delivering a few scares and quite a bit of atmosphere, but it is also a rather frustrating affair, one that builds the tension to breaking point only to round things off with an anti-climactic ending that sees the Lutz family simply clearing out of the house, presumably in a hurry to get to the publishers and sign a deal for a sensational bestseller based on their experiences.6.5 out of 10, rounded up to 7 purely for the scene where Margot Kidder does stretches..
This film is shot in that grainy, dark 1970's color we are all too familiar with, almost ruining any attempt to create a creepy atmosphere (saved only by the incredible, eerie score by Lalo Schifrin) and the late, great Rod Steiger takes it a bit far as the priest although the other actors do a reasonable job.
The movie isn't really that much based on the DeFeo killings but on the George Lutz, James Brolin, family who moved into the Defeo home a year later.
George and his wife Kathy, Margot Kidder, and their three children lived in the Amityville "Horror" house for just three weeks and then left, taking their pet dog Larry with them, leaving everything behind but the clothes on their back and the van that they drove out of there with and, in the movie at least, were never seen or heard from again.
The fact that the movie is said to be based on a "True Story" makes you begin to wonder if these scenes, and many others in the film, really happened.
Still up until the DeFeo murders, some 300 years later, nothing worthwhile or newsworthy seemed to have happened there?Besides what the Lutz's went through in the movie regarding the "Amityville Horror" poor Father Delaney, Rod Steiger, went through a lot more and he didn't even live there.
Even though it is filmed in such a straight forward, documentary-esque style (with little artistic appeal beyond those glowing windows and the repetitive shot of the house with some flowers), there were so many different story lines that were not pursued that one is left to ponder a great deal of the film, that apparently happened for no reason, after its over (whether you wanted to or not).I can understand how some of the effects may have frightened viewers at the time, but what surprises me is how this could even be seen as shocking when it is released 6 years after The Exorcist (and two years after The Exorcist II, which...yeah we'll focus on the first one).
Now with their and their souls in danger, the Lutzes must leave their supposed dream house or stay victim to it's terrifying power This film starred James Brolin, Margot Kidder & Rod Steiger.In my opinion this was a very good film it makes you think if there were supernatural occurrences happening at 112 ocean avenue i have read the book and seen all of The Amityville films some of them are a bit stupid but I like them overall.****/***** very good.
George and Kathy Lutz (James Brolin, Margot Kidder) move their family into a creepy-looking Long Island house.
This is a film for people who cant be bothered reading any other the books, it sums up pretty much what happened and with the help of special effects and music, its the perfect horror movie that'll make you jump..
My Take: A slow-moving haunted house film that ain't the classic other say it is, but has its moments.It wasn't long before people realize that it was The Amityville Hoax, not The Amityville Horror, that has 'terrorized' audiences and readers of the story of the Lutzes flee from their seemingly harmless and perfect home at the coast of Long Island.
There's the story, but we got a little lost on the telling.Considered a classic, THE AMITYVILLE HORROR has severely dated, maybe because it wasn't exactly high-quality film-making when it was made back during the 70's.
for a few really good scares,this movie works pretty good.it's not fast paced,but it slowly builds tension,while throwing in some real scary sequences.the acting by James Brolin and Margot Kidder is really credible here.They play George and Kathy Luts,who with their children,move into their nightmare,i mean--dream house.the movie is supposedly based on a true story,though depending on who you believe,the whole thing was fabricated and has been debunked as a hoax.either way,it makes for riveting,disturbing entertainment.i know i got chills down my spine more than a few times.Rod Steiger is also in the movie and is very strong as a concerned and then involved priest.the children are also portrayed very well.there are no cheap scare here.the movie earns every shiver and gasp.for me,The Amityville Horror is an 8/10.
Adapted from a book that is claimed to be based on true events, AMITYVILLE HORROR is the movie that tells us the story of Lutz family, which supposedly experienced paranormal phenomena in an old house on Amityville.As far as I learned, the film just follows what was described by the Lutz family, as it was a report of the events.
Mentioning some of the reasons to this appreciation I can refer the acting, which could have been a little better in my point of view, or even the lack of great suspense scenes!I will score this film with some extra score because of its accuracy to the supposed "true events", because as a movie itself I found it nothing special.
Now, however, I find it pretty good, but I'm not liking it quite as much compared to some of the more modern haunted-house flicks, and I'm an old-fashioned person, so that's saying something.The acting isn't perfect, and it does take some time to actually move along, and on top of that, it isn't very exciting when you get right down into it unless you've never seen a haunted-house film or at least very few.I suppose what's really nice about it is the idea of how the Amityville horror became what it is, or is believed by many to be.
Soon after they move in there are many strange occurrences and George (James Brolin) starts to lose it.The Amityville Horror, although not spectacular film-making, is a fairly good horror movie.
There are a few genuinely creepy scenes but the movie does lack a few things to make it a truly great 70's horror film.3/5..
James Brolin, Margot Kidder and Rod Steiger star in director Stuart Rosenberg's 1979 thriller "The Amityville Horror", based on the alleged true story of the famed Amityville haunted house and the events that surrounded it.
It's a good haunted house film, sure
but it didn't seem all that special to me.It follows George and Kathy Lutz, a young couple raising Kathy's young children from a previous relationship, as they move into a large, cozy home in Amityville, Long Island in New York.
Within 21 days, paranormal, possibly supernatural events took place in & around the 'home' which made the family flee from the house in horror to another state.This film is based on the book by Jay Anson which is based on the supposingly true events above.
But there is something quite out of the ordinary about the old Amityville home, something evil that lurks within the walls of the house.The Amityville Horror is a classic "haunted house" movie that has stood the test of time and is still rated as one of the best "ghost stories" ever filmed.
Regardless of whether the story is true or not, the premise of living in an evil haunted house after 6 murders took place could have made a great movie.
The Amityville Horror is a decent horror film.It has some effective scares and a great score by Lalo Schifrin.The performances were good,especially James Brolin and Margot Kidder as George and Kathy Lutz,Rod Steiger as Father Delaney,Don Stroud as his younger priest friend Father Bolen and Val Avery as Sgt. Gionfriddo.A decent way to spend 2 hours..
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tt0069186
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Rivelazioni di un maniaco sessuale al capo della squadra mobile
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In a prosperous small provincial town in Southern Italy, a naked woman is discovered murdered and mutilated. By her body are a number of photographs of her having sex with her lover, his face having been cut out. At the morgue, the chief pathologist suggests to the detective in charge of the case, Inspector Capuano, that the victim was killed almost instantly by a from an open blade razor to the neck, the subsequent blows being the result of a homicidal fury. A fellow police officer is of the opinion that, due to the circumstances surrounding the murder, especially the presence of the photographs, they are dealing with a maniac. Capuano considers having the pictures of the lover blown up so that all his physical details can be logged, but rejects the idea as impractical, not least because the victims husband is a general with very powerful political connections, meaning that any investigation must be handled very delicately. It is decided in the meantime to arrest members of the local criminal fraternity and determine any links, no matter how tenuous, with the case. Despite intensive questioning of suspects, no new information is yielded and so Capuano returns home to his wife. She is worried about the effect his latest investigation is having on him, while he complains about the wall of silence surrounding the case, meaning that he cannot perform his duties properly. He also believes that the killer is very likely to strike again. Out in the countryside, a woman cavorting with her lover is covertly photographed by a figure whose features are obscured by gloves, a hat and heavy overcoat. Later, at a secret hideaway, the couple finish having sex. The lover bemoans having to leave, but is reminded that the woman must also leave so that she can host a bridge game organised by her husband. Shortly after he leaves, and she begins to dress, the villa is plunged into darkness and an attack is launched by the figure seen photographing the couple earlier. The woman manages to escape her assailant and makes it onto a nearby beach, before succumbing and being hacked to death by a razor. The killer scatters photographs over her body. The next morning her boyfriend is reassured by his lawyer that he has nothing to fear from the resulting police investigation, since his face had been removed from the photos. He is advised that because of the victims powerful husband, the police will not pursue the case too forcefully and that he should continue with his life as normal. Detective Capulano and the pathologist discuss the connection between the two murders and mull over possible motives for the crimes, including jealousy and psychosis brought about by impotence or homosexual rage. The detective hears strange laughter coming from the morgue and is taken inside by the pathologist. There they encounter, Gastoni, the morgue assistant who takes a strong pride in his work as an embalmer and whose laughter is the result of perfectly restoring a corpses former beauty. As they leave, the assistant is heard muttering something about forgiveness for sins. The next day, the police mount a surveillance operation on the latest victims funeral, filming those present. Nothing untoward is found. The following day, in a beauty salon, some of the well-to-do women of the town discuss recent events, and are concerned as to who could be the next victim. At a meeting with the Police Commissioner, Capuano admits that he has hit a dead end with the investigation, since the only suspects that he has are considered untouchable because of their social standing and political connections. He decides to continue the case nevertheless, convinced that the killer will strike again and possibly make a mistake. He is warned to tread carefully by his superior. Meanwhile, in a wooded area, two lovers are photographed as they make love in a car
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murder, cult, horror, flashback, insanity, suspenseful
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train
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imdb
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tt0175880
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Magnolia
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In the opening prologue, a narrator goes over three events of incredible coincidence:1) Sir Edmund William Godfrey, a resident of Greenberry Hill, London, was killed by three vagrants looking to rob his pharmacy. The surnames of these men were Green, Berry, and Hill.2) Reno blackjack dealer Delmer Darion went scuba diving in a lake and was accidentally picked up by a firefighting plane in order to put out a nearby forest fire. Darion died of a heart attack inside the plane. The plane's pilot, Craig Hansen, had gotten into a fight with Darion two days prior at a casino. The guilt and measure of coincidence eventually prompted him to commit suicide.3) 17-year-old Sydney Barringer attempted suicide by jumping off the roof of his Los Angeles apartment building. Meanwhile, his parents, Faye and Arthur, were arguing inside their apartment. Faye threatened Arthur with a shotgun and accidentally fired at the window just as Sydney passed, killing him. There was a safety net that would have saved Sydney's life had he not been shot. His parents hadn't known the gun was loaded; Sydney had loaded it himself a few days earlier, hoping one would kill the other. Faye was arrested for murder, and Sydney himself noted as an accomplice in his own death.San Fernando Valley, present day:Claudia Wilson Gator, a depressed and seemingly bipolar cocaine addict, meets a man at a bar. They have sex at her apartment. The next morning Claudia's father, game show host Jimmy Gator, pays a visit. He tells Claudia that he has bone cancer and that he's going to die soon. Claudia doesn't seem to care, and furiously yells him out of the house. The man from the bar leaves as well.That same morning, Nurse Phil Parma arrives at a large house to look after Earl Partridge, an elderly television mogul who's dying of brain and lung cancer. Linda Partridge, Earl's much younger trophy wife, leaves to see Earl's doctor, who writes a prescription for a potent morphine painkiller that can diminish Earl's suffering. Meanwhile, Earl tells Phil that he has a son: sex guru Frank 'T.J.' Mackey (born Jack Partridge). Earl wants to see Frank before he dies, and Phil attempts to contact him.Frank is currently leading an enthusiastic seminar for his program "Seduce and Destroy," which can enable men to use women for sex. A reporter named Gwenovier arrives at the studio to interview Frank later.Quiz Kid Donnie Smith, who as a child won a large amount of money on Jimmy Gator's show "What Do Kids Know?" (of which Earl Partridge happens to be a producer), now works at an electronics store. However, his bosses fire him since his sales are down. He pleads with them as he needs to pay for dental braces (which he doesn't need; his teeth are straight), but they force Donnie to hand over his keys to the store.Jim Kurring, a religious police officer who is divorced and looking for a relationship, answers a noise complaint and finds a dead body inside a woman's closet. Though he was first on the scene, he is later ignored as his superior questions his fellow officers. Outside he meets a young boy named Dixon, who recites a rap referencing "the Worm" and God bringing rain in. Jim dismisses this as nonsense and drives off.Stanley Spector, a child genius and current long-running contestant on "What Do Kids Know?", is picked up from school by his avaricious actor father Rick and driven to the game show studio to win some more money. Stanley seems reluctant.Afternoon (it starts raining):"What Do Kids Know?" pits a panel of three children against one of three adults through a series of trivia questions. Stanley and his two co-contestants are minor celebrities thanks to their tenure on the show (in actuality, Stanley's co-contestants barely do anything; Stanley himself is the main reason this panel has lasted so long). Jimmy downs several shots of alcohol before the live taping. The show starts at 3:30 PM, and as usual, Stanley expertly answers Jimmy's questions, putting the kids ahead of the adults. During a commercial break, Stanley asks to go to the bathroom, but he is denied this request.Officer Jim answers a noise complaint at Claudia's apartment, where she is playing her music too loudly. After hiding her cocaine, she opens the door, and Jim is immediately smitten with her. He takes a look around and decides not to write her up, but not wanting to leave yet, he makes casual conversation with her.Donnie enters a bar (the same one where Claudia was the previous night), where it is revealed why he wants braces: he is desperate to connect with his crush, Brad the bartender, who wears braces. Donnie drinks heavily after Brad seemingly flirts with another patron named Thurston Howell. He later starts up a conversation with Howell, lamenting on love, as well as the fact that his parents abandoned him after taking all of his game show money.Linda goes to a pharmacy to pick up some medication, including Earl's morphine. The pharmacist tries making idle conversation with her, but she eventually finds his questions too personal and launches into a furious tirade before leaving with the medication.Phil orders some pornographic magazines to find the number of "Seduce and Destroy." He calls and tries to make his way through to Frank. Later one of Earl's dogs eats some medication pills that Phil accidentally spilled.The seminar takes a break as Gwenovier interviews Frank. The interview turns hostile when she questions him about his father Earl, whom he earlier lied was dead. After going over how Earl abandoned his first wife Lily when she became ill and of how a young Frank had to take care of her as she lay on her deathbed, Gwenovier asks Frank why he lied.Late afternoon to nightfall:Linda tells her lawyer that she wants to change Earl's will; she reveals that she has cheated on Earl many times and only started to love him when he was diagnosed with cancer. The lawyer says she can't change the will, but she can renounce it. Linda can't do that, as the money would then go to Frank (Earl has lied to her about his relationship with Frank, blaming his son for the distance between them). Frustrated, she returns home. She attempts suicide in the garage via carbon monoxide, but stops herself to bring the morphine inside.A drunken Donnie confesses his feelings to Brad, and vomits in the bathroom. He later returns home and gathers some secretly-made spare keys to his former employers' store, planning to rob the money for the braces.Realizing that the people around him are using him for money or publicity, Stanley stops answering questions, which lets the adult panel get ahead. He wets his pants during a round, while Jimmy collapses from his deteriorating condition. Jimmy recovers, but Stanley refuses to get up for the final round and instead goes into a rant about how people look at him just because of his age and intelligence. The show is forced to end without a clear winner (though it is implied that the adults win thanks to their accumulated score). Rick is furious. Stanley flees the studio and breaks into his school library, hiding there and perusing books about child geniuses for the rest of the night. Jimmy returns home to his wife Rose.Officer Jim leaves the apartment, but not before arranging a date with Claudia later that night. After he leaves, Claudia puts the cocaine back on her table and turns on the TV to watch "What Do Kids Know?", just in time to catch Stanley's rant. As the show ends, Claudia cries for an unclear reason.While driving, Jim spots a suspicious man (known by his criminal nickname "the Worm") and takes chase. The Worm shoots at Jim, while Dixon runs in and steals Jim's gun. Both Dixon and the Worm flee, and Jim becomes a laughingstock among his fellow officers for having lost his gun. He returns home to get ready for his date.As Phil gets in touch with Frank's assistant, a cold and indignant Frank stays mostly silent throughout the rest of the interview. Afterwards, Frank deliberates over whether to take Phil's call. Linda enters the house and, upon learning who Phil is calling, violently forces him to hang up. Frank decides not to speak with Phil and hangs up as well. The seminar continues, but Frank's now-troubled mindset causes him to make an error and lose his temper. After the seminar he changes his mind and drives to Earl's house, though he hesitates to go inside.After a tearful apology to Phil, Linda leaves to commit suicide. She parks at another location and takes some medication with alcohol, while Earl laments to Phil about the regret that has tortured him over his son and first wife (Earl was extremely unfaithful to Lily, mirroring Linda). Phil then gives Earl the morphine.What follows is a bizarre, somber sequence where the nine main characters sing along to Aimee Mann's "Wise Up."Night (it stops raining):Claudia and Jim go to a restaurant. The date goes bad when, following a kiss, Claudia's neurotic self-hatred causes her to break down and leave without Jim. She takes a taxi home.Jimmy admits to Rose that he has cheated on her in the past. They later talk about Claudia, and he implies (but never openly admits) that the reason she hates him is that he molested her. Disgusted and outraged, Rose leaves the house, yelling that Jimmy deserves to die alone. Jimmy then takes out a gun and prepares to end his life.Linda's dying body is found by Dixon, who steals her money and calls 911. An ambulance takes her and heads for the hospital, while nearby Dixon counts his cash and recites his rap again.Frank enters the house and speaks to Earl (who is unresponsive because of the morphine) as Phil watches solemnly. Though silently hostile at first, Frank soon breaks down in tears and begs Earl not to go away.Donnie successfully robs the store and leaves, though one of his keys breaks off in the door. The weight of his act later hits him, and he decides to return the money. Since his key is broken, he tries to access another entrance by climbing an adjacent telephone pole.Jim drives by and sees Donnie climbing the phone pole. He turns around to arrest Donnie, but stops when it begins to rain frogs. One frog hits Donnie, who falls off the pole and injures his teeth on the pavement.The frogs start falling as Claudia snorts coke in her apartment. After crashing her car due to the frogs, Rose arrives and comforts her frightened daughter.The frogs cause Linda's ambulance to tip over during the drive, just as it arrives at the hospital.A frog falls through Jimmy's ceiling and lands on his head, causing him to accidentally shoot a TV. He falls, unconscious, as a spark from the gunshot starts a fire...From inside the library, Stanley watches the frog storm, smiles, and calmly comments that "This is something that happens."As Phil gazes at the frogs, Earl wakes up, sees Frank, and struggles to say something. Before he can utter a coherent word, he dies.The next morning:Stanley returns home and wakes Rick, who apparently has not tried very hard to find his son. Stanley tells Rick to be nicer to him, but Rick coldly tells him to go to bed.Earl's body is taken away, along with that of the dog who ate his pills. Phil cries as he makes Earl's now-empty bed. When the hospital calls, Frank heads there to see Linda, who is recovering.Jim gets his gun back when it drops from the sky. After hearing his story, he decides not to arrest Donnie, and the two enter the store and put the money back, though Donnie now does need braces. After helping clean the frogs off of Donnie's car, he refers Donnie to someone who can correct his teeth. After Donnie leaves, Jim sits in his car and monologues about his duty as a policeman and about knowing when to forgive people.Rose goes to answer the door as Claudia sits in bed. Jim soon enters the room and talks to Claudia, making a speech about how he will love and accept her for who she is. During the speech Claudia looks sad and uncertain, but afterward she breaks the fourth wall and smiles at the viewer.
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bleak, cult, murder, romantic, sentimental
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train
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imdb
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Phillip Seymour Hoffman is absolutely outstanding as the only character who is "normal." His performance has made me smile and shake my fist in the air the three times I've seen Magnolia since it opened.
This film is not for everyone, but, if you want to see glorious filmmaking, acting, writing, and characters in action, I HIGHLY suggest you see Magnolia..
It would have been far too easy to extend the story a bit further and portray the characters as now being "mended", but this is not how real life is and would not have rung true with the film's overall tone of "this is just something that happens".The sheer ambition of the director is also welcomed.
I don't think he'll ever be able to achieve the credibility he'd like, but a good start would be to take on more such challenging roles, with the proviso that they are not obvious vanity projects or oscar-vehicles.To sum up, I found this film warm and sincere, not pretentious as some have suggested.
Which of the two assessments is the correct one or does the truth lie somewhere in between?Actually, there is much to admire and cherish in `Magnolia.' Writer/director Paul Thomas Anderson has done a commendable job in putting on the screen a relatively unique vision a qualification I feel forced to make because it does seem patently derived from much of the trailblazing work of director Robert Altman.
Anderson presents a tremendously wide range of characters, though for a film set in the northern areas of Los Angeles, `Magnolia' provides a surprisingly non-diverse sea of Caucasian faces.
Many of these characters seem to have created any number of facades to help them cope with the miseries and disappointments of life and much of the redemption occurs only after those masks are stripped away revealing the emptiness and hurt that, in many cases, lurks so close to the surface.Thematically, then, Anderson's film is a compelling one.
Many viewers and critics have called `Magnolia' an artistic advancement, in both depth and scope, for Anderson, whose previous film was the similarly dense, moderately freeform `Boogie Nights.' I tend to disagree.
Anderson seems to want to capture the whole range of human experience on his enormous (and enormously long) movie canvas, yet because the characters seem to all be tending in the same direction - and despite the fact that the details of their experiences are different - the net effect is thematically claustrophobic.The controversial ending, in which an event of literally biblical proportions occurs, feels generally right in the context of this film, though with some reservations.
In fact, one wonders what purpose that quirky ending serves since the characters are well on their way to making amends by the time it happens.Anderson has marshaled an array of first-rate performances from a talented, well-known cast.
Particularly interesting is the young boy who, in counterpoint to one of the other characters in the story, manages to save himself at an early age from the crippling effect of identity usurpation that it has taken so many others in this film a lifetime to overcome.In many ways, `Magnolia' is the kind of film that could easily serve as the basis for a lengthy doctoral dissertation for a student majoring in either filmmaking or sociology.
After this the speed slows down slightly and the characters are given time to develop and the stories begin to interlink.Paul Thomas Anderson continues to get better and better with Hard Eight, Boogie Nights and now this.
Anderson's tries some audacious tricks and manages to pull them off - a scan round all the main characters singing an Aimee Mann track while they contemplate what's become of their lives is not only daring but works as one of the most moving moments in the film.The acting is flawless - Cruise deserved the Oscar for this performance, but he is only one of an amazing range of actors including Julianne Moore, William H.
The story of a dozen people, on one incredible day, in one very wet valley, on Magnolia Avenue.I could list reason, after reason, after reason why this is one of the finest films I've ever seen...
Reilly), a drug addict (not the old man's wife, a different drug addict), the guy played poorly by Tom Cruise (unsure of his official title), a gay man who wants to get braces to impress a bartender (what?!), and many more.Instead of actually having any reason to care about these character's unhappy lives, we are TOLD to care.
I'll even give an example of this whole "cleevrness with numbers" deal with THE SHINING:Danny wears a jersey with number 42 Danny and his mom watch the movie Summer of 42 Half of 42 is 21 There are 21 pictures on the Gold Room wall The July 4th Ball was in 1921 The mirror image of 21 is 12 (mirrors play a key role in The Shining) The two times shown via screen titles are 8 PM and 4 PM (8+4=12) The radio call sign for the Overlook Hotel is KDK 12 Anderson has a lot to learn..
Seldom has a movie been this highly praised been such a pointless bore.3 hours plus to build up to precious little.yes the acting is good but the film goes nowhere very very slowly.if this is so great why did it fail.in my opinion just like Fight club people a few thousand enjoyed it while the more entertainment driven mainstream audience chose wisely to avoid this.i made the terrible mistake of buying this on dvd i soon traded it in..
Like Fincher(Fight Club), Mendes(American Beauty), Jonze(Being John Malkovich), and the Wachowski Brothers(The Matrix), Anderson has created a truly unique film that stretches the boundaries of cinema.Many who I saw the movie with grumbled repeatedly about it's length.
the fact that Tom Cruise was the stand out performance in this film says enough, and he basically played himself.There's no point even discussing this film, on a basic level, it feels like the end product of a year 8 media studies final.
Acting is superb throughout the film, and though Magnolia has approximately ten lead role and a bunch of supporting characters, there isn't a single member of the cast who is misplaced.
My personal favorites are Philip Seymour Hoffman as the sensitive nurse (compare this role to the sleazy characters he played in Boogie Nights, Happiness and The Talented Mr Ripley and you'll notice what a great actor he is), Tom Cruise as the self-made seduction guru (his best performance ever) and William H.
At times, it can be difficult to watch what is happening because of what isn't being said or done; the most powerful elements of this film are what is implied.That being said, this film succeeds mostly because of the incredible acting from the huge ensemble cast and Anderson's writing, which many feel is too pretentious and self-aware to be taken seriously.
Of course, the acting really brings it home with incredibly powerful performances most notably from Jeremy Blackman, Phillip Seymour Hoffman, Melora Walters and Tom Cruise, who completely upstages everyone else, proving once again that he is a viable actor capable of being considered great for his time and not just a box-office star.Yet, this is an auteur production the whole way through and for that reason, people either love or hate Magnolia.
In doing so, they reveal more about the human experience than any gritty, realistic film could.P.T. Anderson's 1999 epic "Magnolia" is that kind of a movie.
The cast is filled out by actors of the highest caliber (Phillip Baker Hall, Jason Robards, Phillip Seymour Hoffman, and Julianne Moore to name only a few) who embody the lives of their characters outside the film.
If there is a problem in "Magnolia", it is that there are a few tantalizingly loose ends that I'd like to explore further.I am consciously trying to avoid plot summary here, because in all honesty, this film defies any sort of condensation.
T Anderson, the man who would go on to create "There Will Be Blood", this film is not one you watch lightly, but rather one you set aside a whole evening for, lights out, preferably alone or with someone equally as enthusiastic (as is the case with most of his work) and engross yourself in for a good three hours.That three hours is an unusual urban tale in which a host of strangers' stories intertwine, each affecting another in some way.
This is unconventional cinema that requires some patience, but rewards that patience massively, with great, complex characters, played by a top-notch cast amongst whom there is not a weak link: Tom Cruise is a perfect scumbag with whom we empathise anyway; Julianne Moore is at career-best as a woman who was a gold-digging leach, and who then fell in love with a man whose fate is now out of everyone's hands; William H Macy is an ex boy-genius, now a lost soul just looking to fit in for once, and the young Jeremy Blackman is the current boy-genius, sadly destined to follow in his footsteps.
And there's plenty more...P.T. Anderson's ability to manage tone is remarkable, the film at once funny, heart-warming, sad and heartbreaking, part music video (at one point quite literally), and with a surreal final act, which can put some people off, but whose religious reference is important to those who would understand it.
Paul Thomas Anderson, fresh off his highly successful BOOGIE NIGHTS, shows that he indeed has the skill to successfully embark upon such a risky venture.Three hours can be quite a long time to spend watching a movie and Anderson manages to keep the viewer interested by not staying in any one scene for more than 5 minutes; that way the story feels like it's actually progressing and not stagnating.
Admittedly, the film still starts to lag around the 130-minute mark but Anderson uses a rather unexpected scene to snap viewers back into full and undivided attention.The acting is first-rate with stellar performances by Tom Cruise, Julianne Moore, Jason Robards, and William H.
It should also be noted here that while all 10 actors do not actually interact with each other, they do share a common theme of suffering that is pervasive throughout the film and goes a long way to explaining key elements of the movie.The next key element is the Screenplay, which in this case is simply amazing.
When I first rented this movie and saw the length of the film to be a little over 3 hours, I thought it would be a waste of a good 3 hours of studying time.
No other film comes close to defining those sentences as much as Paul Thomas Anderson's riveting multi-character drama Magnolia.
Merely reading a plot summary won't do anything.If Paul Thomas Anderson's only film was Magnolia, that would still make him the best filmmaker of my generation.
Magnolia is like a massage and even while writing this review, I still feel it juicing my brain and allowing to think and know that film is the most important and most powerful medium ever created.
If you were truly gripped watching this flick, you are a certified movieholic.A truly great film always makes me "feel" something, as if your soul (or spirit or human essence, whatever) is touched during specific moments throughout, or, at the film's end -- Magnolia shoots blanks, leaving you wondering if you missed something.
It is only with variety that a compelling performance is made.It's hard when you're working with such utter tripe of a script.There are a lot of big named actors that participated in this monstrosity, and I don't know why they accepted the part they did.It is the worst movie that I have ever seen.
If I can help someone avoid wasting their time watching it, then I will have done a good deed for the day.Of course, if you'd like to use this movie as an example of how bad a movie can be made, have at it.Personally, I think it was far worse than "Heaven's Gate" which I actually saw in the theaters on opening night.
I didn't really like it the first time around, mainly because of the way the characters reacted to the bizarre incident that concluded the film(I won't spoil it for those who haven't seen it yet).
However, I gave it a second chance, and I think that it's a really great movie that uses it's three hours wisely and pays off brillaintly and intelligently in the end.The film follows the lives of nine characters in a series of stories that are seamlessly interwoven together in a way that flows through perfectly and is never boring to the viewer.
The point of the film was a look on life, how bad it can be for people, and yet, how we as human beings can make it good and still find happiness and goodness even in the worst situations and pains of our lives.
Like many people, I saw Magnolia based on Anderson's work with Boogie Nights.
Paul Thomas Anderson followed up the dazzlingly audacious "Boogie Nights" (1997) with the even more (if possible) audacious saga of emotional meltdowns over one dark night in L.A. in "Magnolia," and left people scratching their heads.There's an awful lot going on in this movie all the time, and I can see how it would be a turn off for some.
Anderson has one big hairy set of bull balls to make a 3+ hour epic full of dark soliloquies, death, disease and an impromptu musical number performed by the entire cast, sustain an emotional tone as tightly strained as a piano wire for almost the entire film's length, and then cap the whole thing off with a rain of frogs."Magnolia" isn't the most disciplined film ever made, and Anderson's film-making hysteria sometimes runs away with his stories, but it sure is one endlessly fascinating piece of work.
PT Anderson's sprawling character epic is nothing short of brilliant, eviscerating the lives of a vast array of tortured souls in the San Fernando Valley.Magnolia presents to us the seemingly totally different, separate lives of twelve people having quite a trying and tumultuous day.
There is so much to enjoy about Magnolia, besides it's well-written, provocative characters: the film's cinematography is so beautifully rendered that the camera seems to be working on it's own, weaving seamlessly through hallways and long shots without any cuts.
Aimee Mann's haunting songs also add a potent touch of misery and darkness to the already unsettling script.From it's overwhelming opening set-up accompanied by the miserable tune "One" to it's Biblical ending, it's an emotional epic that plunges the viewer into the depths of its character's personal hells and shows that closure and redemption can be a painful but ultimately necessary part of life.Easily one of 1999's best, most ambitious films, and ranking in my top 10 of all time, Magnolia is an emotional tour-de-force that touts a great ensemble cast, a beautifully written script, stylish camera work, and a great soundtrack.
(Pay attention to the closing credits on the game show, by the way, or you'll miss one of the connections.)You have to suspend a bit of disbelief at the climax, but it makes perfect sense in the larger context.A profound and deeply affecting meditation on life, love, loneliness and the things we do to blot out our pain, Magnolia asks you to walk in another person's shoes before you cast judgement on them.
A child genius pees his pants on live TV, Tom Cruise (sporting some kind of greasy Samurai hairdo) screams about respecting the male genitalia, Bill Macy fantasizes about a guy with braces, and just when you think it might all be coming to some kind of logical, blissful "tie-it-all-together" ending, IT STARTS RAINING FROGS.On a positive note, Philip Seymour Hoffman and John C.
A Gem in Filmmmaking, A film that sucks you in like the legendary plant.'Magnolia' interweaves nine separate yet connected story lines, about the interactions among several people during one day in the San Fernando Valley, in Los Angeles, California.
Second was the script, I found that by the end of a long tortuous three hours I couldn't care less if the characters lived, died or didn't even bother finishing the movie.
As such, the flick almost feels like a waste of the enormous and, as Anderson himself puts it, unmerciful three-hours and eight minutes of your time it takes up.
Magnolia, the second large release from Boogie Nights writer-director Paul Thomas Anderson, offers its viewers a rather lengthy, but worthwhile, view of the lifes of 9-10 main characters living in the San Fernando Valley, California area.
It thinks it's a profound commentary on parent-children relationships, but ends up being an awkward, pc, at times unintentionally funny, bore.Lowlites include the opening montage (which totally confuses the viewer), the pants wetting tension, the coke head/cop unconsummated love affair (how can you not consummate an affair with a cokehead?), the tender gay drinker, and of course the (damn) frogs.If you want to see a film that really says something about parents and children and the space between, then go rent Hud (Paul Newman).
To get a really good idea on what watching Magnolia makes you feel like, have someone poke you incessantly for three hours while coming down off of an amphetamine high.
One good thing about this movie is that it finally made me realize that I really don't like Tom Cruise; horrible acting for a horrible character by a terrible actor--very fitting.
Surely a film has to have decent characters and a good script before it is going anywhere, this movie has neither, (apart from Tom Cruise's Frank Mackey, who is very amusing in the first hour).Much has been made of the films interlude where the cast are all individually shown singing "Wise Up".
Apart from the opening, the only thing that made the movie worth watching was the much-talked-about weather anomaly near the end of the film.
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tt0100758
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Teenage Mutant Ninja Turtles
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The camera pans over an aerial view of New York City as news reporter April ONeil (Judith Hoag) covers a story about a string of mysterious, and seemingly organized, thefts occurring across the city. We see various scenes of members of the gang, known as the Foot Clan, stealthily stealing various items from people right under their noses. As April walks across a vacant lot at the end of the day, she stumbles on a group of thieves stealing merchandise from a van. They pin her to the ground and attempt to steal from her when, suddenly, the single light in the lot goes out and, by the time a nearby police unit arrives, the thugs have been tied up. April finds a sai lying on the ground and puts it in her purse as a mysterious pair of eyes watches her from under the lid of a manhole. The figure curses under his breath before disappearing underground.Deep in the sewers, a unique silhouette introduces the main titles before four humanoid turtles wearing colored eye-bands appear, cheering in celebration. They return to their home where their master, a large rat named Splinter (voiced by Kevin Clash), asks if they were seen and recites to them the importance of their continued training as ninjas (while one of them orders out for pizza). His attempts to meditate are interrupted when one of the turtles turns on the radio and they all start partying, except for one. The turtle with the red eye-band, Raphael (voiced and acted by Josh Pais), already irritated by the loss of his sai, announces that he's going out to a movie, wearing a trench coat and hat as a disguise. In the meantime, two of the turtles, Donatello (in purple, voiced by Corey Feldman and acted by Leif Tilden) and Michelangelo (in orange, voiced by Robbie Rist and acted by Michelan Sisti), wait for the delivery man (Michelan Sisti) and skimp out on paying full price for a 2-minute-late pizza.While out, Raphael manages to trip up a couple of thugs trying to steal from an old woman. As they run into a nearby park, Raphael follows them and meets a vigilante who introduces himself as Casey Jones (Elias Koteas), wearing a hockey mask and armed with baseball and cricket bats. Casey and Raphael get into an argument over the proper way to deal with the thugs and fight each other instead, ending with Raphael in a garbage can and fuming over being called a freak. Casey escapes and Raphael returns to the sewers where his temper is calmed with kind words from Splinter.The next day, April pays a visit to the chief of police after a report where she is criticized by Chief Sterns (Raymond Serra) for putting her nose into his business regarding the supposed organized crime wave. She walks to the subway to go home and is confronted by a team of thieves dressed in concealing ninja garb. The leader (Leif Tilden) slaps her across the face and tells her to keep her mouth shut about the Foot. When she tries to fight back they knock her out but are attacked by Raphael in disguise. The Foot leader comes to in time to see Raphael carrying the unconscious April down the subway tunnel and follows them. Raphael takes April to the turtle's hideout, to everyone's disapproval. The Foot leader peeks in through the doorway, sees the turtles, and retreats. When April wakes up, she screams at the sight of the turtles and of Splinter who proceeds to explain who they are and why they're here.Apparently, fifteen years prior, Splinter had been living in the sewers after being separated from his master, Hamato Yoshi, when he discovered four baby turtles that were moving around in some kind of toxic waste. He herded them to his home where they quickly grew larger, eventually walking on two feet and talking. Splinter noticed changes in himself as well, 'particularly in intellect', and began training the turtles in what he knew of the martial art of ninjutsu. He gave them names, reflecting on famous Renaissance artists: Raphael (in red), Leonardo (in blue, voiced by Brian Tochi and acted by David Forman), Donatello, and Michelangelo. Each turtle also has his weapon of choice: Raphael wields two sai, Leonardo practices swordsmanship with twin ninjato, and Donatello favors the bo while Michelangelo prefers two nunchaku.The turtles escort April home and spend some time with her, at the expense of some frozen pizza. When they return home, they find their lair broken into and Splinter missing. With nowhere else to go, they return sullen to April and spend the night in her apartment.Danny Pennington (Michael Turney), a teenage thief seen earlier in the film, is released from jail the next morning to his father, Charles (Jay Patterson), as part of a deal with Chief Sterns. Since Charles is head of Channel 3 news, Sterns releases Danny on the condition that April cease her harsh coverage on the Foot. Charles stops by April's apartment that morning and advises her to stop running her story before it gets her into further trouble. April, however, is more concerned about Charles discovering the turtles hiding around the apartment. Danny spots one briefly through a reflection before he and his father are ushered out. While driving home, Charles confronts Danny about stealing and when he stops in traffic Danny gets out of the car and runs away. He goes to an abandoned warehouse near the harbor which the Foot has claimed as its base of operation. Teenagers from across the city unload stolen items or play games under the watchful eye of Tatsu (Toshishiro Obata, voiced by Michael McConnohie) who is second in command. A gong signals a mass meeting and everyone gathers in a large arena where their leader, Master Shredder (James Saito, voiced by David McCharen), a man clad in menacing ninja armor, addresses them as his outcast children. He tells them of a new threat to their order as Splinter, tied up against a wall in the back, listens. Upon mentioning the word 'turtles', Danny speaks up.At April's apartment, the turtles watch the news as April updates on recent thefts and sends out a personal thanks to Raphael for rescuing her. However, Raphael and Leonardo soon get into a heated argument over what to do with Splinter gone and Raphael leaves the apartment. He goes to the roof where he's ambushed by an army of Foot Clan ninjas. He is thrown, unconscious, back into April's apartment just after she gets home and the turtles are forced to fight. They all wind up in the antique shop below and are soon outnumberd as Tatsu arrives with reinforcements. However, Casey Jones suddenly appears, having spotted Raphael from the rooftops earlier, and helps the turtles escape through a secret doorway as the building catches fire. They escape in April's van and the ninjas retreat as the shop and apartment burn to the ground. Danny watches from afar.They decide to hide out at a farm that belonged to April's family and everyone pitches in to make the place more livable. Raphael remains unconscious and Leonardo provides an endless vigil. April recounts what happens in a diary and draws sketches of the turtles while trying to resist the charm that Casey puts on her. Once Raphael comes to, the turtles reconcile and resume their training. Despite their absence from the city, Shredder is bent on finding them, telling Tatsu that their method of fighting reminds him of the past. While meditating, Leonardo manages to make contact with Splinter and convinces the others to join him in a seance that night. They all share a vision of Splinter who tells them how proud he is and that they have mastered training of the mind; becoming true ninjas, before disappearing. The turtles decide to return to New York to find and rescue him.At the Foot Clan warehouse, Danny discovers Splinter who detects Danny's confusion and angst and speaks to him. He offers Danny guidance and advice during their short conversations, telling him once that 'all fathers care for their sons', despite Danny's anger towards his father.The turtles return to their lair and find Danny hiding out in a closet. He tells April he ran away from his father but will go back to him if he could just spend the night. Everyone agrees to let him stay and April shows and gives him one of the drawings she did of the turtles. During the middle of the night, Danny abruptly leaves, but not before drawing the attention of Casey, who follows him. They go to the Foot Clan hideout where Danny, confused, seeks out Splinter while Casey knocks out a Foot ninja and steals his outfit.Danny goes to Splinter who tells him of his time living in Japan with his master Yoshi. Splinter imitated his master's practices of ninjutsu, in which Yoshi competed with a man named Oroku Saki. Both men also competed for the love of a woman named Yang Chin, but Chin loved only Yoshi and, instead of seeing him fight for her hand, convinced him to flee with her to America. However, Saki followed them and quickly dispensed them both in a rage. Splinter escaped from his cage and leapt at Saki's face, scarring it. Saki swung at Splinter, slicing part of his ear, before disappearing. Danny asks what became of Saki to which Splinter replies that no one truly knows, but Danny wears his emblem on his head band. Shredder discovers the two, asking where Danny's been before removing the drawing from his back pocket. He angrily walks away to gather his forces and tells Tatsu to kill 'the rat'. Hearing this, Danny rushes back where he runs into Casey and explains that they have to rescue Splinter. They manage to get him out of his chains but are stopped by Tatsu and a team of ninjas.Meanwhile, the Foot sets out to ambush the turtles in their hideout but are surprised by a sneak attack. The turtles fiercely fight back and bring the conflict to the streets above where they eventually wind up on a rooftop. As they fight, Casey engages Tatsu in one on one combat and manages to overpower him. Before leaving, he questions the gang members on their idea of this so-called family that they're a part of.After dispatching a few remaining ninjas, the turtles are surprised by the sudden appearance of Shredder who engages the turtles in combat, but they prove to be no match for him. When the turtles ask about Splinter, Shredder mocks them and implies that Splinter is dead. Furious, Leonardo rushes him only to be pinned. The other turtles are forced to throw down their weapons. Before another blow can be struck, Spinter appears on the roof and speaks out to Shredder, addressing him as Oroku Saki. Shredder charges Splinter with a yari but is flipped over the roof by Splinter's quick movements, using one of Michelangelo's discarded nunchaku. Using the coil of the nunchaku, Splinter holds Shredder by his yari precariously over the edge of the roof. When Shredder throws a knife at him, Splinter releases his grip, causing Shredder to fall into the compactor of a garbage truck. Casey casually flips a switch and the hydraulic door closes, crushing Shredder's mask.The turtles reunite with Splinter as police arrive on the scene and question the remaining Foot members who reveal where all the stolen goods are kept. April prepares to run a final update on the story when news crews arrive and gives Casey a celebratory kiss. The turtles cheer and exchange slang exclamations before Splinter says that his favorite has always been 'cowabunga'. The turltes unanimously agree and cheer as Splinter laughs, saying he 'made a funny', and the film ends.
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murder, cult, violence, flashback, good versus evil, psychedelic, humor, revenge
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train
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imdb
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The best Ninja Turtles Action movie of all time my number 1 personal favorite.
Teenage Mutant Ninja Turtles (1990) is actually a cult classic Epic Action film and one of the best movies.
The original Teenage Mutant Ninja Turtles (1990) is the only film for me that I absolutely love to death!
I grew up with Teenage Mutant Ninja Turtles, I had an album of the animated series from 1987, I was collecting action figure from the third film that failed.
Whether film buffs would ever admit it or not, the original Teenage Mutant Ninja Turtles movie is a classic film, arguably way before its time.
Although for the die-hard fans of the comic book this movie did lack the apparent actual violence it did instead have great dramatic scenes blended in with witty comedic lines.With a dark tone and gritty cinematography filmed with fantastic sets and locations around New York this 90s movie is far from something to be pigeonholed 'just for kids' or a 'family movie'.The aforementioned 'surfer dialogue' criticised in other reviews can be put down to personal taste, as the majority of fans do find this lingo both entertaining and quote-worthy.
The angst of Raphael to the cheekiness of Michelangelo there is nothing not to like about the characters in this movie.The musical score is great and ranges from intense to comical - very fitting for a movie that is exactly that in its mood, without becoming corny unlike its follow-up films.
This live-action version of the Teenaged Turtles reaches back into its comic book origins and sacrifices the kiddie stuff in favor of a darker, more brooding film.
Many reading my comments may laugh because, lets face it, the idea of the Teenage Mutant Ninja Turtles is hilarious, but the movie spoke to a specific generation at a specific time and as a period piece it can still be appreciated.
As for the comedic cheek of Casey Jones or the light-hearted double wisecracks of Michaelangelo and Donatello, I'd love to see the reason behind this movie having "no character study" as some people might say.The action scenes are set up within the constraints of a normal fun movie with great camera angles just dying to be put on an advert or poster.The turtle effects by the Jim Henson creature shop don't disappoint even though Splinter looks like he walked straight off the set of 'Labyrinth'.
That's good considering it also faced heavy competition from another comic book adaptation that year, "Dick Tracy," which was directed by Warren Beatty and was quite groundbreaking, on its own terms of course.Though the film is more in touch with the toned-down animated series of the same title, its roots are squarely in the original comics created by Kevin Eastman and Peter Laird.
I hope not for two reasons: 1) If the Turtles were to be remade, it would most likely be based off of the current running "TMNT" cartoon series, which is crap and 2) The original 1990 film is fine the way it is and does not need to be touched by the greasy hands of today's Hollywood."Teenage Mutant Ninja Turtles: The Movie" is the best adaptation of the comics so far, and I loved it.
I know the idea of a group of 4 turtles who are trained in the art of ninjitsu, and who hang around in the sewers and eat pizza is well....cheesy, but the atmosphere in this movie is dark and serious and is great fun for people of any age.
From the casting, to the fight scenes, to the music, there is nothing that I would have done any differently.There is just enough comedy, each turtle is given their own unique, identifiable, and believable personality, and the story is fast paced and gripping.Jim Henson's people did a stunning job on the Turtles themselves, and the Shredder looks even better than he did in the Cartoons.Speaking of the cartoon, almost all of the campy stuff has been eradicated from the film.
The film really pays homage to the original comics by introducing Casey Jones, dealing with Raphael's anger, and resisting the urge to insert lame characters like Krang made famous by the cartoon.The whole movie is shot in a very brooding and gritty manor.
This is exactly how I would expect all of them to act.Another nice little touch was the way they worked in the tortoise and the hare cartoon for Donny and Mikey to watch.Don't listen to people who tell you that this movie is not really kid friendly.
It's mainly an origin story, and leads up to the Turtles saving the city (4 people saving New York was another fad for the eighties.) The best part of this movie are its hybrid qualities, it combines the dark storytelling of the comic but somehow the cartoon wit of Mikey got in there.
The colours are so dark and work so well with the story.The character development of Raphael and the adaptive journey the turtles go through without their master really pushed this film to a limit I have yet to see from a movie that was previously based on a comic book.
"Ninja kick the damn rabbit!!" This movie brought people that didn't watch the cartoons or read the comics to learn the story of our turtle friends.
It combines the dark quality and complex storytelling of the original comics with the all the fun and light-hearted nature of the classic cartoon show.All the turtles (Leonardo, Michelangelo, Donatello, and Raphael) are great, portrayed mostly accurately.
April, Casey Jones, Tatsu, and a few other characters deliver great, if not somewhat over-the-top, performances.This film's version of the Shredder is one of the best, if not THE best, and is one of my favorite cinematic villains of all time.
To back this up, he is a skilled and brutal fighter, making him a formidable foe for the turtles.The action scenes are some of the best in a martial arts movie and the music is both fun and catchy, which helps complement how great all this ninja fighting is (I could listen to it all day).
It's nice that the filmmakers weren't afraid to get a little dark with certain moments of the action.Overall, this is the best movie ever the star everyone's favorite pizza-loving, ninja-fighting, mutant reptilian quartet.
Teenage Mutant Ninja Turtles - One of the better early comic book films.
The movie stays very close to some of the story lines given in the early black and white comics drawn by Kevin Eastman and Peter Laird.Yes, there is cursing and swearing, however this movie tried to bring a more real-world feel to the characters, and, obviously, many teenagers do cuss.The story tells the tale of four mutated, humanoid turtles who, when exposed to an irradiated substance years earlier in the sewer, grew to adolescence and trained with a ninja rat named Splinter, who was also exposed to the substance as well.The movie focuses on a crime wave which has hit the city of New York, leaving reports of only a few glimpses of young boys or teenagers at the scene.
But he's a bad ass as he takes crap from no one and just loves to kick some ass no matter the odds thought this is also his weakness as he sometimes bites more than he can chew but I really like that he's a wisecracker as he's got some of the best lines like saying the infamous "DAMN!" that just blew my mind since most films I was allowed to see had no profanity, let alone the fact this was from a Turtle character which is awesome as it stays true to the graphic comic series which had bits of profanity.
My sister Shaliyah loves things that boys watch, so I wanted to review Teenage Mutant Ninja Turtles because I have already done the original Power Rangers movie review, so I am going to do not only the original, but the 2007 and 2014 films as well.TEENAGE MUTANT NINJA TURTLES is a 1990 American live-action film and the first film adaptation of the TMNT franchise.
It was directed by Steve Barron and was released on March 30, 1990.This film presents the origin story of Splinter and the Turtles, the initial meeting between them, April O'Neill and Casey Jones, and their first confrontation with The Shredder and his Foot Clan.The film kept very close to the dark and violent feel of the original comics while also staying true to the 1987 TV series of the same name.The movie was very light hearted and dark at the same time and I first got my first watch in 2008 and I absolutely enjoyed this feature film.
It was directed by Steve Barron and was released on March 30, 1990.This film presents the origin story of Splinter and the Turtles, the initial meeting between them, April O'Neill and Casey Jones, and their first confrontation with The Shredder and his Foot Clan.The film kept very close to the dark and violent feel of the original comics while also staying true to the 1987 TV series of the same name.The movie was very light hearted and dark at the same time and I first got my first watch in 2008 and I absolutely enjoyed this feature film.
Elias Koteas played Casey Jones and he was an amazing job, but I had to say, he was awesome in some of the action sequences.The voice actors are Brian Tochi, who plays Leonardo, Corey Feldman as Donatello, Robbie Rist as Michelangelo and Josh Pais as Raphael and they do really good jobs voicing the titular turtles and they are all fantastic and spectacular.Kevin Clash as Splinter did an incredible job playing the role and the other two David McCharen and Michael McConnohie as Shredder & Tatsu were really good and I could have not thought of better actors to play these parts.The turtles look so good and I give credit to the late Jim Henson and his creature shop for staying true to the source material and making sure that they had the color bandanas.A lot of movie companies did not wanted to release this film in theaters including Paramount, Warner Bros.
Elias Koteas played Casey Jones and he was an amazing job, but I had to say, he was awesome in some of the action sequences.The voice actors are Brian Tochi, who plays Leonardo, Corey Feldman as Donatello, Robbie Rist as Michelangelo and Josh Pais as Raphael and they do really good jobs voicing the titular turtles and they are all fantastic and spectacular.Kevin Clash as Splinter did an incredible job playing the role and the other two David McCharen and Michael McConnohie as Shredder & Tatsu were really good and I could have not thought of better actors to play these parts.The turtles look so good and I give credit to the late Jim Henson and his creature shop for staying true to the source material and making sure that they had the color bandanas.A lot of movie companies did not wanted to release this film in theaters including Paramount, Warner Bros.
Pictures, Columbia TriStar and 20th Century Fox, but this was financed by Golden Harvest and distributed by New Line Cinema.This film did not have the highest budget in the world and it was $13.5 million dollars and this film proves that you do not need a bigger budget to make that cool and great film that you wanted to make.The film was criticized for it's level of violence and it was not at all violent as the critics and parents said to be and this also had problems with "Batman Returns", the second film in the original BATMAN film series and I think this movie is awesome as hell.The violence and the action sequences were just as incredible and spectacular and my favorite action sequence is when it gets to the middle of the film.The music by John Du Prez is just spectacular and the Teenage Mutant Ninja Turtles theme is a classical film and it is just an amazing feature film and became a hit with fans, but was met with mixed reactions from critics.Overall, I love this first Teenage Mutant Ninja Turtles film and it is just one film that I don't think can be taken for granted.10/10..
Pictures, Columbia TriStar and 20th Century Fox, but this was financed by Golden Harvest and distributed by New Line Cinema.This film did not have the highest budget in the world and it was $13.5 million dollars and this film proves that you do not need a bigger budget to make that cool and great film that you wanted to make.The film was criticized for it's level of violence and it was not at all violent as the critics and parents said to be and this also had problems with "Batman Returns", the second film in the original BATMAN film series and I think this movie is awesome as hell.The violence and the action sequences were just as incredible and spectacular and my favorite action sequence is when it gets to the middle of the film.The music by John Du Prez is just spectacular and the Teenage Mutant Ninja Turtles theme is a classical film and it is just an amazing feature film and became a hit with fans, but was met with mixed reactions from critics.Overall, I love this first Teenage Mutant Ninja Turtles film and it is just one film that I don't think can be taken for granted.10/10..
The film tells the origin story of Splinter and the Turtles, their initial encounters with April O'Neil (Judith Hoag) and Casey Jones (Elias Koteas), and their first confrontation with The Shredder and his Foot Clan.
Directed by Steve Barron and released by New Line Cinema, the film showcases the innovative puppetry techniques of Jim Henson's Creature Shop.The film kept very close to the dark feel of the original comics, and is a direct adaptation of the comicbook storyline involving the defeat of Shredder, with several elements also taken from the 1987 TV series that was airing at the time, such as April being a news reporter, and the turtles having different-colored masks, as opposed to the uniform red masks of the comic.Roger Ebert gave it 2½ stars out of 4, saying, "this movie is nowhere near as bad as it might have been, and probably is the best possible Teenage Mutant Ninja Turtle movie.
While I could've lived without most any of the Human characters in this movie, it's the loving relationship(s) between Splinter and his "sons" that gives THIS version of TEENAGE MUTANT NINJA TURTLES its timeless resonance.
If you haven't watched the original live-action 'Teenage Mutant Ninja Turtles' film in a while, get ready for a surprise.
This was a great example of great writing, and I love the subtle touch of having Mikey copy Raph's grunt, just like a younger brother would do.Action movies of today can learn from Teenage Mutant Ninja Turtles.
Well I'm sure you have seen this spectacular film, Teenage Mutant Ninja Turtles and yes it is one of the world best movies.
Well, Teenage Mutant Ninja Turtles is is a great movie, someone should think of making another one, but the same Actors in it, not Different ones.
Teenage Mutant Ninja Turtles is one of my all time favorite movies still, after all these years.
The 4 BRILLIANT turtles fight crime in a very dark & dangerous & wet new york city & this makes the movie much more interesting & not just a kids film!!!
Teenage Mutant Ninja Turtles is a 1990 action comedy film directed by Steve Barron and starring Judith Hoag and Elias Koteas.
I have seen this movie 14+times and every time it makes me smile.It is funny and cool.OK sometimes it is corny.But it is good acting and you can see the director try to give us something new,fun, original and very lovable.The animatronics looks super real and fantastic.It looks 100% more real than today's fake CGI moves.It is something you can touch.That is way it looks so real and cool.You love the teenage Turtles the first time you see them.The world in the movie feels real and I loved it as a kid and still do!It is a fun classic..
There were the first 3, there was a computer animated movie that came out in 2007, and one that came out last year with Megan Fox as April O' Neil, and the sequel for the latest Teenage Mutant Ninja Turtles is in the works.
I have a 4-year old nephew that is like obsessed with the Teenage Mutant Ninja Turtles and even watches the 1987 cartoon.
I used to watch that show when I was a kid, and it seems like the Teenage Mutant Ninja Turtles have stood the test of time, forever remembered and known even by kids today.
Get over the fact that you're watching a movie with men in foam turtle suits and enjoy the wisecracks and martial arts action of a classic family film from the start of the 90's.
Sometime back in the late 80's, someone decided to make a movie based on the Teenage Mutant Ninja Turtles comic series.
Teenage Mutant Ninja Turtles the first and the best of the trilogy then the other 4 the new TMNT was great but the first remains the best the story was great action was great for people in turtle costumes doing stunts and cant get over how much of an awesome movie it is it brought the turtles from the comics and TV shows and brought them to life for all the young fans it was great.
A great movie for all the Ninja Turtle fans, young and old..
I would to see a new TMNT film with the violence that was meant to be seen, but I can't see a Ninja Turtles movie with an R-Rating.
The original Teenage Mutant Ninja Turtles comic book was rather dark and brooding.
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tt0163818
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Sat sau ji wong
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The film starts with a brief recollection of the "Killing Angel", a dangerous assassin that has been operating in most of southeast Asia. The Killing Angel has no known accomplices or colleagues, is not affiliated with any government, religious, or criminal organization, and to this date their true identity has still remained secret. The Killing Angel is believed to be responsible for 6 murders in the past year alone, with only one thing connecting each of the assassinations - all the victims were criminals and deserved to die.Then the movie quickly moves on to the Killing Angel's most recent killing, the well-publicized assassination of a notorious ex-yakuza crime boss. Working swiftly, the Killing Angel is able to overcome the criminal's defense systems, quickly incapacitating the boss's bodyguards and isolating his target. In a fit of desperation, the crime boss promises to triple whatever fee the Killing Angel is being paid to kill him, then goes on to warn the vigilante that there is a massive revenge fund set to avenge his killing. Ignoring his pleas, the Killing Angel silently kills the crime boss.The scene then switches over to the story of Fu (Jet Li), a small-town gang member who lives an extremely simple and modest lifestyle, albeit being a contract killer. It is revealed that Fu is very kind and has trouble killing innocent people, a trait that causes him to be disliked by the other low-rent triad members. When Fu's boss reveals that there is now a $100 million US bounty on the Killing Angel's head for the slaying of the yakuza boss, Fu is quick to volunteer for the job, but is instead insulted.Fu then attempts to enter the building where the crime boss's lawyers are discussing the terms for the revenge fund, but is detained at the entrance and ushered out by security guards. In a surprisingly quick sequence, Fu defends himself by rapidly incapacitating each of the guards. His lightning-swift martial arts skills draw the attention of Ngok Lo, played by Eric Tsang, a seedy contract booker and loan shark, who comes to Fu's aid by pretending that he is an agent and Fu is his actor. Thanks to Lo's smooth talking, the pair is able to sidle into the meeting.The meeting however, comes to a halt when government agents, led by detective Chan (Simon Yam), raid the building in search of known criminals who are meeting there. Chan, a leading detective, has been working tirelessly to expose the Killing Angel's true identity for years. The movie then switches over to another sequence, where the character of Eiji Tsukamoto, the slain crime boss's grandson, played by Renji Sato, is introduced. Tsukamoto, fed up with his grandfather's cowardice in life, now seeks his grandfather's power in death. Tsukamoto consumes a portion of his grandfather's cremated ashes, an act that causes the deceased lord's top aid to call him insane, but now all of the family's agents and gang members serve Tsukamoto as their new master.Fu and Lo get to know each other - Fu is an ex-soldier from mainland China, part of a special, world-famous unit known as the "Golden Soldiers". When Lo asks for a demonstration of Fu's skills, he is able to rapidly take down several ruffians simultaneously, but falters when he is confronted by a woman. Lo then explains the deal with Fu, and they head for an amusement park to assassinate the first person believed to be the Killing Angel. However, when they get there, it is revealed their target is a simple family man, and instead of killing him, Fu saves his life by killing his other assassins, the low-rank triad members he formerly lived with.Fu and Lo are then arrested, but they are bailed out by Lo's daughter, Kiki (Gigi Leung), an intelligent and successful lawyer fed up with her father's scandalous ways and criminal connections. Fu moves in with Lo now that he has no place to stay, and they quickly become friends, Lo claiming he used to be an infamous hitman known as the "Killing Tank" but proving he has no real combat skills or experience.The next day, Fu and Lo travel to a nursing home, in search of an old acquaintance of Lo's known only as "Uncle Leung". Unbeknownst to them however, Tsukamoto's agents have already traveled to Leung's home. While searching his apartment, a third assassin arrives, an explosives expert. The three parties have a standstill in the hallway when Uncle Leung suddenly appears. Chaos erupts as the explosives assassin blows up the apartment, and Fu and Lo immediately take Leung and start running, pursued by both the grenade-using assassin and Tsukamoto's agents. Eventually Fu and Lo are confronted by the third assassin, and he tries to kill Leung with a hand grenade, but Fu kicks the grenade back blowing up the assassin with his own grenade. Before they can escape, however, they run into Tsukamoto's lead bodyguard, known only as "the Tall Guy" (Raul Rapovski), who is guarding the entrance. The Tall Guy and Fu have a battle, where Fu gains the upper hand before the Tall Guy uses light-emitting devices worn on his fingers and shoes to blind Fu and beat him down. With Fu defeated, the three are quickly surrounded by the rest of Tsukamoto's agents, as well as Tsukamoto himself. Desperate, Lo quickly shakes Uncle Leung, telling him to tell the others Lo's innocent, but the old man emits only one word, a Cantonese obscenity, before he dies. Frustrated, Tsukamoto shoots the dead Leung in the head before turning his gun to Lo, but the Tall Guy says to leave them, advising that killing innocents will only attract more unwanted attention, and Tsukamoto and his agents leave.Back at Lo's apartment, the two are alive, but visibly shaken. Kiki and her fiancee, David, then arrive, to finish moving out Kiki's belongings, as she is moving in with David. Noticing Fu and Lo's battle-scarred appearances, Kiki takes Fu to an ice rink, questioning him as to what her father is up to again, but eventually warming up to him and the two become fast friends. When Fu returns to the apartment, Lo explains his story, and why he was searching for Uncle Leung.A few years prior, Lo had met Leung at an antique shop, where the old man had been attempting to sell some war notes. Feeling pity for the elderly man, Lo befriended him, and learned that the old man's entire family had been slain by a Japanese criminal. Since the notes were in truth worth a lot of money due to their historical significance, Lo told Leung to keep them, and only cash them in in the event that this Japanese criminal is killed. Unknown to Lo, this criminal was actually Tsukamoto's grandfather, and when he was assassinated by the Killing Angel, Leung really did cash in his notes and forward the money to Lo. Now there is a paper trail leading to Lo as the Killing Angel, which is why he was trying to find the old man and exonerate himself.As they are watching the television, there is suddenly a news report of an apartment fire. Lo is visibly shocked, and when questioned, he reveals that the inflamed apartment was actually where Lo lived a few years back. Before the two can escape, however, the power goes out. A sub-machine gun wielding hitman then breaks into the apartment, using his gun and his night vision goggles to track the two down. Fu manages to kill the assassin by kicking him out of a window, and the two leave the apartment, only to be confronted by even more hitmen in the elevator shaft. The two finally manage to escape, and discuss their further plans.The pair make a quick stop at Kiki's engagement party, where Lo apologizes to Kiki for being a bad father, and in advance for what he is about to do. The two are also confronted by detective Chan, and Fu guesses that Chan is actually the real Killing Angel, and Chan admits it. Fu remarks that he could kill Chan instantly and win the $100 million US bounty, but Chan replies accurately that Fu is not that kind of person, and should not be a hitman.Fu and Lo then arrive at Tsukamoto's complex, where Lo admits to being the Killing Angel, and Fu then pretends to shoot him. However, it is revealed that the revenge fund's lead lawyer has arranged a deal with Tsukamoto, so that no matter who kills the Killing Angel, it will be Tsukamoto who gets the bounty. The two are in trouble as Tsukamoto's agents close in, but then the real Killing Angel, detective Chan, arrives, and starts killing the gang members. After an extended series of fight sequences, Fu manages to kill Tsukamoto, the Tall Guy, and all of Tsukamoto's bodyguards and henchmen.As an ending to the movie, there is one last scene where all the survivors gather for a business meeting. Arranged by the revenge fund's lawyer, the bounty has been split between Fu, Chan, and Lo. Fu and Chan then have a conversation, where Chan states that he is getting too old for the business, and is going to give up the mantle of the Killing Angel. He wants Fu to become the new Killing Angel, recognizing not only his skills but also his inability to hurt the innocent and exact justice on evil. Fu's reply ambiguous, the credits roll.
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revenge, violence
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train
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imdb
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That's alot!), and they call upon all the assassins of Hong Kong to find this hitman, and kill him.Jet Li's character, Fu, is a rookie hitman who's low on cash.
The end is pretty predictable (but the identity of the killer who killed the mafia boss is probably supposed to come as a surprise.
Good acting all round (watch for Jet li's subtle quirks), standable music, nice sound, simple and unglorified directing (check out the fight with the guy with the lasers) good fight scenes, and a solid plot make this a good change of pace from most Jet Li movies.
Don't watch it for a Martial Arts Flick, just watch it for a well made action movie and you won't be disappointed.
Eric Tsang is a very successful actor in the Hong Kong market, but has virtually no following here -- which is too bad.
Jet Li (Hero, Black Mask etc.) and Erik Tsang (Infernal Affairs) star in this wire fu action flick with an identity crisis.
As the film goes on all the comedy moments are forgotten and we begin to move into a serious action flick involving a bit more gun play than the usual Jet Li film, in fact it comes across at times as a cross between a Jet Li film and a John Woo heroic bloodshed type affair.The action sequences are all to the high standard expected of Jet with a few added gun play sequences.
Li is very likable in the lead role and Tsang is very good in his sidekick role showing a different persona to his performance in Infernal affairs.Overall a fairly good hong kong action flick but the differing styles clash at times 6/10.
Mystery/action film starring Jet Li as a newbie hitman..
Jet Li has certainly done better films than this, but Hitman is worth a watch simply because it is quite different from all the rest..
This movie has Japanese swordsmanship, gadgets to blind people with, and good action all around..
The movie has several hilariously memorable characters like the head of the trust board who insists "Yes, I'm afraid of you, but I'm more afraid of starving"...I honestly felt that Simon Yam's character was a bit extraneous, he certainly doesn't have the skills that Jet Li has and he's very unimpressive without a gun in his hands.
The final fight scene is great enough to buy the movie and the very end has a nice feel-good sentiment.
The fast furious foot work of Jet Li, crossed with his amazing gun work, plus an array of comedy provided by circumstances and his partner in crime, failed dad Mr. Leung, makes this film a HK film not to be missed.
Fast action and lots of laughs too!In The Contract Killer, Jet Li supplies the charisma and quick kicks as a lowly trainee hitman going for the big score in tracking down the King of All Hitmen.Li's character is in tandem with a sly, but bumbling conman, played by the great Hong Kong character actor Eric Tsang (Men Suddenly in Black, Accidental Spy), who excels at menace and comic relief.
I bought this movie on DVD for just £4.00 and im very impressed with it, what a bargain !Its funny (very funny in some parts), fast and the guy who plays Li's friend in this movie is a hilarious hapless character.This movie has some interesting, new aproaches to Hong Kong movies.
Such as a bad guy who wears extremely powerful laser-lights to blind his enemy - sounds cheesy, but ill hear your opinion once you have seen it in action, its very effective.Jet Li's performance in this movie is by far his best, although 'Fist Of Legend' is still his best movie all-round.
If anything, I knew I was in for "something" and this is one film where you can say "don't judge a DVD by its cover".The acting is great, especially Jet Li who is normally known as a kung fu master or shoot 'em up guy.
No wonder the girls love him.But Eric Tsang outshines everyone as the money-hungry guy who will do anything to make a buck, and is successful in every transaction except when it comes to having a relationship with his daughter (Leung).The movie centers around the assassination of a Japanese businessman.
Jet Li's character, Fu, comes to Hong Kong from the mainland and finds that he is unlike his money hungry friend, but knows he has to do something to survive.
Combine that with the police investigating the murder case, and some hilarious moments from Tsang (Hong Kong's Joe Pesci?), and you have one of the best movies to come out of Hong Kong in some time.
Not a standard Jet Li actioner, but an amusing buddy comedy with a pretty intricate plot.
This film focuses way to much on the bland plot which is why your left only to deal with his acting which isn't that bad for someone that went from wushu champion to the acting gig.Out of all the movies in my Jet Li collection...
Granted the last fight scene is very intense but it's only the last 10-15 mins of the film and it's full of patented Jet Li trademarked moves like his belt as a weapon and his hilarious 'bitch slaps' to the face.
Hitman is a good solid action comedy which calls upon Jet Li to do a little more acting than usual.
The cast is good, with Eric Tsang standing out particularly, and Heiji Sato making a decent debut as the nasty Japanese guy (there seem to be a lot of these in Hong Kong movies).
Action scenes are relatively thin on the ground but what's there is of a good standard - although you might expect better from "Hong Kong's greatest action export".What's most refreshing about this film is its understatement.
The plot isn't anything special but it's pretty water-tight, and the action is all pretty believable if unspectacular.One thing I particularly liked about Hitman was the way that different languages were used throughout the film (without using dubbing as in The Black Sheep Affair).
This aside, there is nothing particularly innovative here, but nothing worth criticising either - a film I could recommend to people who don't usually enjoy foreign martial arts movies..
The director speeds up the fight scenes (as if Jet Li weren't already fast enough), cuts too quickly between shots, holds his camera too close to the actors and generally does everything in his power to make the action scenes difficult to see and enjoy; what begins as a serious martial arts movie becomes a laughable cartoon.
Away from the hunt for the killer Fu gets close to Ngok Lo's beautiful daughter Kiki.This film was a lot of fun; it combines humour, impressive action and even a little romance.
Jet Li does an impressive job as Fu and Eric Tsang is a lot of fun as Ngok Lo. There are also notable performances from Simon Yam as Officer Chan Kwan, the policeman looking for the killer, and Gigi Leung as Kiki; the rest of the cast are solid too.
Overall I'd recommend this to fans of Hong Kong cinema looking for a nice blend of comedy and action.These comments are based on watching the film in Cantonese with English subtitles.
Hitman (AKA "Contract Killer, AKA "The Contract Killer") is a 1998 Hong Kong martial arts film directed by Tung Wei. The film was produced by Gordon Chan.
The Plot: A fast talker (Eric Tsang) engages a Hong Kong rube (Jet Li) to track down the assassin of a sleazy Japanese businessman.Overall, Hitman is a fantastic martial arts film.
A lot of funny moments and of course excellent action and fight scenes from none other than Jet Li..
Typical 1990's Hong Kong action movie....
And unfortunately "Contract Killer" (aka "Sat sau ji wong") is such a dubbed movie.
It is always done so poorly that it becomes laughable.Anyone familiar with Hong Kong cinema will be thrilled to see Simon Yam, Eric Tsang, Gigi Leung and of course Jet Li in "Contract Killer".
Simon Yam provides the serious acting, Eric Tsang provides the comical relief and Jet Li is of course doing the action.But they were being brutally butchered by a pathetic English dubbed audio track.Story-wise then "Contract Killer" is very typical for the action movies that were coming out of Hong Kong cinema during the late 1990's.
I did find it entertaining enough for what it was, I just struggled to swallow that dubbing pill.Aside from the dubbing horror, then the music in the movie was mostly very poorly selected; and here I'm thinking of the title track, the music played during the rather impressive elevator shaft fight scene and during the last fight scene."Contract Killer" appeals to anyone with a lifelong love romance with Hong Kong cinema.
For newcomers there are far better Hong Kong action movies available.
I strongly recommend you to watch the original version, avoid the U.S version under the name "Contract Killer", those bastards at Columbia/TriStar don't give you the option to watch the movie in it's original language, soundtrack and runtime.Anyway, this is my favorite Jet Li film, i already watched it more than thousand of times and it never bores me.The action is cool, it both provides great fights scenes and some good (and also bloody) gunplay.Jet Li kicks ass (as always), Simon Yam gives his usual good performance and Eric Tsang is a (unexpectedly) good (and funny) sidekick, i expected the typical lame humor that you find in HK action movies, but the humor was actually good enough to give a some chuckles, the story is also good, it has some twists.Even the soundtrack manages to make the film enjoyable, it also gives the movie that typical "late 90's" flavor..
The Contract Killer is one of Jet Li's best films.
Besides the cool action sequences, the movie has effective humor (courtesy of Eric Tsang), and well...
Yeah.Anyways, long story short, Jet and Eric must find the killer of old mafioso don Tsukamoto, in order to receive a 100 million dollar reward.
Everything else is action and buddy comedy.It is important to recognize the talent and agility Jet demonstrates in his fighting scenes.
This movie is called Hitman, and Jet Li holds the main character, so you would expect that he is a well trained, bad ass hitman, who kills a lot of people.
Good mix of Crime, Comedy and Martial Arts Action !.
This movie has only been released in th U.S. due to Jet Li's popularity, but that's a shame due to the other HK actors involved with this flick.
"S.P.L.") and "Dragon Squad" as well as Eric Tsang, who I've seen in Jackie Chan films along with Sammo Hung and, man, is he a goob or what?Anywya, it's all about the training of a rookie assassin ( Li ) being tutored by a con ( Tsang) on how to make it in the criminal business world and then both decide to accept a reward that a Japanese tycoon organization is offering for whoever can kill the "DeathAngel," a mysterious armored figure who has made repeated blows on the Japan's kingpin's life/ organization members off while at the same time, a frantic cop ( Yam) is overlooking the entire murder case trail ( that relates back to the "DeathAngel" ) and plans on seeing what these two suspicious business partners are up to.
And I say that because Hit-man isn't the first movie, someone will stumble upon, while he's/she's looking up Jet Li. Just because it's also not his best one ...Still this is entertaining and if you don't expect any story you'll get your moneys worth ...
I am also into marketing and wanted to know some more information about a movie called "the Contract Killers (the movie was great!!).
I would like to know How can I find out more about the cellphone that was used in the movie "The Contract Killer".
At least if you like Hong Kong action movies in general.
And since this film is not "just" an action flick, Jet Li actually has to do a bit of real acting as well, and this is a welcome change, too..
Jet Li plays a hitman in this movie but lacks too much of the characteristics of a hitman, instead he is overwhelmed with morality and sympathy.The plot wasn't all that great, a Japanese Tycoon has put on his death will to award 100 million dollars to whoever kills his assassins as he suspects he will be assissinated.
His lawyer-daughter, played by pop superstar Gigi Leung, tries to straighten out her pop, and begins a platonic romance with Li. The movie's action, comedy, and acting are first-class: it'll have you in stitches at times, such as the teddy bear scene.
Not As Good As You Think It May Be. Hitman isn't a totally bad film, it just lacks the action we expect from a Jet Li film.
This movie is kinda different than his other films like Fist of Legend or Black Mast because in this movie Jet uses a lot of guns instead of using hand to hand fighting.
Still, this movie is very entertaining and you should watch it if your a Jet Li fan..
As for Jet Li, I'm definitely impressed with his martial arts skills but I'm not that impressed with the movies that he has made lately.
I've watched a few interviews with Jet Li which shows that he is quite a funny man who doesn't take life that seriously, which you can see in some of his films, but he really need to start making some better movies.
Anyway, I found this movie funny but not that great in the action department.I recommend this movie to people who are into their Jet Li movies about a down and out man who joins up with an agent to track down a murderer for a large amount of money.
What one can expect from a Hong Kong action flick.
What this movie is is a Hong-Kong action flick, and as one, it delivers..
Contract Killer(Sat sau ji wong) has dynamite action scenes but they are too few and far between.
Jet Li is a wannabe hit-man and doesn't know the first thing about it although he kicks ass like crazy.
So, for good martial art ass kickery, this movie delivers.
Maybe the worst movie of Jet Li. A good action flick, has a lot of problems when you want good martial arts.
I want to say that the typical movies from Hong Kong are fine, but this one has poor script, the action could be better, and the characters could be more developed.
This is great fun all the way, with fantastic fight scenes, a cool story and a wonderful finale!.
This is great fun all the way, with fantastic fight scenes, a cool story and a wonderful finale!.
The fight choreography is excellent, and the character development is quite good as well!, plus Jet Li and Eric Tsang had great chemistry together!.
It also had some great humor and the dubbing wasn't all that bad, plus Simon Yang rocked in his role as the Det.!.It has some cool plot twists, and the main fight between Jet and Keiji Sato was especially good!, plus all the characters were very likable!.
The plot is very well done, and i feel this is one of Jet's most underrated films!, plus i thought Jet's acting was fantastic!.You get to see a lot of Jet's natural ability here, and i think this movie should at least be around the 6.9, 7.0 range!, on this site, plus The ending was great.
This is great fun all the way, with fantastic fight scenes, a cool story and a wonderful finale, i highly recommend this one!.
Jet Li is amazing as always, and is amazing here, he is extremely likable, looks damn cool in Black, is quite funny, intense, was fantastic in the acting department, had great chemistry with Eric Tsang, was focused and just did an amazing job!
Eric Tsang is hilarious as Jet's agent, he had some cool lines and cracked me up throughout i loved him.Simon Yam absolutely rocked in his role,had that great look of intensity on his face at all times, and was especially awesome in the finale!
Despite greatly enjoying his performance in Yimou Zhang's 2002 film Hero, (one of my most memorable cinema visits) I for some reason have never got round to seeing Jet Li's Hong Kong action flicks.
In a local DVD shop,I saw two Li DVDs at a good price,which led to me contacting the hitman.View on the film:Doing his own dubbing for the first time in his last Hong Kong flick,Jet Li gives a very good performance as Fu (!),with Li holding the impression that Fu is always one step ahead.
Some classic Hong Kong action courtesy of Jet Li. This excellent Jet Li flick is his last Hong Kong movie before he moved to America and made LETHAL WEAPON 4, and boy, is it a good one.
For once the complicated story takes precedence over the action sequences so that this feels like a fully-rounded film rather than just another predictable fight flick.
It's a film which throws in a police story, a murder mystery, loads of assassins and bad guys, a romance, plenty of excellent comedy and of course some very fine martial arts battles.
Jet Li himself is very good in the leading role, being both wonderful in the action stakes and also more than adequate when it comes to acting as well.
The movie is well paced and remains interesting throughout, is beautifully filmed, and is just about as good as you can get for a fight flick.
Of course, the main reason to watch Contract Killer is for the Martial Arts fights, and there are some absolute killers on display.
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tt1253863
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300: Rise of an Empire
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Note: this film is actually a prequel as well as a sequel to the original '300' film (with the events happening before, concurrently, and after the events of the previous film).In the opening scene, Queen Gorgo (Lena Headey) narrates about King Darius (Igal Naor) leading his army of Persians into Greece in the Battle of Marathon in 490 BC during the first Persian invasion of Greece. The Athenian general Themistocles (Sullivan Stapleton) led his own army against them at the shores. The Greeks brutally and effortlessly take down the invading Persians one by one, paving the way for Themistocles to take aim at Darius, who is watching the massacre of his men from his ship offshore. Themistocles raises a bow and arrow, ready to commit the act that would make him known as a legend. He releases the bow just in time for Darius's son, Xerxes (Rodrigo Santoro) to watch. He runs to his father's side but is too late to save him as the arrow pierces him. Xerxes holds his father in his arms and locks eyes with Themistocles. The latter walks away, with Gorgo stating that he knew in his heart that he made a mistake not to kill Xerxes when he had the chance.Darius is returned to his kingdom to lie in his deathbed. He and Xerxes are joined by Artemisia (Eva Green), Darius's commanding naval officer, said to be as vicious as she is beautiful. She holds Darius's hand. In his dying moments, he tells Xerxes that it is best to leave the Greeks alone, for only the gods can defeat them. Artemisia pulls the arrow out of his chest to end his suffering. For a week, Xerxes sits and mourns the death of his father. On the eighth day, Artemisia holds Xerxes and tells him that his father's last words were not a warning, but a challenge. If only the gods can defeat the Greeks, then, she tells him, he is to become the god king.Artemisia has Xerxes sent into the desert wearing chains until he walks into a cave with a pool of bright gold liquid. Xerxes steps in, with, as Gorgo states, a dark desire for power and revenge. Xerxes emerges with a golden tinge and fiery red eyes, also hairless and a foot taller. Meanwhile, Artemisia kills off all of the former allies of the man that Xerxes used to be. He returns to Persia and stands before the citizens, with Artemisia right behind him. He declares, "For glory's sake...WAR!" The Persians cheer this on loudly.Ten years later (in 480 BC), Xerxes makes plans to lead his army on land through Thermopylae while Artemisia is prepared to ready her navy at sea. The second Persian invasion of Greece begins.In Athens, Themistocles meets with the council to discuss his own naval strategy for taking on the invading Persians. Although the Athenians want to desperately bring the Persians down, they are not keen on sending their men to sacrifice themselves in battle. Themistocles insists that it is in the best interests of Greece that they fight for the sake of freedom, and so he demands that he be brought the best ships to go into battle. He also tells the council he will seek help from the Spartans.Themistocles travels to Sparta to request help from King Leonidas and his army. He walks in on a training session where a group of Spartans beat down on one man as he tries to fight back. The man gets bloodied up good.. Themistocles encounters Dilios (David Wenham), who tells him that Leonidas has already begun to lead his men on foot, adding that he already dealt with the emissary sent from Persia. Queen Gorgo speaks with Themistocles to tell him that the Spartans do not share the same ideal of a free nation in the same way that he does.Meanwhile, a prisoner is brought before Artemisia on her ship. He chastises two of her guards for being Greeks working under a woman with Greek blood but a devotion to an enemy nation. Artemisia grabs her sword and says she may be Greek, but her heart is Persian. She decapitates the man and throws his head off the ship. She sees a soldier on the ship that she is unfamiliar with. "Well, then, allow me to introduce myself", he boasts, before killing off several Persians. He is Scyllias (Callan Mulvey), an Athenian soldier sent to spy on the Persians. He jumps into the sea and avoids being hit by the arrows of the Persians.Scyllias, along with his son Calisto (Jack O'Connell), reports back to Themistocles and his lieutenant Aekylos (Hans Matheson). Scyllias tells them that the Persians are being led at sea by Artemisia. It is believed that she is the sole survivor of an attack on her town.Through a flashback, we learn of her background story. As a child, a helpless and terrified Artemisia watched tearfully as her mother and father were slaughtered right before her eyes. A soldier from the invading side, walks to Artemisia and kicks her square in the face. Over the years, the soldiers raped and abused the girl until they left her on the side of the streets for dead. She is found by the Persian emissary (Peter Mensah; the same one that Leonidas kicked into the bottomless pit in the previous '300' film) and is looked after by him. She planned to return to Greece when she was ready to watch it burn. Over time, the emissary trains Artemisia in combat. She proves to be quick and dangerous, and as an adult, she carries many severed heads of Darius's enemies and brings them to him, earning her the position of his general. Even with this knowledge in mind, Themistocles prepares his strategy for the battle. Aekylos points out that their small navy against the much larger Persian navy outnumbers them and that the mission is suicide. "Such is the plan," Themistocles replies.In the present, Themistocles, confident in his men, leads them all out to the Aegean Sea, where Artemisia is leading her navy. Her general Artaphernes (Ben Turner) tells her that General Bandari (Ashraf Barhom) has prepared his strategy to lead the ships against the Greeks. Themistocles stirs up confidence by encouraging the men to fight with those standing by their side. The Athenians ram their ships into the Persian ships, charging at them with full force and fury. This leads to another bloody fight with many Persians dying at the hands of the Athenians. Scyllias and Calisto fight side-by-side, with Calisto hurling his spears at the Persians.Artemisia, displeased with the results, has Bandari chained and thrown into the sea where he sinks to his watery grave. The generals think she is disappointed with the loss of her men, but she admits to being disappointed in them specifically. She ponders the thought of having somebody standing by her side.The next day, the Athenians cause the Persians to sail their ships through a crevice, causing the leading ship to get stuck and have the other ships crash into it. From atop the cliffs, the Athenians jump in and continue to slaughter the Persians. The second general to lead them, Kashani (Christopher Scieueref) is killed by Themistocles. Scyllias sees Calisto jumping into the fight, but clearly not wanting to see his son get hurt. Artemisia watches from her ship, admiring Themistocles's tactics and command.Artaphernes rides a boat to the shores where the Athenians have set up camp to bring Themistocles onto Artemisia's barge. She commends his skill during the battle when she takes him into her private chambers. She asks him if there happens to be somebody back in Athens for whom he fights. Themistocles states that he has had no time for a family or children. Artemisia offers him a chance to join her so that he will not have to live with conflict or responsibility. The two of them then start having rough, passionate, and violent sex (which her guards can clearly hear). When Artemisia echoes her offer, Themistocles simply states no, and Artemisia angrily throws him off of her, hissing to him that he is no god, but merely a man. Themistocles returns to the camp, warning his men that Artemisia is prepared to bring hell to them.On the next day of battle, the Persian ships release tar into the ocean, along with several guards swimming out to the Athenians with explosives strapped to their backs. The Athenians fight off the guards until Artemisia fires her arrows. The Persians hurl flaming arrows to ignite the tar. Artemisia fires more arrows, striking three into Scyllias as Calisto watches. On one of the Persian ships, a large Persian hurls torches to continue igniting the fires. He is struck with an arrow, and he drops the torch on himself, setting himself ablaze. He falls off the ship into the spilling tar, sending a wave of fire onto an Athenian ship, but also back onto the Persian ship, causing it to explode. Artemisia sends another flaming arrow to hit the back of a Persian with an explosive on his back, just as he climbs onto Themistocles's ship. He orders everyone to abandon ship and he lunges toward the Persian. Before he can strike him, the explosive goes off and destroys the ship, taking Themistocles down with it. Artemisia watches proudly as her enemy sinks. In the ocean, Themistocles sinks among the bodies of his fallen comrades. He sees two serpent-like creatures swim to them and devour them before one lunges at him.Themistocles is snapped out of this dream by Calisto. He realizes this event may have been brought upon him to subdue his ego or to remind him of the mistake of not killing Xerxes. Themistocles walks over to Scyllias's side as he is dying. He urges his friend to continue the fight and tells him something else before finally passing. Themistocles mourns his friend. Calisto asks Themistocles what his father's last words were, but Themistocles says he will tell him in time.Meanwhile on land, Xerxes and his army have just killed off Leonidas and his 300 Spartans after the brutal three-day Battle of Thermopylae (a brief flashback to the previous film). The birds pick at the eyes of the dead Spartans while the Persians continue marching onward victoriously towards Athens. The news of the defeat reaches Themistocles through a messenger. He returns to Sparta to confront Ephialtes (Andrew Tiernan), the deformed hunchback that betrayed the Spartans and sold them out to Xerxes. Seemingly remorseful for his actions, he does not cower when Themistocles lowers his sword to him, saying that there is little beauty in him, and even less in what he's done. Ephialtes adds that Xerxes is leading his army to Athens, preparing to destroy it. Themistocles leaves him alive so that he may carry the message back to the Persians saying that the Greeks will fight to the death.Themistocles goes to speak to Queen Gorgo. Dilios, now half-blind, warns him to not expect a warm welcome. Gorgo is still in mourning of her husband. Although Themistocles urges her to aid in the continuing battle, she refuses to send anymore husbands, fathers, and sons out to be sacrificed any further. He hands her the sword of Leonidas, saying it belongs with her. Gorgo tears up at the sight of it.The Persian army takes Athens. Xerxes holds the head of Leonidas boastfully over the city as his men lay waste to the people and burn everything down. He continues to brag about his victory and states that Themistocles was nothing but a coward. Ephialtes returns to Xerxes and Artemisia to report that the Greeks are continuing to take their battle back into the sea, led again by Themistocles. Hearing his name and realizing he's not dead, Artemisia vows to end the Athenians once and for all. She leaves to prepare her command.Themistocles acknowledges that his men may be weary of continuing the fight, knowing they too would refuse to see anymore bloodshed. He encourages them to act for themselves and leave now if they wish so that they may maintain their freedom, but also encourages them to stay and fight. "Let it be shown that we chose to die on our feet, rather than to live on our knees!" The Athenians cheer.The limited number of Athenian ships face the huge Persian fleet at the sea in their final battle. Themistocles tells Calisto his father's final words, which was to say that he has earned himself a place at the table (he's ready to fight). Once again, both Themistocles and Artemisia are set to lead their men into battle. The climatic naval Battle of Salamis begins. Their ships collide, and the Athenians charge against the Persians, fighting quickly and mercilessly. Not ready to stand idly by, Artemisia wields her two swords and fights against the Greeks, killing off as many as she can on her own.Themistocles rides his horse through the battle until he reaches Artemisia's ship. He reminds her of her earlier offer, stating that he still says no. Angered, she begins to fight him in a duel. He fights with great fury, and she quips that "he fights harder than he fucks". They continue to fight until they hold both their swords at each other's necks. Themistocles continues to refuse the idea of joining Artemisia, and he tells her that it is time for her to surrender.We see Gorgo leading her army of Spartans, having been telling them the story from the beginning, leading into her own rousing speech as they come closer to surrounding the Persian fleet. In addition, armies from other allied nations join in the fight. Themistocles points this out to Artemisia as he still has her with his sword to her throat. He urges her to surrender. She chooses not to, and she grabs her sword to kill, but Themistocles quickly drives his sword into her stomach. Artemisia drops to her knees. In her final moments, she watches as the allied forces surround her navy. Xerxes, watching from the cliff side, turns his back on her. Artemisia finally collapses, dead, just as Gorgo and Dilios step onto her ship to stand by Themistocles.The film ends with the Spartans and Athenians banding together to defeat the Persians once and for all. It was later recorded in history that the naval Battle of Salamis was one of the most decisive battles of the ancient world and the allied Athenian-Spartan victory forced the Persians to retreat from Greece for good.
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murder, violence, historical fiction, good versus evil, flashback, revenge, sadist
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train
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imdb
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tt0078754
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All That Jazz
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Joe Gideon is a theater director and choreographer trying to balance work on his latest Broadway musical with editing a Hollywood film he has directed. He is a workaholic who chain-smokes cigarettes, and without a daily dose of Vivaldi, Visine, Alka-Seltzer, Dexedrine, and sex, he wouldn't have the energy to keep up the biggest "show" of all — his life. His girlfriend Katie Jagger, his ex-wife Audrey Paris, and daughter Michelle try to pull him back from the brink, but it is too late for his exhausted body and stress-ravaged heart. In his imagination, he flirts with an angel of death named Angelique.
Gideon's condition gets progressively worse. He is rushed to a hospital after experiencing chest pains during a particularly stressful table read (with the penny-pinching backers in attendance) and admitted with severe attacks of angina. Joe brushes off his symptoms, and attempts to leave to go back to rehearsal, but he collapses in the doctor's office and is ordered to stay in the hospital for three to four weeks to rest his heart and recover from his exhaustion. The show is postponed, but Gideon continues his antics from the hospital bed, in brazen denial of his mortality. Champagne flows, endless strings of women frolic around his hospital room and the cigarettes are always lit. Cardiogram readings don't show any improvement as Gideon dances with death. As the negative reviews for his feature film (which has been released without him) come in, Gideon has a massive coronary and is taken straight to coronary artery bypass surgery.
The backers for the show must then decide whether it's time to pack up or replace Gideon as the director. Their matter-of-fact money-oriented negotiations with the insurers are juxtaposed with graphic scenes of (presumably Joe's) open heart surgery. The producers realize that the best way to recoup their money and make a profit is to bet on Gideon dying — the insurance proceeds would result in a profit of over USD$500,000. Meanwhile, elements from Gideon's past life are staged in dazzling dream sequences of musical numbers he directs from his hospital bed while on life support. Realizing his death is imminent, his mortality unconquerable, Gideon has another heart attack. In the glittery finale, he goes through the five stages of grief — anger, denial, bargaining, depression and acceptance - featured in the stand-up routine he has been editing. As death closes in on Gideon, the fantasy episodes become more hallucinatory and extravagant, and in a final epilogue that is set up as a truly monumental live variety show featuring everyone from his past, Gideon himself takes center stage.
The final shot shows Joe Gideon's body being zipped up in a body bag.
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tragedy, comedy, flashback
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train
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wikipedia
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tt0081764
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Without Warning
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A young man and his father go hunting in a mountain area with forests somewhere in the American Midwest. Before they get to hunt anything, which the son is not to eager to do anyway, both of them get killed by strange flying jellyfish-like creatures which hit them and penetrate their skin with sharp-tipped tentacles.Some time later, four young teenagers, Tom, Greg, Beth and Sandy, go on a hike in the same area, ignoring the warnings of Joe Taylor, a local truck stop owner (Jack Palance). A group of cub scouts is also in the area; their leader (Larry Storch) is also killed by the alien creatures, while his cubs run into an unidentified humanoid and flee.The youths begin their vacation at a lake, but after a few hours, Tom and Beth disappear. Sandy and Greg go looking for them, and discover their dead bodies in an abandoned shack. They flee in their van, being attacked by one of the creatures, which tries to get through the car's windshield. After they have gotten rid of it, they come to the truck stop. Greg tries to get help from the locals, but they do not believe him, with the exception of Fred 'Sarge' Dobbs (Martin Landau), who is a mentally ill veteran. Meanwhile, Sandy encounters the strange humanoid and flees into the woods, where Joe Taylor finds her and returns her to Greg.While they discuss the situation, the sheriff arrives, but Sarge shoots him and begins to get more and more paranoid. Greg and Sandy leave with Taylor, who has been attacked by the humanoid before and secretly keeps the flying jellyfish as trophies, and go searching for the shack. Once there, Taylor goes inside but finds nothing but the dead bodies of Tom, Beth and the cub scout leader. They discuss waiting for the creature when Taylor is attacked by another "jellyfish". The young people flee once again, leaving him behind as ordered. They stop a police car and enter it, but find it to be driven by Sarge, who abducts them, believing them to be aliens. Greg plays along, telling the deranged man that an invasion force is on the way, thus distracting him enough to toss him aside, run away with Sandy and jump from a bridge.They make it to a house where they find new clothing and try to relax. In the night, Sandy wakes up and goes looking for Greg, only to discover that he has been killed by the alien, who is still in the room. She flees to the basement and the creature is about to get her when Taylor arrives and saves her. On the way to the shack, he tells her about the creature: it is a tall extraterrestrial (Kevin Peter Hall) who hunts humans for sport to keep as trophies, using the living creatures as living weapons against its prey.They wait at the shack to ambush the hunter with dynamite when Sarge shows up, almost spoiling their plan. He and Taylor fight, and Sandy is about to hit Sarge from behind when the alien arrives and kills Sarge. Taylor then shoots the creature, with little to no effect. Realizing the last chance of success, he lures it to the shack, which is then blown up by Sandy. She alone survives the horrible night.
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cult, murder
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some people are brutally killed and mutilated by an unknown stranger, and it's the turn of a bunch of teenagers and war veterans to find out that an illegal alien has landed and is hunting for humans for his horrible collection...Although this movie shows lots of stereotypes and well-known topics from many horror movies from the 50's to the 70's like "It Came From Outer Space", "The Thing", Jack Arnold and Roger Corman cheapos, "Night of the Living Dead", "The Texas Chainsaw Massacre", "Three on a Meathook" and even "Alien" and the new wave of high school slasher movies like "Halloween" and "Friday the 13th", it's an entertaining and thrilling affair.There are some old movie veterans like Jack Palance, Martin Landau, Ralph Meeker, Cameron Mitchell and Neville Brand involved with Palance and Landau playing the mad alien hunters, and a young David Caruso in his very first movie role.
Director Greydon Clark never had a big break-through movie, but photographer Dean Cundey had a big time in the nineties with jobs for "Apollo 13", "Casper", "The Flintstones" and the Spielberg hits "Hook" and "Jurassic Park".All in all it's a nice midnight movie and a small highlight for fans of seventies' paranoia horror films in the wake of the remakes of old alien, monster and disaster film productions.
But trust me, this is what I do for a living: Anyone with a taste for outrageous, low budget Amercian made regional horror will find a masterpiece here waiting to be unleashed.The plot is already summed up well by other admirers: Alien being decides to go hunting in the woods of what looks like rural Oklahoma using an elaboration on those flying pancake monsters from the old "Star Trek" series that would smack onto someone's back and drive them insane.
The Alien's flying pancake killings are gory, inventively staged, unpredictable in occurrence and made to create squeals of disgust from viewers, who if they allow themselves to get caught up in the proceedings will feel like they are 10 years old again & watching Creature Feature matinée when they should be outside doing chores.
Even without any exploitational nudity, this movie is a guilty pleasure dream come true.BUT, the thing that entranced me the most about the film was -- amazingly -- the performances, or rather the job of the actors in personifying the community of individuals depicted, all of whom come across as real people in the same way that "The Simpson's" characters also feel real.
The movie looks like it was filmed in & around the woods down by the drainage ditch about three blocks away, and is proof that you don't need a huge budget, a moron A-list face like Tom Cruise or Brad Pitt or flashy computer generated effects to make a very satisfying little creature feature.
But make no mistake & listen not to the Negative Nellies from Sector Nine: You won't regret investing your 90 minutes into this movie if low budget horror alien invasion and wacko backwoods regional quirk films are your cup of tea.
The fun and gooey make-up FX are by Greg Cannon.If the campy, silly plot isn't enough to get you tuned in, keep in mind it costars Jack Palance as a grizzled gas station owner, Cameron Mitchell as a sadistic hunter and an out-of-control Martin Landau as a ranting, raving, insane Vietnam vet!
David (NYPD BLUE) Caruso also puts in an early appearance and the alien is played by giant Kevin Peter Hall, who went on the play the monster in the PREDATOR films.Fun flick!Score: 6 out of 10.
I recall that the film had a nice updated 1950's sci-fi feel to it (like Humanoids, a little atmosphere, some laughs (frisbees etc.), hammy performances (Landau Palance) and Larry Storch.
This "AIP Movie Era" was sadly coming to a close and "Without Warning" is a great example of this late lamented(?)style of cinema.I can still hear Jack Palance screaming "ALIEN!!!!!"................sigh...
It's nicely done, although it looks like a Kolchak/Night Stalker episode.However, the little frisbee/alien/thingies are extremely creepy, and strike me as very effective considering the low-budget.The alien "hunter" looks like they got the costume from Outer Limits.Overall, I'd recommend this movie, despite the hammy performances.
This low budget horror film starred a trio of hard living actors (Jack Palance, Neville Brand and Martin Landau).
But LAndau and Palance went on to greater fame years later (the two even co-star in the highly underrated horror film ALONE IN THE DARK).The movie is about a giant alien who likes to stalk humans.
Seven years before Arnold Schwarzenegger got to say "I'll be back" for the tenth time, this low budget science fiction slasher movie introduced audiences to the idea of alien hunters going after human prey.
Lots of familiar faces, including Martin Landau, Cameron MItchell, Jack Palance, a very young David Caruso, Larry Storch for TV's F-Troop, and last but not least, Kevin Peter Hall as the alien hunter, seven years before he got to kick Arnold's butt in Predator.If you can forgive the low production value and the cheesy script, then you might want to give Without Warning a look..
Greydon Clark's WITHOUT WARNING--This 1980 Horror Starring Jack Palance and Martin Landau is one of the best horror movies of 1980.
***SPOILERS*** Low-budget alien from outer space movie where this moon-headed looking alien has a local community somewhere in middle-America targeted to be hunted down and killed for food and, after the humans are processed and eater,trophies.Starting off by killing a father and son, Cameron Mitchell & Durby Hinton, who are out camping in the wild than a scoutmaster, Larry Storch,who's team of cub-scouts run for their lives the alien catches a young vacationing couple Tom & Beth, David Caruso & Lynn Theel, all by themselves separated from their two friends Greg & Sandy, Christopher S.
The alien uses these strange looking blood-sucking critters tossing them at it's intended victims like Frisbee's that stick to their bodies sucking the life-blood out of them.With Greg and Sandy running for their lives and for help at a local bar their looked upon as if their kooks by everyone there but Fred "Sarge" Dobbs, Martin Landou.
The local gas station owner Tom Taylor, Jack Palance, who earlier warned both couples not to go down by the lake where the alien was also knows that what Greg & Sandy are saying is true but is a cool and calculating hunter who's in control of his mental faculties, unlike Sarge.
Taylor knows what the alien is up to and plans to beat it at it's own game by him being the hunter not, like all the alien's victims, the hunted.The movie "Without Warning" does hold an unusual amount of tension for a low-budget horror film never letting it's audience get as much as a breather as it slowly moves to it's final confrontation between man and alien in the dark and creepy forest outside of town.
Taylor knowing that he doesn't have long to live maneuvers, by using himself as a decoy, the alien into the storehouse where Sandy, at a safe distance, set off the dynamite blowing both Taylor and the alien to pieces.One of the better alien from space movies of the late 1970's and 1980's that does the most with it's very meager budget to come across far better then the more expensive and better advertised like-wise films released back in those days after the success of the 1979 alien from space blockbuster "Alien"..
The cornball sci-fi flick "Without Warning" is widely seen as a semi-inspiration for the more famous "Predator", which also stars Kevin Peter Hall as an alien that goes around killing humans.
What I notice is that the stars of this movie, Jack Palance and Martin Landau, both eventually went on to win Best Supporting Actor, much like how "Predator" stars Arnold Schwarzenegger and Jesse Ventura later became governors.Anyway, the movie is about what you'd expect.
Watch closely in the first ten minutes and you'll see future NYPD Blue/CSI star David Caruso as one of the first to encounter the deadly alien, played by late-giant Kevin Peter Hall.Greydon Clark's sci-fi is almost a parody of sorts, though it doesn't compromise on the shock and gore employing creative special effects that conjure some genuine thrills and tension.
Pretty average science fiction movie that has flaws and assets that about balance each other out.The plot is an early predecessor of PREDATOR, as an alien hunts humans on Earth.There is an all star cast, or at least six huge names and a cast of unknowns.
The name stars, Cam Mitchell, Jack Palance, Neville Brand, Ralph Meeker, Martin Landau, and Larry Storch, all play character roles.
Without warning is a very rarely seen horror science fiction movie that was the precursor to predator.an awesome cast led by martin landau,jack palance,and ralph meeker in a small role,well actually his last.heres ca quick synopsis,an alien hunter throws these gooey green Frisbees at his prey and they latch on and proceed to suck their blood,then the alien then stores all his trophies in a shack.look for David Caruso in one of his first roles as one of the teens.Cameron Mitchell,Larry storch,Neville brand and sue Ann langdon also star in this weird horror science fiction chiller.i first saw this back in the late 80's on late night TV,of course it was censored.you can see this in all its gory on you tube in 10 parts.as for a DVD i don't think its available just yet,but its very entertaining.7 out of 10..
If not for the fact that there were actual actors in this candidate for the "two-for-$1.oo" bin at your local rental store, "Without Warning" would have went straight into the five cent bin.The alien-goes-hunting-for-humans bit has been seen a hundred zillion times but what makes this one different?
Without Warning (1980)* 1/2 (out of 4) An all-star cast (with two future Oscar-winners) highlight this rather silly, low-budget science fiction movie about an alien stalking a small town where several people fall victim to its boomerang like flying smaller alien.
"Without Warning" is a sadly neglected and underrated precursor of more famous "Predator".It's about a bloodthirsty alien,who preys on humans via fleshy disks with fangs.He kills hunters,horny teenagers and other unfortunate victims near a peaceful swimming lake.Two teens named Sandy and Greg escape from the woods and flee to town.At the local bar no one believes their story except Fred Dobbs(Martin Landau),a vet who has seen the alien hunter and is convinced that it is the first stage of an invasion and that the two surviving teens may be part of it.Now Sandy and Greg must escape from Dobbs as well as elude the hunting alien if they are to survive.Very entertaining and solid sci-fi/horror flick sadly never released on DVD and VHS.The bloodsucking flying disks are terrifying as they dig into the bodies of their victims and spew yellow puss when destroyed and there is plenty of tension.Highly recommended.8 out of 10..
Another point of interest is the number of Hollywood leading men who make appearances in the film as old men, including Ralph Meeker, Martin Landau, Jack Palance, and Cameron Mitchell.Overall, "Without Warning" is strictly a film for a very specific audience.
Honestly, that's when everything worth seeing happens: You get Palance and Landau playing over-the-top crazy like only they can, Palance actually saying intelligent things in a movie filled with nonsense, you get to see the only scenes with the actual alien in them, and you see the payoff, which is one
Not only is the plot suspiciously similar—an alien arrives on Earth to hunt humans—but the performer playing the extraterrestrial hunter is the very same person who played the Predator: 6'9" Kevin Peter Hall.Of course, Without Warning isn't the flawless, testosterone fuelled, action-fest that is Predator: for much of the time the plot goes nowhere, with the teen protagonists stumbling from one location to another pursued by both the dome-headed ET and a loopy, gun-toting ex-soldier, Fred 'Sarge' Dobbs (played to the hilt by Martin Landau); meanwhile, Taylor plans to kill the beast.
There's some fun to be had from the wonky alien frisbees, which fly awkwardly through the air and sport burrowing tentacles and gnashing teeth, but a lot of the running time is spent with the characters doing just that: running.The film ends in a manner that is, once again, eerily similar to Predator: Taylor prepares a booby trap and lures the alien by shouting 'come on!'.
The plot of the film is simple: Using bizarre looking but deadly living blood suckers as weapons, an alien creature from who knows where is ruthlessly stalking human prey alongside a rural lake for the sheer fun of it.
This film is SOOO awful, I can't forget it.When Jack Palance passed away, I started thinking about "that film he was in that was so bad." Finally, the name of the movie came back to me and I did a search, only to reminded of the horror...Yes, I was one of the probably several thousand people who actually saw this on its opening weekend in a theatre.
Same old story that we've seen a cazillion times over where a nasty alien comes to the countryside and starts hunting the locals!There are no spaceships in this one, but when you sign on Jack Planace and Martin Landau to play in a B sci-fi thriller, how much budget do you expect to have left for anything else?The late Kevin Peter Hall plays the alien (he also plays the Predator in the film with Arnie a few years later) and he probably worked on this flick for one day if that, as you never even get a glimpse of him until the last 20 minutes of the movie, and even then it's just quick looks in the dark.
(David's a LONG way from CSI: Miami in this one folks!)Martin Landau does a fine job of playing a whacked-out ex-military type who nobody believes when he talks about seeing the little "flyin' critters" and Jack Palance is, well...Jack.Be sure to take notice of the mega-budget special effects, when Jack shoots at the alien with his rifle and the hits him in the left shoulder (toward the end).
Although it was a delight a delight to see Martin Landau and Jack Palance star together in one horror movie!
By the way, I think the people behind the first "Predator" film stole the movie's basic plot element, namely: the reason for this alien to be on earth.
After a horrific ordeal Greg and Sandy are reunited with their old friend Joe Taylor (Jack Palance) and an eccentric Vietnam war veteran, Fred Dobbs (Martin Landau) who both have their own ideas on how to deal with this alien who (I'm afraid to say) is not seen until the final scene in the movie.
"Without Warning" is pretty good fun for fans of low budget monster movies, and as I'm sure has been pointed out numerous times before, works as a B level predecessor to the slicker and grander "Predator".
Unfortunately, his work never led to any mainstream success but a number of his movies are now enjoyed as cult favourites.An amazing cast of familiar faces is fun to watch: Jack Palance as crusty gas station owner Taylor, Martin Landau as the completely unhinged ex-military man Dobbs (these two were reunited for Jack Sholders' "Alone in the Dark" two years later), Neville Brand and Ralph Meeker as barflies, Larry Storch as a Scoutmaster, Cameron Mitchell as a macho hunter and Darby Hinton as his son, Sue Ane Langdon as bar owner Aggie, and David Caruso in one of his earliest screen roles as one of the four young people who venture into the woods for a good time.
Co-stars Tarah Nutter and Lynn Theel look quite nice in their bikinis and are very likable as well.One of the best things about the movie is that for a while we're led to believe that the ugly little miniature Frisbees flying around are the menace when in fact they're used as a means of incapacitating victims by the alien antagonist, who doesn't get a proper reveal until about a dozen minutes from the end.
The plot may be simple and familiar, yet THE WARNING offers up some great special effects in the form of the alien disc creatures, lots of slimy gore scenes, and a solid cast going through their paces, making it a unique genre crossbreed and a must-see for B-movie fans.
Without Warning might be cheap and kinda lame but it's a laugh-riot, it's incredibly nostalgic and the rural setting is something you just don't see in films today.Jack Palance and Martin Landau steal every scene they're in, they were probably the best actors in the whole film and they both play rather odd characters.
"The Warning" stars Jack Palance (confidence is sexy don't you think) and Martin Landau and is about an alien that comes to earth to hunt humans.
Yes it does have problems, some scenes seemed padded to get a 90 minute running time like overlong sequences of nothing going on but talking and looking around and the fact that the alien does not appear until the last 15 minutes of the film kind of sucks but for a movie about an Alien who uses pancake monsters via fastball express to kill people it wasn't half bad.
There's a good cast in this one, Martin Landau, Jack Palance, Neville Brand & Cameron Mitchell all make an appearance.Without Warning is a good sci-fi horror film that works well & I'd be surprised if it didn't inspire the makers of Predator to some degree.
I would like to think they did it on purpose and so cut them a great deal of slack, mostly by laughing at it all in a good natured sort of way.The basic plot, which would be lifted by Predator several years later, has an alien visiting earth and hunting the human here for trophies.
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S.O.B.
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The story is a satire of the film industry and Hollywood society. The main character, Felix Farmer (Richard Mulligan), is a phenomenally successful film producer who has just made the first major flop of his career, to the dismay of his movie studio, resulting in the loss of his own sanity. Felix attempts suicide four times: He attempts to die of carbon monoxide poisoning in his car, only to have it slip into gear and drive through the side of his garage, down a sand dune and into the Pacific Ocean. He then attempts to hang himself from a rafter in an upstairs bedroom, only to fall through the floor, landing on a poisonous Hollywood gossip columnist standing in the living room below. Subsequently, he tries to gas himself in his kitchen oven, but is prevented from carrying out his intent by two house guests with other things on their mind. Thereafter he spends most of the time heavily sedated while his friends and hangers-on occupy his beach house. The occupation leads to a party which degenerates into an orgy. Finally, he tries to shoot himself with a police officer's gun but is prevented from doing so by the ministrations of a young woman wearing only a pair of panties. The experience gives him a brainstorm that the reason for his film's failure was its lack of sex.
Felix resolves to save both the film and his reputation. With great difficulty he persuades the studio and his wife Sally Miles (Julie Andrews), an Oscar-winning movie star with a squeaky-clean image, to allow him to revise the film into a soft-core pornographic musical in which she must appear topless. He liquidates most of his wealth to buy the existing footage and to finance further production. If he fails, both he and Sally will be impoverished, at least by Hollywood standards.
At first the studio's executives are keen to unload the film onto Felix and move on, but when Sally goes through with the topless scene and the film seems a likely success, they plot to regain control. Using California's community property laws, they get the distribution and final-cut rights by persuading Sally to sign them over. An angry and deranged Felix tries to steal the movie negatives from the studio's color lab vault, armed only with a water pistol. He is shot and killed by police who think the gun is real.
Felix's untimely death creates a crisis for his cronies Culley (William Holden), the director of Night Wind; Coogan (Robert Webber), Sally's press agent; and Dr. Finegarten (Robert Preston), who plan to give him a burial at sea. They steal his corpse from the funeral home, substituting the body of a well-known but underrated character actor who died in the first scene of the movie. Felix gets a Viking funeral in a burning dinghy, while the other actor finally gets the Hollywood sendoff many thought he deserved.
The epilogue later reveals that Felix's revamped film was a box office smash, and Sally won another Academy Award for her performance.
=== The movie within the movie ===
Little is seen of the movie which is the focus of the plot, except for an extended dream sequence and a brief shot close to the end. The title is Night Wind, which provokes the headline "Critics Break Wind" seen on a copy of Variety at the start of S.O.B. after the initial flop. The plot of Night Wind is kept vague; it involves a frigid businesswoman (played by Sally) whose inability to love a "male chauvinist" rival executive stems from a childhood trauma that led to her sexual detachment.
The climax of Night Wind is the first scene of S.O.B., an elaborate song and dance sequence set to "Polly Wolly Doodle", in which Sally wanders through a room full of giant toys (several of which come to life), singing the song while dressed as a tomboy. The implication is that her father's death caused Andrews's character to renounce childhood and become a cold, frigid person.
A second scene, taking place at the end of the film, has Andrews' character arrive at the home of her would-be lover after the dream, where he reveals that he still loves her, "despite everything."
When Felix rewrites the film to make it into soft porn, changes are made: Sally's character goes from sexually frigid to being a nymphomaniac. Her lover goes from male chauvinist to being a secret cross dresser. Felix axes the entire song sequence, turning it from a dream to a hallucination "… caused by a powerful aphrodisiac put into her Bosco" and replacing the regular version of "Polly Wolly Doodle" with a more haunting version. He has the "toys" dress in more erotic outfits, and includes a carnival barker-type muscle man (portrayed by S.O.B.'s choreographer, Paddy Stone), who tempts Andrews' character before she rejects him, by way of flashing her breasts.
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Hey he got his wife to go topless and his wife was Julie Andrews - he must have heard cash registers in his mind like Richard Mulligan's character when he decides to put his wife in a porno=erotic something or other to make zillions of dollars.
Everyone and everything is a target and he hits it almost every time."S.O.B." tells the story of a big director whose latest film is the biggest flop in movie history.
Both Julie Andrews & Blake Edwards had every reason to hate Hollywood for what they did to them (chastising Blake for his indulgence, boxing Julie into a corner with sticky-sweet roles), so this wicked satire was their way of firing back & people either got the joke & were offended or didn't get it & just hated the movie for what it was.
Moviegoers probably thought more the latter, causing it to flop at the box-office & not exactly giving Julie & Blake the better opportunities they were looking for (both have found it difficult to find films outside of the stereotypical ones they made their name with).
ONLY ONE MOVIE gives us the best all time performances from Richard Mulligan, Robert Webber and Loretta Swit, coupled with over-the-top turns by Julie Andrews, Robert Vaughn, William Holden and the amazing Robert Preston as Dr. Finegarten.
During an orgy/party that his good friend, cheerfully hedonistic director William Holden has at Mulligan's house while on suicide watch, Mulligan gets a brainstorm and decides to redo his last G rated film as soft core porn with Julie Andrews displaying her glockenspiels.
A little fine tuning in his performance might have helped, but the director who should have done this was busy elsewhere.Instead of Blake Edwards doing it himself, he should have begged Billy Wilder to do this film.
The opening credits sequence, in which he see the "Darling Lili" surrogate Night Wind play out (it's supposed to be BAD, so relax), to the great slapstick sequences (Mulligan's suicide attempts are particularly funny) to the ontarget performances which include Andrews, cast against type as a rich bitch actress, William Holden as the director, Richard Mulligan as the Blake Edwards surrogate and especially the great Robert Preston as the local Dr. Feelgood (called Finegarten in this; preston should have received a nomination for his good work)There are also many other Edwards veterans in the cast such as Robert Webber, Craig Stevens and Stuart Margolin, just to name a few.Seeing this film once is just not enough.
A tune-up for Blake Edward's next movie, Victor/Victoria, but worth watching for Robert Preston's very amusing performance alone....
In this satirical look at Hollywood, a film producer tries to commit suicide after a big-budget flop, but then decides to reshoot it as porn.
I discovered this film on Cable-TV on a wonderfully programmed channel called "Z" in Los Angeles in the late 80's when they had a week long Blake Edwards Director's focus.
Until that time, the only thing I thought Blake Edwards did was "The Pink Panther" which was not my kind of film(s) but was okay.S.O.B. is a funny yet sobering look at Hollywood.
While the film did jump around between various members of its large cast, I loved William Holden, Richard Mulligan, Robert Preston and Robert Webber in almost every scene they were in.The best scenes included Preston's character Dr. Irving Finegarten, but it was the combined interaction of Holden, Preston and Webber near the end of the film, culminating in the Viking funeral, that made it truly enjoyable for me.Also pay attention to the dialogue and not just the actions.
S.O.B. was director Blake Edwards' own "All that Jazz", a self-indulgent, slightly over-the-top, slightly disguised look at a particularly period in his Hollywood career where he and wife Julie Andrews were treated pretty despicably by the Hollywood big shots who can make or break people in Hollywood with one telephone call.
In S.O.B.(which, BTW, stands for Standard Operational Bull***t), Richard Mulligan plays the manic Hollywood director, Felix Farmer, who is suicidal after his film "Night Wind", starring his wife, Sally Miles (Julie Andrews) bombs miserably.
Farmer is practically written off in Hollywood until he gets the inspiration to re-shoot the film as a near pornographic extravaganza and have his wife bare her breasts for the first time on screen.
The merciless screenplay is well executed by a glorious all-star cast backing up Mulligan and Andrews, including William Holden, Robert Vaughn, Robert Preston (hysterical as a doctor who gives out pills like candy), Robert Webber, Loretta Swit, Craig Stevens, Stuart Margolin, Shelley Winters, Marisa Berensen, Rosanna Arquette, Robert Loggia, and Larry Hagman.
There are several funny scenes in this film and a lot of interesting things happen that by the time Andrews does bare her breasts, it is somewhat anti-climactic, but there is much to enjoy here for those willing to pay the attention that is required as the story is painted on a broad canvas with a lot of characters, but it is worth the trip and, after I saw it the first time, I wanted to see it again and again and think it is one of the great sleepers of 1980's..
Robert Preston is my favorite as the perpetually drunk/stoned quack doctor, and William Holden's last performance as the aged, burned-out director is particularly poignant when he gives a brief speech of "encouragement" to Felix (Richard Mulligan) about consciously trying to kill himself with drugs, booze and sexual excesses for the past 40 years.
Director Felix Farmer (Richard Mulligan) directs a kids movie with his wife Sally Miles (Julie Andrews) in it.
He also got a very talented cast in it--there's William Holden (in his last film), Robert Preston, Larry Hagman, Robert Vaughn, Shelly Winters, Loretta Swit and Robert Webber.
Director Blake Edwards, who was on a winning streak, used his greatest professional disaster, a bomb he made with wife Julie Andrews 11 years before called "Darling Lili," as the basis for an all-star satire on shallow loyalties and bottom-line mentalities in Hollywood.
It's a comedy that forgets to be funny.Richard Mulligan plays moviemaker Felix Farmer, whose latest picture "Night Wind" is in serious trouble after previews.
("N.Y. Critics Break 'Wind'" is the headline in Variety.) At first falling into a suicidal funk, he then gets the idea to reshoot the film as an erotic spectacular, deciding that sex sells and giving the public what it wants means getting his wife, Sally Miles (Andrews), to show them her breasts.
As excitement builds for this second "Wind", hard-charging studio boss David Blackman (Robert Vaughn) decides to use whatever foul means he can to steal Farmer's film out from under him."S.O.B." boasts an all-star cast of TV actors like Mulligan and Vaughn whom Edwards and the script throw out on the screen with lame one-liners they scream at the top of their lungs.
William Holden in his last film wears ugly sunglasses and seems a frail shadow of the actor he was only a few years before in "Network," leaving most of the foreground to Robert Preston, who adds a touch of class and gives "S.O.B" its few decent lines as a drug- and wisdom-dispensing doctor."If he doesn't remember me, mention his first case of the clap," he says of Blackman.
A flaccid score by Henry Mancini kills any lingering affection you may have had for that old number "Polly-Wolly-Doodle." Mulligan's overacting is embarrassingly bad and shticky, and the narrative is advanced in the form of unrealistic television reports, including a live bulletin when Sally Miles is getting ready for her nude scene.Andrews' breasts are the fifth- and sixth-best reasons to see "S.O.B" (Rosanna Arquette and Marisa Berenson appear topless here as well).
I love Blake Edwards taking dark comedic turns on Hollywood but some of it doesn't work..
just thinking about poor lovesick Moore hotfooting his way across a Mexican beach, or trying to explain who he is after a long dentist's visit and too much brandy and painkillers, makes me chuckle..In "S.O.B." Edwards tried to expose/dissect/shred the inner workings of Hollywood, the rivalries, deals, back-stabbing, all as a film-within-a-film, a dismal flop called "Nightwind" is being re-made by hapless Felix Farmer (Richard Mulligan, who earned his claim to fame in the TV series "SOAP")..
"9 to 5"'s stealing a body from a Funeral Home was 100 times funnier than the one acted out in "S.O.B." Hard as this may be to say, "Weekend at Bernie's" excruciatingly reptitive jokes about transporting around a corpse were absolutely hilarious compared to the way Edwards tries to pull off the same routine..A lot of "S.O.B." is like that - you feel like you're being set up for something truly hilarious, but the payoff is a huge let-down..And the yelling..
(Although a brief topless scene with a very young Rosanna Arquette almost makes up for it ;)..The film is absolutely chocked-full of legendary actors, and the late Robert "The Music Man" Preston as a wacko flaming Doctor to the stars, (with the film's worst hair-styling)..
Its the story of a director (Richard Mulligan) that has a major career disaster with a universally panned film called "Night Wind".
The director is suicidal while all of those around him are amusingly wrapped in their own ego-centric worlds.The movie is hysterically funny and rather touching, a recurring vignette in the film is a cut-away to a man that has died jogging on the beach and his little dog.
If you are a Richard Mulligan or Robert Preston fan this is a must see.For fans of Blake Edwards this is, in my opinion, one of his best comedic films..
Star turns by Richard Mulligan and William Holden, with outstanding support by the remarkable Robert Preston, Julie Andrews and especially Robert Vaughn (cast brilliantly against type).The Viking funeral scene was affecting, even if it was a rip-off of several fictionalized accounts of John Barrymore's demise.Only the boring could find this boring..
Featuring many comedic talents including Richard Mulligan, Robert Preston, Julie Andrews, Loretta Swit, Robert Loggia, Robert Vaughn, Robert Webber, William Holden and Shelley Winters.
Richard Mulligan plays Edwards' alter ego, a successful film director suddenly on the outs with the Hollywood honchos after his latest film tanks.
On the plus side, Robert Preston was very good and has great lines is about every scene he's in ("the world is my armadillo") and William Holden lends dignity and style to any film just by walking on the set.
From the opening scene to the final fade out, this movie, for it's genre, is as good as it gets.I noticed when they gave Blake Edwards his lifetime achievement award at the Oscars this past year, they did NOT mention S.O.B. amongst his list of films.
From Julie Andrews, playing a delicious parody of herself, to William Holden, who in the course of the movie declaims his own obituary, to Robert Preston (not a shyster ...
the best comedy of the eighties.Brilliant,funny,grotesque,noir,dramatic,all these stiles mixed greatly thanks to an almost perfect script(nothing to do with the comedy of the last 20 years,based on a simple "situation" which exhaust itself after 20 minute)and a great and ironic Julie Andrews on a parody of herself and of her career-which has been less shiny of what it deserved to be-,not to forgive all the other actors,william holden overall in his last stage,but also the great "double Oscar winner" shelley winters and "J.R." Larry Hagman.An irresistible film full of ideas and definitely rich of style and elegance, with something which is almost impossible to find in nowadays movies:an atmosphere.
S.O.B. is a great, biting satire on Hollywood that has many surprising stars turning up in unexpected places; Richard Mulligan is superb as the depressed director/producer of a failed Ishtar-like opus who tries to redeem himself when he has an epiphany at a typical Hollywood orgy, and remakes his movie to the sordid taste of today's audience.
When I saw it on cable a couple years later, I was surprised; it was a very funny satire on Hollywood with some of my favorite stars; everyone from Loretta Switt to Larry Hagman (as a beleaguered executive) showed up to play small but very funny bits in the movie.
Apparently Good Samaritans don't exist in Southern California!A failing director has just premiered his latest movie starring Julie Andrews (probably her worst performance ever) which has bombed, and he tries several times to kill himself.
If it had ended with the savagery with which it had begun, it would be a classic.For those who don't know, the film is a satire about a movie director who tries to revive what is looking to be a huge flop by turning it into a semi-porn film.
Unfortunately it turns chicken, and doesn't follow through on its nastiness.Key to the plot is that the director, played by Richard Mulligan, intends to cast his wife, played by Julie Andrews, in an X-rated role, after she has spent her entire career in G-rated family movies.
And if you're going to have Julie Andrews get down-and-dirty---then go ahead and have her get down-and-dirty.THEN you could have the director slowly turn from an obsessed nutcase trying desperately to hang on to his paltry Hollywood success---to a jealous husband who decides he would rather not have the rest of the world see his ex-wife like this.
The last act of the film becomes much better motivated than the lame slapstick Edwards used, and gives a much greater opportunity for real comedy as Felix tries valiantly, but too late, to stop the juggernaut he has created, which rolls right along over him.As with all such hypotheticals, there's no way to tell if that would have worked any better.
Full of cameos, but the best characters were played by Stuart Margolis, Robert Webber and, of course, William Holden, in his last movie..
In many ways, it resembles a bad dream.Everything in this picture is aesthetically and conceptually hideous - even the characters' names ("Felix Farmer") - and though Edwards presumably intended S.O.B. as a grand slam against mainstream Hollywood, his sense of humor here is so off that the film immediately becomes physically repellent - it turns one's stomach...
Even old actors have to make a living: Julie Andrews (Director Blake Edwards' real-life wife who's career struggled under him...she has since recovered nicely with THE PRINCESS DIARIES), William Holden (yes, he was in THE TOWERING INFERNO too...it's no PICNIC when you're old in Hollywood, this was his last film so there goes our first victim up in flames), Robert Loggia (he danced with Tom Hanks on the giant toy piano in BIG so he survived nicely), and Robert Preston (formerly of Cecil B.
(what's with these relatives of directors anyway?), recovering drunKie and boobie-flasher Drew Barrymore (please someone tie her tubes, the Barrymore lineage must end!), recovering sex addict Charlie Sheen (let's include Martin and his assorted brothers in just for fun), would make us forget about the OCEAN'S ELEVEN remake.Next we have what could have been a typical HOLLYWOOD SQUARES cast of that era (if only Edwards would have found a role for Rose Marie): TV's Larry Hagman (he played the astronaut turned oil well baron on I DREAM OF DALLAS), Stuart Margolin (he played Angel on TOUCHED BY A ROCKFORD), Richard Mulligan (of the dirty SOAP and the clean EMPTY NEST), Loretta Swit (M*A*S*H* with four asterisks), Robert Vaughn (MAN FROM U*N*C*L*E*...that's five asterisks, he's still the champ...please no more shows with asterisks!), Robert Loggia (ELFEGO BACA, hey they still play it at 3am on the Disney Channel), Larry Storch (F-TROOP, back when you could use the letter "F" without someone thinking it was a dirty reference), Joe Penny (JAKE, NOT THE FAT MAN), and Corbin Bernsen (LA-LA LAW).
If you feel like renting this film and fast forwarding it to scenes with naked and half-naked young babes in them then it's okay, you just got to put up with all those stupid scenes with old Hollywood actors not really acting, just playing themselves, TV-actors trying to ride a hit to stardom and catching autographs during their break, and that old broad Julie Andrews Mary Poppin' out of her blouse (not a pretty sight).
Ultimately, my 48 year old mind understands that I missed something in SOB, but I can't get by the quarter century old memory of thinking that this Blake Edwards comedy was a dud.I do remember laughing.
Funny, Biting, And Sad. Blake Edwards, "S.O.B.," is one of the funniest satires of the vicious machine known as Hollywood ever made.
Robert Preston practically steals the film away from the fact that you see Julie Andrews pretty much kill her "Mary Poppins" image by showing her boobs, swearing and being a total witch!
Edwards and his wife Julie Andrews wanted to make a kiss-off to Hollywood.
William Holden and Robert Preston are excellent in the film as old time cynics with a heart.
Richard Mulligan (looking very much like Blake Edwards) is a producer whose latest saccharine soaked musical is a colossal flop.
Felix Farmer(Richard Mulligan)is a well known producer with a string of hits, but falls upon hard times when his latest movie, a full blown musical, is not received well by test audiences.
Farmer comes out of his funk with a major idea of having the star of the movie, his wife Sally(Julie Andrews), bare her breasts.
Since she has such a clean pollyanna image, this bit of titillation will highlight the new soft-porn version of his film.Some strong performances from familiar stars like Robert Preston, Larry Hagman, Stuart Margolin, Loretta Swit, Robert Vaughn, Larry Storch and William Holden in his last motion picture.
Blake Edwards busts his hump to make you laugh.Felix Farmer (Richard Mulligan) is a famous Hollywood producer who just created the biggest box office bomb in movie history.
His movie star wife, Sally Miles (Julie Andrews), takes the kids and abandons Felix in his beach house and even considers divorcing him.
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tt1190539
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Chugyeogja
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Eom Joong-ho is a dishonest ex-detective turned pimp who is in financial trouble because two of his girls have gone missing. One night he sends Mi-jin, one of his few remaining girls, to a customer. He then realizes that this is the same person who was the last to see his missing girls. Believing that this man is reselling his women, he goes to look for Mi-jin, contacting his old police task force for help. But they cannot assist because the mayor of Seoul, whom they are guarding, has just been attacked. The police are now preoccupied with a media storm because they have suffered humiliation for failing to protect the mayor.
Mi-jin awakes tied up in a bathroom. Her "customer", Je Yeong-min, calmly informs her that a previous victim had her tongue cut out for screaming too much. He tries to torture her, but she resists and Je Yeong-min hurts his hand. Moments later, callers from the local church arrive, inquiring about its owner, Mr. Park. Yeong-min has no time to finish off Mi-jin so he invites the elderly couple in and butchers them.
While trying to ditch the couple's car, he collides with Joong-ho's vehicle. Joong-ho senses that the man is hiding something, and calls the customer's cellphone, establishing that this is the man he is looking for. Yeong-min tries to run away but is caught and badly beaten by Joong-ho. Both men are arrested by a suspicious local cop. At the station, Yeong-min casually admits that he has killed up to nine people. A fracas starts when competing divisions all want to investigate the high-profile unsolved murders in the area.
Despite his confession, the police have no physical evidence, so they cannot detain Yeong-min. To get evidence, Joong-ho goes to Mi-jin's apartment to collect DNA samples. In the apartment, he discovers Eun-ji, Mi-jin's daughter, home alone. Reluctantly he takes her with him while he follows up a lead in Yeong-min's home town. There, he learns the suspect had been sent to prison for three years for lobotomizing his own nephew. Joong-ho finds a shabby room where Yeong-min had once lived. On the walls are a host of religious drawings. Eun-ji wanders off, following a woman who looks like her mother. Off camera, she is apparently knocked down in a hit and run. After a frantic search, Joong-ho finds her and takes her to a hospital. He signs the forms as her father.
Time has run out for the police. The prosecutor's office order that Yeong-min be released because the police have no evidence. The prosecutor tells the chief that the arrest, the suspect's injuries and rapid confession will be portrayed as the police's attempt to save face. To avoid political fallout, Yeong-min is released without charge. At the same time, the chief orders the arrest of Joong-ho as a scapegoat because he attacked the suspect. The former cop escapes from the police to continue looking for Mi-jin.
Meanwhile, Mi-jin has freed herself and escaped from the house and the garden full of human remains. Badly injured, she finds help at a nearby corner shop. Yeong-min stops at the same shop to buy cigarettes. The shopkeeper innocently tells him what has happened to Mi-jin and that there is a "maniac" loose. He kills the shopowner before killing and decapitating Mi-jin. Arriving shortly thereafter, Joong-ho finds the street cordoned off by the police and the store a bloodbath.
The police, now realizing that they have again been humiliated, throw everything into the search for Yeong-min. Joong-ho, distraught at what has happened, visits the local church, a link between the house callers and the car that Yeong-min had been driving. Joong-ho notices that the statue of the crucified Jesus matches the drawings he had seen in the room. Inquiries with the deacon lead him to the sculpture "assistant" who was staying at Mr Park's house.
On arrival, Joong-ho discovers a now smartly-dressed Yeong-min, carrying his bag of tools, just about to depart. A massive fight ensues in which a fish tank containing Mi-jin's head and body parts is smashed. Eventually Joong-ho prevails but just as he is about to bring a hammer down on Yeong-min's skull the police burst in and restrain the former policeman. As Joong-ho is pushed face down to the ground, he looks into the dead eyes of Mi-jin. The police digs up Yeong-min's many buried victims.
The film ends with Joong-ho sitting silently in the hospital room alongside Eun-ji's bed. He takes her hand in his own.
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dark, suspenseful, cruelty, murder, violence, flashback, revenge
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Dredd
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The future United States is a dystopic irradiated wasteland known as the Cursed Earth. On the east coast lies Mega-City One, a violent metropolis with 800 million residents and 17,000 crimes reported daily. The only force for order are the Judges, who act as judge, jury and executioner. Judge Dredd is tasked by the Chief Judge with evaluating new recruit Cassandra Anderson, a powerful psychic who failed the aptitude tests to become a Judge.
In Peach Trees, a 200-storey slum tower block, drug lord Madeline Madrigal, also known as "Ma-Ma", executes three rogue drug dealers by having them skinned alive, infused with Slo-Mo (an addictive new drug which reduces the user's perception of time to 1% of normal) and thrown down the atrium from the top floor. Dredd and Anderson are sent in to investigate and learn of a drug den, which they raid. They arrest a thug named Kay, whom Anderson's mind probe reveals to be the one who carried out the drug dealers' executions. Dredd decides to take him in for questioning. In response, Ma-Ma's forces seize the tower's security control room and seal the building, using its blast shields under the pretence of a security test, preventing the Judges from leaving or summoning help.
Ma-Ma orders Dredd and Anderson killed, forcing the Judges to fight their way through dozens of armed thugs. Arriving at the 76th floor, the Judges are assaulted by Ma-Ma and her men with Vulcan cannons that rip through the walls, killing numerous residents. The Judges breach an outer wall and call for backup. Meanwhile, Ma-Ma sends her henchman Caleb to search for the Judges. When they meet, Dredd throws Caleb off the tower in full view of Ma-Ma.
Dredd suspects Ma-Ma is desperate to keep Kay quiet and beats him for information. Anderson reads Kay's mind and learns that Peach Trees is the centre of Slo-Mo production and distribution. Anderson suggests they hide while awaiting assistance but Dredd insists they move up the tower and pursue Ma-Ma. Judges Volt and Guthrie respond to Dredd's call, but Ma-Ma's computer expert denies them entry by persuading them the security system is malfunctioning. A pair of armed teens confront Dredd and Anderson, allowing Kay to disarm and overpower Anderson. Kay then escapes with her as hostage, and takes her to Ma-Ma's base on the top floor.
While Dredd works his way towards Ma-Ma, she calls in the corrupt Judges Lex, Kaplan, Chan and Alvarez. The four relieve Volt and Guthrie from duty and are allowed into the building. Dredd encounters Chan and is suspicious that he does not ask about Anderson's status. Seeing his cover blown, Chan attacks Dredd, but is killed. Meanwhile, Kay tries to execute Anderson with her own weapon, but the pistol's DNA scanner does not recognise him and explodes, taking his arm off. She escapes and later encounters Kaplan, whom she promptly kills after reading Kaplan's mind. Elsewhere, Dredd kills Alvarez but runs out of ammunition, and is shot by Lex in the abdomen. Lex moves in to execute Dredd, but Dredd stalls him long enough for Anderson to arrive and kill Lex.
Anderson and Dredd obtain the code to Ma-Ma's apartment from her computer expert and confront her. Ma-Ma tells Dredd that, in the case of her death, a device on her wrist will detonate explosives on the top floors, destroying the building. Dredd reasons that the detonator's signal will not reach the explosives from the ground floor, so he forces Ma-Ma to inhale Slo-Mo and throws her down the atrium to her death.
In the aftermath, Anderson accepts that she has failed her evaluation by getting disarmed, and leaves. The Chief Judge asks Dredd about Anderson's performance; he responds that she has passed.
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dark, comedy, neo noir, murder, mystery, paranormal, allegory, violence, psychedelic, action, satire, suspenseful, sci-fi
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Director Pete Travis tackled the problem of filming a comic book by making something that looks nothing like a comic book and more like an action movie shot on location, with a simple linear plot that keeps rolling and never slows down.Megacity 1 is made markedly less futuristic than the comic in order to become so believable that it is hard to tell where the real slums of Cape Town end and the CGI kilometre high city blocks start.
I have an uncomfortable feeling that in less than a hundred years cities like this may actually exist.The comic Judge's uniform works on paper but can't in real life - giant golden eagles, shoulder pads and bronze name badges hanging off a leather one-piece body suit would sag, wobble and look daft.
The effect is striking and believable, like everything else in this film.The plot revolves around a drug which makes time seem to slow down a hundred times, the perfect excuse for scenes of ultra slo-mo explosive bloody (and beautiful) anatomically correct violence that earn this film its 18 rating.
Lena Headey totally kicks ass as the ruthless gang lord Ma Ma, calmly relishing the deaths of her enemies, eyes sledging from narcotic addiction.In a way this is Olivia Thirlby's movie, since she gets the character arc, rookie judge Cassandra Anderson assigned to Dredd for evaluation and finding herself on a very steep learning curve.
You want to see that Judge Dredd takes her up in the air, "Your going down, your going down real good." I love this movie I had a great time seen it, it is a solid Rater R reboot movie for an adults and not a children.
But even the top-ranking Judge, Dredd (Karl Urban), discovers that taking down Ma-Ma isn't as easy as it seems in this explosive adaptation of the hugely popular comic series.That is your basic plot it is a lot of interesting titles that make this movie the bleak and desolate sci-fi actioner that it is.
The basic aim of Dredd is simple – it needs to be bold, true to the source material and full of juicy violence, enough to wipe out the memories of the notoriously poor Stallone attempt of 1995 that threw plenty of money at the screen without bothering to work on anything resembling a decent script.The character of Judge Dredd, now entering his 35th year in UK comic 2000AD (they know it's 2012 - don't ask), isn't a complicated one.
This, people, is as thin as the blue line gets.The film is written by long time fan Alex Garland (28 Days later, Sunshine), and has had plenty of input from Dredd's creator (and still main writer even now) John Wagner.
Director Pete Travis (Endgame) does an excellent job, and between them they have turned in a film that will stand the test of time as a superior, adult action movie.The premise is reasonably simple, something that works well as an introduction to what is, in the comics at least, a sprawling future world.
A routine triple homicide (it's that sort of city) turns into a siege when they are trapped in a massive tower block by criminal nutjob Ma Ma (Lena Headey) and forced to fight their way out and stop her manufacturing the addictive new drug, Slo Mo. Obviously there's a bit more to it than that, but this is the basic set up and it works very well indeed, allowing for plenty of violence, some character development and no few explosions.I can't write this review without focusing on Karl Urban, who has previously stood out for his excellent turn as Dr McCoy in the Star Trek revival.
Between them they give us the tired old wardog and the 21 year old rookie on the streets for the first time, and you sympathise with the life of a Mega City Judge.Some people have criticized the apparent similarities between Dredd and the recent film The Raid: Redemption, in which Indonesian cops storm a tower block and much chop sockey ensues.
I've been a Dredd fan for thirty years now, but I'm not about to give this movie adaptation of my favourite comic character a ridiculously high rating purely from some misguided sense of loyalty.
Instead, I'm going to give it a deservingly high score because, quite simply, it is a very good film, one that successfully captures the essence of the 2000AD strip, delivering brutal action by the bucket-load, excellent central performances, and inspired direction, all enhanced by breathtaking state-of-the-art 3D special effects.After the debacle that was Stallone's Judge Dredd (1995), the makers of this movie have clearly made their prime directive to please hardcore Dredd fans, and it shows: the screenplay, by Alex Garland, remains very faithful to the spirit of the comic, and in Karl Urban, we now have the perfect Dredd—all raspy voice and humourless grimace, it looks as though the character has jumped straight onto the screen from the pages of 2000AD (helmet intact).
Possibly not the best film to watch on a first date, but if you know what you're getting yourself in for and just want some entertaining action, I really don't think Dredd will disappoint..
The director did a great job on the city and you really feel like it is a corrupt and decadent city where law enforcement officers can judge, jury and execute criminals on the spot.As I watched the film I was being surprised again and again.
It's just okay and the only acting you need to care for is Dredd and Karl Urban nailed his performance as Judge Dredd.The film has a good pace and the action length was on the spot.
Even though this film has gained a cult following, it just wasn't the Judge Dredd movie fans wanted.
Now a low key British film company has had another crack at bringing Dredd to the silver screen, and the result is a great science fiction action film that holds no punches and gives the audience a gritty, gory and surprisingly relatable take on the comic book hero.Karl Urban plays the titular "Dredd", not the most recognisable or bankable actor working, but certainly one of the most versatile.
Dredd himself is not a superhero, he gets shot and bleeds like everyone else this feeling of vulnerability makes it easier to relate to the character.There's no Rob Schneider in this movie, oh no, no desperate comedy at all there's just no laughs to be had whatsoever.
Dredd doesn't have anywhere near the impressive stunts featured in The Raid and it makes you wish you had seen The Raid after you saw this, because you keep thinking to yourself: "this scene was done better in The Raid".The slow-motion sections showcasing the effects of the "Slow-Mo Drug" are a little overused, the colour is over-saturated and these are the only times in the film where the 3D is used to a noticeable degree.Overall it's a far superior Judge Dredd film to the one that came before it, and has enough action and doesn't over-complicate itself to the point where people aren't bored watching it.
I hope there is a sequel because it would be really great to see more of this version of Dredd, Urban has a better grip on what the character should be and i can see him taking it a long way..
The grungy neon lights of a dystopian future, the scarlet blood and glimmering glass, the hauntingly beautiful slow motion, what makes this movie great is definitely the visual aspects.Dredd himself is very one dimensional, forcedly so.
Based on the character from the popular 2000AD comic book series, the film was a huge disappointment with critics and a source of much heartache for Dredd devotees in the way it seemed to blatantly disregard crucial aspects of the source mythology both in look and tone.
Fast forward to present day, a world in which comic book characters mean big money for film studios, surely enough time has passed to give the old Judge another crack of the whip right?
Judge Dredd (Karl Urban) is the last word in Law & Order within Mega-City One. Judge Cassandra Anderson (Olivia Thirlby) is his junior partner.
It sounds dull, but the scenes are well done and the movie flows nicely.Judge Dredd's character was modeled after Dirty Harry and it shows with his raspy voice, dislike of most individuals, and general unhappiness.
Karl Urban, as many have said on these boards, IS Dredd...and that is a remarkable feat to pull off, considering half of his face is shielded for the whole movie (just like in the comics).
Lots of sweet little Easter Eggs like that in the film to really make it shine for a fan.Like all good comic book heroes, Dredd is simple on one level: he is the law.
I've never reviewed a film before but it needs to be done for this one because it needs more popularity for a sequelreal rating 9/10 but it needs more credit because it is a really top of the line film and needs more popularity for a sequel (which would be amazing) my favourite hero was batman but now it's dredd and it reminds me of the video game of the xbox a bit too, which was a great game.the film is full of action and an interesting story which isn't anything really new but it is most certainly not cliché or boring and the actors did a great job.
I'd never seen this actor before in anything but the new trek movies but I thought he did a great job capturing the spirit of the Judge Dredd character.
A no nonsense law enforcer with a frown forever on his face.Dredd and a rookie called Anderson enter a high rise building to resolve on a homicide but it becomes a death trap set by drug lord Ma-Ma. The movie simple plot is how they escape.
This leaves me - and seemingly a lot of other people - hoping for more.All this means that "Dredd" is a good movie and indeed deserves to be recommended.But in my opinion - apart from many other long time Dredd fans - it fails rather severely in capturing the "feel" of the comic books.
It's more a showcase than good story telling.But this also makes the Stallone movie more colorful, absurd, and over-the-top in a way that - despite the helmet issue - does a better job at capturing several important qualities that make the books stand apart.The new "Dredd" does a better job at telling a story - but it fails more severely in being "real" Dredd.
The first film adaptation of Judge Dredd is probably made for Sylvester Stallone's career, but it tones down the character by making him a generic hero with a wimpy sidekick and a love interest, fighting a bunch of hammy villains.
Urban deserves the opportunity to make Judge Dredd his franchise and bring the character back for future films.Olivia Thirlby is Anderson, Dredd's recruit.
DREDD is one of the best action movies of the year; I love it's full-blown violence and the gritty future it's set in.
Cut the budget in half to a reasonably cheap sum of $45 million and get Vantage Point director, Pete Travis to direct and Alex Garland (28 Days Later) to write the script and see what happens..F**king awesome is what happens!This Dredd is a tightly made, tightly scripted, claustrophobic film with a healthy dose of brutal violence and a wicked view as to what makes the comic work so well.
It's really well played.But the BEST thing about the film and I'm so happy to say this, is Judge Dredd himself as a character.
Music is by Paul Leonard-Morgan and cinematography by Anthony Dod Mantle.Review for 2D Version Only.Sylvester Stallone'S 1995 attempt at bringing Judge Dredd to the big screen was met with a critical mauling, both professionally and by serious fans of the 2000AD comic books from whence the character came.
Here however, under the guidance of Travis and Garland, Dredd gets the picture the fans and the character deserves.Plot is simple, we are in a dystopian future in a place known as Mega-City One. The only law and order are the Judges who are able to act as judge, jury and executioner.
The production design is top draw, where Mega-City One has a perfect totalitarianism sheen to it, which in turn is boosted by Dod Mantle's excellent colour lenses.With Urban perfectly cast and his two lady co-stars also firing, Dredd is a thrilling action sci-fi movie.
Action and Dredd's coolness packed with his one liners leads him up the slum to Ma-ma, with packs of bodies behind.In couple of moments film tries to touch ethical dilemmas of simplified justice judges use to efficiently punish offenders, as well as world in which people are turned into piece of meat system needs to deal with, but does not go into much depth.
It is shame as this makes her convincing, but not one of the greatest villains we've seen.Mentioned above are common headaches most action movies of this type have and will not spoil your enjoyment if you are fan of action films, since Dredd does everything he promises - good action, believable characters, avoids most clichés and has good atmosphere.As I watched Dredd couple days ago, it came to my surprise that's third time I've seen it.
Judge Dredd is really good pacing action movie.
Dredd (2012) is not to be confused with much maligned Sylvester Stallone film (from 1995) is an unrelenting, faithful and exciting science fiction actioner complete with a great cast of formidable villains and interesting characters.Karl Urban assumes the titular role of title role of (Judge) Dredd.
There are so many stories that can be told in the Judge Dredd universe just like Peach Trees being just one slum-tower of many which makes up Mega-City One - it was a great starting point.
Many years ago IMDb was a useful source to check if a movie was good or bad, but that has changed after film producers has realized the marketing potential on a site like this unfortunately.Hope I helped you make up your mind.-Obi. Exciting, interesting, but not really Dredd.
The Judge Dredd comics work on many different levels, they are action stories, they are satire, think pieces and commentary about the nature of crime and justice, comedy, and they are tales from a city they we believe will likely to exist some time in the not too distant future.Taking its cue from Batman Begins, this movie tries to put Judge Dredd into the real world.
The bleak and unconditional world makes Judge Dredd the perfect comic character for an action film and thankfully Dredd does not disappoint.The film does not sport a big budget or complex script which at times shows as average special effects and lack of grand story elements, but what it lacks in budget and complexity, it compensates with sheer attitude.
The story is fitting in its simplicity for a straightforward action film where Judge Dredd (Karl Urban) is dispatched to investigate recent murders at one of the huge ghetto skyscrapers of Mega City 1.
Though every reviewer here will tell you why it was a bad movie and why there are still people who love it, the fact remains the same: The moment we heard a new Judge Dredd movie would be released we all immediately thought of the 1995 film.
Karl Urban was fantastic in the lead role of Dredd and along with Olivia Thirlby as Judge Cassandra Anderson they made a great on screen team.I would recommend this film to anyone, whether you are a fan of Dredd or not.
First of I would like to say that my romance with Judge Dredd as a comic hero was rather slim and narrowed to a couple of special edition comic books released around the same time that the Sly's version of the movie came out (1995).
Set in a futuristic world where America is an irradiated wasteland & people live only in Mega City One; a vast & violent metropolis in which crimes are always high & the only force of order within this chaotic city lies with the cops known as "Judges" who have the authority to act as judge, jury & instant executioner, Dredd tells the story of Judge Dredd, who ventures into the city's most dangerous spot along with a rookie psychic to investigate a crime scene but when the overlord of the building intervenes in the process, the Judge decides to deliver judgment in the only manner he can.Stylishly directed, finely scripted & vibrantly photographed with not-so-frequent use of slow motions which actually has a reason to exist here, the one thing that's sure to please many action fans is the blood, gore & gun war that takes place throughout its runtime.
Music turns out to be a disappointment & rarely fits the narrative but the action (and there's loads of it in here) makes up for a lot of things the movie lacks otherwise.Coming to the performances, Karl Urban felt more machine than human but it very much suited his character of Dredd & he did play him with panache.
All in all, dredd was never this mainstream comic book character people idolized or even knew very much but the post-apocalyptic crime ridden city and the judges kind of impressed me, and mainly because I was ten years old at the time.
It is a very gory film but the blood is intentionally ridiculous splatters, so it doesn't get disturbing or exploitative.Overall, Dredd is an enjoyable movie that captures the spirit of its comic book origin while providing enjoyably brutal action.
There has to be some reason why we should care about this society enough to think that the violence is undeserved.The interplay between Dredd (Karl Urban) and Anderson (Olivia Thirlby) was minimal, but this was the heart of the movie, I suppose, and what made it also a film for grownups.
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tt0113118
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Friday
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An African-American family wake up one Friday morning and get ready for an average Friday of work and school. Craig (Ice Cube) gets a call from his former girlfriend, abusing him and accusing him of going out with another woman. He gets out of his bed, angry and frustrated, and goes and gets cereal, then his Dad (John Witherspoon) says the all famous line: "Every time I come in the kitchen, you in the kitchen. In the goddamn refrigerator. Eatin' up all the food. All the chitlins... All the pigs' feet... All the collard greens... All the hog maws. I wanna eat them chitlins... I like pigs' feet".Craig's friend Smokey (Chris Tucker) puts his head through the window and they sit on the front porch and start making conversation. They Perve on the local mothers and neighbours. They see the local bully, Deebo (Tom 'Tiny' Lister Jr), and hide all their valuables. Deebo talks Smokey into helping him break into his next door neighbour's house. After that the boys get high. They then get shot at by some people that Smokey owes money to. They finally leave and they see the girl that Craig wants getting hit by the bully. So he pulls a gun out on the bully to scare him, this doesnt work, so hit hits him over the head with a brick and then he gets knocked out, the movie ends.
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entertaining, revenge, cult, comedy, flashback
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train
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imdb
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His high pitched voice and mannerisms are classic.Hard-core rapper Ice Cube, after appearing in such hard-hitting films as Boyz 'N the Hood and Higher Learning, played his first comic role in this picture he co-wrote with frequent musical collaborator DJ Pooh.
Craig (Ice Cube) manages to get fired on his day off (though he claims it's through no fault of his own) and spends the day hanging out with his buddy Smokey (Chris Tucker) and trying to avoid his father (John Witherspoon), who wants him to find another job immediately.
Smokey (whose name might have something to do with his tremendous fondness for marijuana) has even more serious problems; he was given $200 worth of weed to sell by Big Worm (Faizon Love), but he ended up smoking it instead, and if he can't come up with the money by the end of the day, he'll be in a world of hurt (and will put Craig in the same place just for being his friend).
Eleven years ago (one year before this movie debuted), if you'd have told me you can get an entire movie from two guys sitting on their porch on a hot Friday afternoon, I'd have said you were nuts.I first saw this movie on a date with my girlfriend as a teenager way back in 1995 (it's hard to believe that was 10 years ago, I laughed through it then and I laugh through it now.It's also the movie that made me a Chris Tucker mark.I see everything that guy is in.The same goes for Cube.I love this movie's ability to show that ghettos aren't all like the 'Good Times' TV series.This movie keeps it's lightheartedness throughout especially with funny characters to support Cube and Tucker like DJ Pooh, A.J. Johnson and Tiny Lister.It also doesn't hurt to have Nia Long with her fine self in it either.But as I stated this movie is very lighthearted and doesn't begin to get serious at all until the end where Craig tears Smokey a new one for getting him involved in the mess, Big Worm's assassination attempt on Craig and Smokey and Craig coming to the aid of Debbie (Nia) when D-bo (Lister) is beating her up.It's at those two points you almost forget this is supposed to be a comedy movie.The most important message in this movie actually came from Johnny Witherspoon who portrayed Craig's father.He gave his son some very fatherly advise...which I hope to follow with my own son one day.Although I can't say I'd have been that calm if I walked into my son's room and saw him holding a semi-aotumatic 9mm pistol.But I did like his advice....as I believe it was meant to be a message to the audience."You kids today are nothing but punks, so quick to pick up a gun.
After listening to Ice Cube's song "Friday", I was very curious to know how good the actual movie was.
It's about two friends (played by Ice Cube and Chris Tucker) who try to get through a regular Friday in their urban neighborhood.
But it's also like the Watts equivalent of something closer Clerks, also by first-time filmmakers: it's mostly about two guys who don't have much going on with their lives or prospects or action, but they're surrounded by so many 'lively' personalities and moments that are meant to get BIG laughs, regardless of a story structure that is super-strong outside of the Day-In-The-Life thing.
His work here is still electrifying and high-charged, though maybe this time I saw more of the obvious "tics" of the character (like, we get it, the Angel Dust bit is one of the major highlights of the movie, but can't you move on?) And Cube is good as straight man for Tucker's foole, and has a few moments too.This is one of those movies I watched a LOT 'back in the day' as one might say.
oh well.Bottom line, enough of it holds up to recommend as a fun comedy, but the effect of 20 years of stoner/hood/black comedies have diluted some of its effectiveness; any time Craig narrated, or that quick montage of 'things that happened today' right before the fight, drag the movie down.
Chris Tucker and Ice Cube what more do you want for a Movie like this!?
theirs not a point in the movie where it goes dull or boring.Its starts off when Craig (Cube) wakes up on a Friday morning with his friend Smokey (Tucker) outside of his house for only Smokey to find out Craig got fired on his day off, Smokey tries helping Craig feel better by Rolling him Joints and drinking beer, Craig doesn't touch weed, until Smokey forces him to, they both end up getting high, Along comes Big Worm, the man that gives Smokey the weed to sell, only for Smokey to smoke, later on Big Worm finds out Smokey doesn't have the cash to cough up so Big Worm gives Smokey a deadline warning, or a drive-by.
And, last time I heard Chris Tucker who plays Smokey, (Craig's friend) refused to return in the two films because he did not want to play a drug dealer.
My kinda movie.The film is about Craig Jones (Ice Cube) a crabby jobless "two cool for school" type kid and his drug-dealing best friend Smokey (Chris Tucker) sit on the porch all day, thinking it will be an easy day in the hood.
When really it will be a life or death type day.The neighborhood bully Debo (Tom Lister, Jr.) harasses them and says they have to pay him $200 by nightfall or they "will not live to see Saturday." Friday is a sweet movie, it his hilarious in most parts.
Maybe this time they will move on to Saturday.Starring: Ice Cube, Chris Tucker, Tommy Lister Jr., Nia Long, Bernie Mac, and John Witherspoon.
A well-casted movie for one, Ice Cube shows that he can hold his own in a comedy which at the time I wasn't expecting that from him as he just came off of Tresspass and Higher Learning; Chris Tucker introduces himself to the silver screen and acts a total fool(which is a good thing, he's known for it anyway), plus Bernie Mac and Faizon Love contribute with their own comedic performances making the ride worth-while...
The basic idea of two guys sitting on their porch all day watching the neighborhood go by is good, but the actors need to be really talented to make it funny or interesting.
Ice Cube plays the straight man to Chris Tucker but for me both of them weren't funny.
This film is pure JOKES!If there is any film guaranteed to make everyone watching LOL at least once,its Friday.Its a film that takes a much more light hearted look at ''life in da hood'',but still manages to have enough serious stuff to not be just an all out spoof in the vein of Don't Be a Menace to South Central While Drinkin your Juice in the Hood.(also worth checking though.The humour comes from an absolutely knock out script,performed by a a great comedic cast.Chris Tucker is at his loudmouth best as Smokey,cursing,cussing and ripping his way through the film at a speed of 90 words per minute.Superb.Ice Cube demonstrates his gift for delivery doesn't stop at hip hop lyrics,with a subtle,under played performance as Craig,the much quieter and more streetwise counterpart to Smokey.But it is John Witherspoon as Mr Jones that steals the show.He has less scenes than Craig or Smokey but every scene he has,his lines are the funniest,right from the opening credits,where hes sleeping,quite obviously dreaming about his great love....no not Mrs Jones but hotsauce,''Gimme a two piece special,lots of hot sauce,and..all the fries you can give me''.LOL.The first scene see him in (not including the opening credits),the way he appears behind the fridge door,to surprise Craig with a early morning lecture is funny as.The story is quite engrossing,with enough great characters and dialogue to keep the film moving a at a good pace.Its one of those movies where you don't realise two hours or so have passed while you're watching it,which is such a rare thing.Even most of the ''classic''films have segments(tiny in some cases)that drag a bit,but Friday doesn't.The villain of the piece,Deebo,is believable and at times funny too.The story is well played out and straightforward too,but not so much so that it gets boring.I must have watched this film a 1000 times and i still laugh loud at least four times.fantastic comedy,the only adults who wont enjoy this are boring prudes who cant abide swearing and drug references(YES i DO mean YOU BBFC!!)9/10.
"And you know this, MAN".Not only is this movie funny, it also gets you in the mood to get horribly high because they look like they're having A LOT of fun smoking weed haha..
Chris Tucker got a real career boost after this movie, going on to make RUSH HOUR, another funny and clever comedy.
Chris tucker and ice cube are 2 of the funniest actors ever and need to do a movie again.
Instead of selling them, he used them for himself and for his friend.The person that had told Craig and Smokey to distribute the drugs found out of their scheme and stated, "You smoking my s***?" Through a tough life in the ghetto, Ice Cube and his friend Big Worm do everything they can to make the money back to pay off the drugs that they had stolen and used for themselves.
I found this movie very funny with a story line that in a sense certain people could relate to in everyday life I thought it was great casting and it was entertaining from the time it started until it ended highly recommend watching this film as well as its sequels it also contains a lot of modern day stars that's considered icons in the entertainment industry as far as today.
It's really interesting how this movie got away with setting up the plot to having two guys and the everyday life in the hood but from a comedy point of view.The main plot center around Smokey (Chris Tucker) and Craig Jones (Ice Cube) while dealing with the hood bully Deebo (Tommy 'Tiny' Lister) also end up having to own up a debt to a drug dealer.
The soundtrack is also a massive hit with plenty of great hip hop sounds.The story is simple, two best friends, Smokey (Chris Tucker) & Craig (Ice Cube) spend their Friday unemployed and avoiding the local drug dealer as Smokey owes him money.
It is the chemistry between Chris Tucker & Ice Cube is perfect, they appear at the start to be complete opposites but as the movie grows so does their relationship on screen.Friday is certainly regarded as a classic comedy due hand down, to its script.
The film has an extremely basic plot; almost 100% of the screen time is taken by Ice Cube and Chris Tucker and is mostly set on a house porch.
All of those combinations make Friday a Cult Classic,Comedy Classic and one of my favorite Comedies and favorite films of all time.Set in a neighborhood in South Central,Los Angeles,Friday tells the story of Craig(Ice Cube)and his weed smoking drug dealing best friend Smokey(Chris Tucker)who hangout on Craig's porch talking,getting high and dealing with various characters while getting into funny situations and showing that a lot of things can happen between Thursday and Saturday.Friday is an excellent Comedy and a Cult classic that had to be made and came out at the right time in 1995 and it was needed for South Central Los Angeles.
Before Friday,the city of L.A was almost in a frozen state at the time because of the L.A Riots in 1992 and urban classics like Boyz N The Hood and Menace II Society gave movie goers dark visions of African-Americans growing in SC L.A where in those films it was always death and doom and gloom with no since of hope and at the time with the exception of the House Party films and a few others Black urban Comedies we're few and far between in the early to mid-90s.
Friday took a different and much lighter approach to urban films and basically said while living in the ghetto or hood can be depressing and said,it can also be funny as well giving us one of the funniest films of all time and when you watch the film on cable,video or DVD you never turn it off.
One of the many reasons that Friday is such an excellent and hilarious movie is because the situations and dialog are funny and real,because if you grew up in the ghetto you have seen characters in the film in everyday life and it will relate to viewers.
While Friday is hilarious and filled with great Humor the film takes a little time to talk about some of the harsh realities of living in the hood and what happens in South Central so while Friday is a Comedy and a very funny one at that it is also morality tale as well but it's not a sad or bleak morality tale like Boyz N The Hood or Menace II Society were.
The ending of the film is a classic conclusion that is funny and intense at the same time and after you look at this film you will never look at the day Friday the same way again.The cast is excellent in their roles.
Chris Tucker is hilarious and excellent in his star making performance as Smokey,with Tucker saying funny lines,talking at fast paced and having great chemistry with Cube.
The film also has a great soundtrack with songs from Dr. Dre(Keep Their Heads Ringin),Ice Cube(Friday),The Isley Brothers(Trying' To See Another Day)as well as classics from Curtis Mayfield(Freddie's Dead,Little Child,Running Wild),The Temptations(The Way You Do Things You Do),James Brown(Get Up(I Feel Like Being A Sex Machine),Rose Royce(I Wanna Get Next To You),Rick James(Mary Jane)and War(Low Rider)and other great songs Excellent soundtrack.In final word,if you love Comedy films,Urban films,Stoner films,Hip-Hop,Rap or films in general, I highly suggest you see Friday,a classic Comedy that you can watch again and again.
The film, which stars a cast of great African American actors such as Ice Cube, Chris Tucker, John Witherspoon and Bernie Mac, was directed by Gary Gray.A young man who just lost his job gets the help of his best friend to make a quick buck.
Craig's friend in the movie was Smokey, Co-starred by Chris Tucker.
Friday is one of those films that doesn't try to be obnoxiously funny every second (like Step Brothers) and because of this, it's funnier than most comedy movies that come out today.
The story is interesting and funny while not being too crazy in order to generate laughs (like The Hangover Part II, which I still love anyway) There isn't much to say about this movie besides the fact that it's hilarious, quotable and overall very memorable.
The movie that introduced me to Chris Tucker casts him and Ice Cube as a pair of ghetto guys trying to bum their way through life.
i thought this was a pretty good movie.its part comedy and part drama,and both elements work.it's funny when it's supposed to be,and dramatic when it supposed to be dramatic.Ice Cube(Craig)is good here.but Chris Tucker is very funny.and even the his role is not as substantial,John Witherspoon steals the show in his scenes as Craig's dad,Mr.Jones,with both the funny moments and the serious moments.Tony Cox has a brief but very funny role as well.but there is a huge cast of quirky characters here,all played very well.everything takes places on one day,Friday,as the title says,and the setting is a very small area.Ice Cube co-wrote and executive produced the movie as well.for me,Friday is an 8/10.
The main two characters are Craig (Ice Cube) and Smokey (Chris Tucker) who are two pals.
Now, I'm not going to tell you anything that happened, but trust me - I was laughing so much, my stomach hurt from start to finish - it is that funny.If you liked any of Chris Tucker's films you will love this one.
Its probably his best, certainly comes in the top three.Watch this film, if you have a good sense of humor, you will think its brilliant and will be talking about it for a long time..
Smokey is clearly the stand out character and makes the movie, was VERY disappointed to see he hadn't returned in the sequels but i and most of you must understand that Friday and it's sequels where not big budget movies and Chris Tucker hit the big time with Rush Hour and would require to much to take part is a film like this.
Craig Jones(Ice Cube) and his friend Smokey(Chris Tucker) sit on a porch after Craig loses his job, on an extremely eventful Friday.For starters, this is one funny movie.
Ice Cube's performance is surprisingly great and Chris Tucker adds a nice mix of comic relief to make this movie a wonderful experience.So forget Barbershop and other crappy "hood" movies and see Friday.
Ice Cube does a great job acting (underrated as an actor) and Chris Tucker is hilarious!!!
If I loved Chris Tucker that I should definitely enjoy this movie.Well, I have to admit that I got more than a few laughs during this film.
The comedy is continuous and I can never recall a bad time to watch this movie.Chris Tucker (Smokey) is hilarious.
it's basically about craig (ice cube) and smokey (chris tucker) smoking weed on a Friday when something bad happens, big worm, smokey's business man finds out he's been smoking all the weed and not selling it.
Thought Chris Tucker made the film, and Ice Cube also did a good job..
Chris Tucker (Smokey) is hillarious and so is Ice Cube's Dad and the rest of the people in the movie.
And anybody who likes Chris Tucker, Comedy, or the Cheech and Chong movies...
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tt0047573
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Them!
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A young girl is found wandering in shock in the New Mexico desert near White Sands by two state troopers. When they investigate they find that the trailer that she was staying in with her parents and sibling had been destroyed. They also find that kindly old Gramps Johnson who ran the local store was also killed in a mysterious way. A lone print fround in front of the little girl's trailer is sent to the FBI in Washington for identification. Dr. Medford and his daughter Dr. Pat Medford come to New Mexico after identifying the print as belonging to a species of ant that had mutated after the first atomic bombing 9 years before in 1945. They find and destroy the New Mexico nest but not in time to prevent two young queen ants from escaping. One of the ants starts a nest on a military ship at sea. After the ants kill the entire crew the ship is sunk and the invading ants are killed. Another ant makes her way to the drain system of Los Angeles. A father and his two young boys accidently come upon one off the ants. The father is killed and then a hunt is on to see if they are in time to save the two young boys and also destroy the nest before any other ant can escape and destroy the world as we know it. Top notch entertainment!=================================================================In the desert of New Mexico, a young girl wandering along a road in shock is found by two state troopers. When she's brought to the police station, she's identified and the police officers decide to investigate the home where she lives with her parents and brother. One side of the house has been smashed down and the place is nearly destroyed. One of the troopers hears a bizarre ringing noise outside and walks around the back of the house to find the source. The man screams, fires a few shots and is silent, attacked and killed by an unseen enemy.At the police station the young girl meets a scientist who has her smell a pungent substance. She becomes instantly terrified, backing into a corner and screaming the word "THEM!!!"=================================================================Title (Note: the movie is black and white but the title is in color - red and blue) and credits run over a desert vista with a large desert tree in the foreground. We see a spotter aircraft fly over the desert. Johnny (an uncredited John Close) calls the car below to report something. A little girl is seen wandering in the desert. Johnny circles until the police car arrives. The girl (Sandy Descher) is dressed in a bathrobe and carrying a doll. Sgt. Ben Peterson (James Whitmore) exits the car to retrieve the child. She is in shock and unresponsive to commands. Trooper Ed Blackburn (Chris Drake) takes a call from the airplane pilot. Johnny has spotted a trailer about three miles down the road. Ben and Ed take the girl and drive down the road to investigate the trailer. They discover the trailer has sustained structural damage but there is no evidence of fire or an explosion. No money has been taken and blood stains are estimated to be less than twelve hours old. Ben finds a piece of cloth and plastic. Ed finds some sugar cubes. A mysterious print in the sand piques their curiosity. Ben matches the cloth from the little girl's bathrobe and the plastic piece fits the missing piece of her doll's head. An ambulance is called and a police team goes over the crime scene. The ambulance attendant (an uncredited William Schallert) assures Ben he'll take good care of the child. They hear a weird chirping noise like crickets, but do not notice the Ellinson girl respond to the sound. They attribute the sound to the wind. Ben asks Cliff (an uncredited Cliff Ferre), who is finishing the plaster moulage on the strange print, what he thinks it might be. The ambulance departs, so Ben and Ed decide to visit the local store run by Gramps Johnson (an uncredited Mathew McCue). They want to know if he knows anything.It is early evening when Ben and Ed arrive at the store. The wind is howling and the store is a shambles. They investigate and discover there is no sign of robbery, but a twisted shotgun indicates Gramps fought off his attackers. They find his dead body in a storage area below the store. Outside the two officers hear a noise. They notice the wall has been pulled away, just like at the trailer. A large barrel of sugar has been turned over. Ben exits the store and leaves Ed to remain until the investigation team arrives. Ed hears the weird chirping sound and goes outside to investigate. We only hear the confrontation -- six shots from Ed's service revolver and a scream.At police headquarters the clues from both scenes are spread out on the table in the office of Capt. Fred Edwards (Don Shelton). They are stumped to make any sense from the clues, including the strange plaster print. They do get a match on fingerprints from the trailer. The Ellinson family was on an extended vacation and the father was an FBI agent. Robert Graham (James Arness), an FBI agent from the office in Alamogordo, joins the investigation. Bob Graham is also stumped. Bob suggests sending the print to Washington for identification. The coroner, Doc. Putnam (an uncredited Joseph Forte) arrives and provides five causes of death. He tells them, "Johnson could have died in one of five ways; His neck and back were broken, his chest was crushed, his skull was fractured...and here's one for Sherlock Holmes: There was enough formic acid in him to kill twenty men."Bob Graham receives a telegram from the Bureau telling him to meet Doctors Medford at the airport and extend all cooperation. The FBI was unable to identify the print and sent it to the Department of Agriculture. A military transport, an old North American B-25 Mitchell, arrives and the first out is Dr. Harold Medford (Edmund Gwenn). He is short, plump, and slightly distracted in his own thoughts. Next off the plane is Dr. Medford's daughter, Patricia (Joan Weldon). She is tall, brunette, and very attractive and prefers to be called Pat. Bob Graham immediately takes a shine to this scientist. The four return to police headquarters. The Medfords review the clues and read all the reports. Dr. Medford asks where exactly the first atomic bomb in 1945 was exploded. He is told in the same general area. Dr. Medford thinks out loud, "1945. That's nine years ago. Yes, genetically its certainly possible." Bob wants to know what they suspect, but Dr. Medford refuses to explain until he and his daughter are certain of their theory. Dr. Medford wants to stop at a drug store and visit the Ellinson girl at the hospital, then revisit the location where the print was found.At the hospital, Medford examines the girl and consults with the psychiatrist (an uncredited Ann Doran). A small glass filled with formic acid causes the girl to react. She runs and tries to hide while screaming, "Them! Them!" The four exit the hospital room and visit the trailer site. The wind is howling and the blowing sand and dust make it hard to see and hear each other. Pat remarks that, "Rather slim pickings for food, Dad. They'd turn carnivorous for lack of a habitual diet." Medford agrees, then walks away. Bob wants to know what they are talking about and gets rather insistent. Pat refuses to cooperate, but explains to Bob that her father is an expert myrmecologist, and will tell him when they are sure. Medford discovers a print, and measuring it determines the creature would be over eight feet long. Pat wanders off to find more prints. She discovers one, then she hears the weird chirping sound. It intensifies and the source reveals itself as a giant ant. She screams and backs away. Bob comes to her rescue firing his revolver at the creature, but with little effect. Medford yells they should aim for the antenne, as they are helpless without them. Ben retrieves a machine gun from the police car and fires enough bullets into the creature to kill it. They all approach to get a closer look at the insect. When asked what it is, Medford replies, "Species appears to be Camponotus Vicinus. One of the family Formicidae. An Ant." Medford speculates that radiation caused this mutation.General O'Brien (Onslow Stevens), Ben and Medford are aboard a helicopter searching the desert for the nest of the giant ants. Aboard a second helicopter is Bob, Pat, and Major Kibbee (Sean McClory). They are also searching for the nest in another sector. Pat admits she is worried about her father. Pat finds what she is looking for -- a cone shaped mound with a large opening on top. They circle the mound and see an ant remove a human rib cage and throw it into a pile. Human skulls, a police belt with bullets and other bones are littered at the base of the mound. Pat proclaims, "You've just found your missing persons."In an FBI office, General O'Brien confronts Dr. Medford about his inconsistency. Medford insists secrecy is paramount and that time is the most important thing. O'Brien is anxious to bomb the nest and be done with the affair. Medford explains that the ants won't be in the nest at night. He proposes to attack them during the day with poison gas, then examine the nest to verify all are dead. During the hottest part of the next day, O'Brien and Ben fire a bazooka with phosphorus shells onto the mound to keep the area hot and the ants below. Bob Graham and Maj. Kibbee also lace the mound with incendiary shells. The Medfords watch and wait. Bob and Ben approach the opening with cyanide gas grenades. A worker ant is seen trying to escape the nest and is held off with a machine gun. The two men bombard the nest with the gas grenades.Bob and Ben prepare to enter the nest. Pat approaches dressed for a subterranean exploration. She tells the men she will accompany them. Bob objects, but Pat explains, "Someone with scientific knowledge has to go. My father is physically unable to do it. That leaves me." Bob reluctantly agrees and the three descend into the nest. At first, all they find are dead ants. Further along and down, they are surprised when a wall begins to collapse and they are confronted by some live ants. They are quickly dispatched with Ben's flamethrower. In the queen's chamber, Pat is disappointed to discover they are too late. Without explaining, she takes a few photographs then orders the contents burned. Ben torches all the eggs and dead adult worker ants.Dr. Medford explains that the empty egg cases contained queen ants, which will set up new nests. The team goes to Washington, D.C. to brief a panel of military and government personnel. Medford shows them a film about ants to give them some idea of what they face in combating the insects. Medford punctuates his presentation with a warning if they cannot be stopped, "Man, as the dominant species of life on Earth will probably be extinct within a year." A collection center for information is established and all reports of strange phenomena are funneled through same. An Air Force Sergeant (an uncredited Leonard Nimoy) pulls a dispatch off a teletype machine and hands it to a woman to classify. The note refers to a pilot, Alan Crotty, crashing his airplane after witnessing UFOs shaped like ants. He confirms that everything in the building is top secret. Bob and Pat review the dispatch and fly to Brownsville, Texas with Maj. Kibbee to investigate the Crotty report.Alan Crotty (Fess Parker) reluctantly tells his story to what he perceives as an unbelieving audience. Bob, Pat and Kibbee listen and ask a few questions. The three exit Crotty's room and speak with the doctor. Bob tells the doctor to keep Crotty confined. Back in Washington, the Medfords and Bob Graham review what they know so far. Medford takes a call and rushes to the communications room. O'Brien is there and directs Medford to an incoming message. The U.S.S. Viking reports a nest of ants hatched aboard their ship at sea. Only two survivors are rescued by the Navy. The Viking was ordered sunk by Naval gunfire. The Medfords conclude a queen flew aboard and hatched a nest while the ship was anchored in Acapulco, Mexico for the three days and four nights it was there. An official at the meeting (an uncredited Willis Bouchey) is convinced the public should be notified of the danger, but the consensus is to keep things secret to avoid panic. Pat reports that Kibbee, Ben and Bob are in Los Angeles investigating a lead -- the theft of forty tons of sugar.It is Sunday morning and Ben and Bob talk to the rail yard detective (an uncredited Dick Wessel). He reports that the rail car was broken into on Friday night and the yard watchman is being held as a suspect. At police headquarters Bob questions the yard watchman (an uncredited Dub Taylor). Ben was questioning Mrs. Lodge (Mary Alan Hokanson) about the death of her husband. Bob and Ben go to the morgue to see the body and talk to the coroner (an uncredited Russell Gaige). The coroner explains, "I don't think this happened in a machine." The missing arm and laceration on the chest are curious. He attributes death to shock and loss of blood. Lodge was with his two children, but he was found alone in his car without any trace of the arm. Bob questions Mrs. Lodge but she tells him she has no clue where her husband took the children that morning. Ben interrupts the interrogation to question patrolmen Ryan (an uncredited John Beradino) and Sutton (an uncredited Robert Berger). They found Thomas Lodge. They show Bob and Ben on the map of the city where they found the body. Bob and Ben interview the four people cited by the officers three drunks and a speeding ticket. A blonde floozy (an uncredited Mary Lou Holloway) is questioned and released. Two of the three drunks are returned to the tank to sleep it off. Ryan explains that the third drunk is at the hospital in the alcoholic ward.The ward doctor (an uncredited Grandon Rhodes) escorts Kibbee, Bob and Ben to see Jensen (Olin Howlin). Jensen tells them that he saw a little airplane and large ants down in the open storm drain channel. Bob comments that the openings look like they may be worth investigating. Jensen's loud outburst disturbs the alcoholic in the next bed (an uncredited Harry Wilson) who pleads, "Please, my nerves!" Ryan drives Bob, Ben and Kibbee down onto the river bed. They search the area and find a model airplane. Kibbee finds an ant print, which confirms the drunk's story.A news conference is called on Sunday evening. General O'Brien makes the announcement, "By direction of the President of the United States, in full agreement with the Governor of the State of California, and the Mayor of Los Angeles. The city of Los Angeles is, in the interest of public safety, hereby proclaimed to be under martial law. Curfew is at 1800 hours. Any persons on the street or outside their quarters after 6:00 p.m. tonight will be subject to arrest by the military police." O'Brien explains what prompted such drastic action. He explains that giant ants were discovered in New Mexico and a nest has been established in the storm drains under the city of Los Angeles. The military begins to stage for the attack. A field headquarters is established outside the storm drain opening where the model airplane and print was discovered. Search units in Jeeps proceed into the storm drains. About a mile in, Ben hears something and requests all engines be stopped. He investigates a pipe that leads to a section still under construction. He finds Mike Lodge (an uncredited Richard Bellis) and his brother Jerry Lodge (an uncredited Robert Scott Correll) trapped and about to be attacked by the ants. Ben kills the ants with his flamethrower. He rescues the boys and sends them down a pipe back to the safety of his waiting driver, Smitty (an uncredited Joel Smith). Unfortunately his own escape is thwarted. An ant grabs Ben with its mandibles and crushes him to death. All units are sent to Drain 267 to engage the enemy. O'Brien and Dr. Medford drive to the location. Bob, and a unit of soldiers fight their way to the nest area, killing many ants with gunfire. O'Brien and Medford arrive and order a cease fire. A section of tunnel collapses trapping Bob inside with the ants. Soldiers dig away the rubble and reach Bob before he is killed by the ants guarding the nest of newly hatched queens. All the worker ants protecting the nest are killed. Medford is called and examines the nest. He says, "This is the egg chamber. I'm certain no new queens have escaped from this nest. The job will be done when these are destroyed." O'Brien orders, "Okay, burn them out." Flamethrowers destroy the winged queen and consort ants. Dr. Medford waxes philosophical, "When man entered the atomic age, he opened a door into a new world. What we'll eventually find in that new world, nobody can predict." We close with a slow zoom in shot of the ants on fire, some still moving.
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It was about giant ants and started a horde of pathetic clones that followed it, but none have even come close to matching this movie's effectiveness.Atomic testing in New Mexico that went on in 1945 creates a horde of giant ants.
There is even a monologue at the end of the movie which explains that things have changed now that we have entered the Atomic age.James Whitmore, James Arness, Joan Weldon, and Edmund Gwenn give good performances as the heroes who are out to save mankind, along with the U.S. military police.
The pacing was rather good as well, slowing down when things need to be explained, and then picking up when the giant ants are on screen.Though the special effects seem cheesy by todays standards, I thought they were rather effective in this movie and memorable for 1954.
The marauding ants in "Naked Jungle," advancing across a desert, are matched by the monsters in "Them!" coming out through mists of the white sands of New Mexico after an atomic blast has increased them to giants
Slowly people start to go missing and the news filters though to the nearest towns that the arid plateau can present a real threat as strange creepy whistles are coming out from that deep desert
Rather than an atomic movie, the film is about the struggle between humans and species revolt which invade their cities and show their remarkable energy, tenacity and vulnerability
Just as the Gill Man can only be driven back when he has isolated far from his natural element, the monster ants are all powerful in their own territory and none too easy to destroy outside it
"Them!" is well acted, frightening, and engaging from start to finish
The cast is pretty damn good, especially James Whitmore as the pretty intelligent cop who found a five year old girl, aimlessly walking through the terrain of the desert miles from her family's wrecked travel trailerunresponsive by some catastrophe..."Them!" is a well-made monster movie, an instant classic nominated for an Oscar for its effects.
This movie has pretty much everything going for it: a literate, atmospheric, extremely well-written script for what is essentially a B picture (although Warner Brothers put a substantial amount of cash into it)l outstanding acting jobs by everyone from the leads on down to the extras; razor-sharp direction by an old pro, Gordon Douglas (by far his best film; nothing he did before or since was anywhere near as good); a combination of visual and sound effects guaranteed to creep you out (the scene where James Whitmore's partner goes outside the wrecked store to investigate the strange noises he hears is among the scariest things you'll ever see).
Everyone remembers the wonderful Olin Howlin, the guy in the drunk tank who sings "Make me a sergeant in charge of the booze!", but there are several other segements that are equally as lighthearted; the great Dub Taylor playing a railroad detective suspected of stealing a load of sugar from a railroad car that the ants have actually done ("You think I stole that sugar?
You ever heard of a market for hot sugar?") and another scene in the drunk ward where a patient looks at the army major accompanying Arness and Whitmore and says, "I wanna get out of here, general, but I ain't gonna join the army to do it!" The special effects are first-rate but do not overwhelm the story, as is all too common in many of today's action films (that is, when there actually IS a story).
Casts of the strange footprints found at the crime scene are sent to a lab where they catch the attention of father/daughter doctors Medford (Edmund Gwenn and Joan Weldon) who come to New Mexico along with FBI agent Robert Graham (James Arness) to investigate.
Weird deaths are occurring in the New Mexico desert, it is revealed to be the work of giant mutated ants born out of the A Bomb tests that took place there.
Trouble escalates to the big city of Los Angeles when one of the giant queen ants escapes to L.A. and starts laying eggs that could lead to the end of mankind as we know it.This is a cautionary tale about scientific tampering fused with a Cold War theme of destroying a threat to the country.
The ants were mutated by atomic testing, and are responsible for the local deaths.Like the 'Beast From 20,000 Fathoms' and 'Gojira', 'Them!' played on Cold War fears of the consequences of using nuclear weapons.
Not this one: this one earns all the praise.Why does this film in the midst of so many bad efforts of the genre and time period get rated so highly?1 - A good cast: James Whitmore, Edmund Gwenn and James Arness are all pretty famous actors who do a fine job here,; 2 - Good special effects, meaning they still look pretty real over 50 years later; 3 - A pretty intelligent script, certainly far better than its competitors; 4 - None of the standard stupid love interest to take away from the storyline; 5 - Just the right amount of action, and finally, 6 - It keeps your interest all the way through.
Great example of early sci-fi and can be enjoyed by young and old alike.The cast includes James Whitmore, Edmund Gwenn, James Arness, Joan Weldon and a smaller part for Fess Parker..
Possibly the most impressive thing about the movie is that the characters are written and acted so well they don't descend into archetypes as often happens in sci-fi and horror films, then and now.
In this case, mutations in the form of giant ants are linked to those first atomic experiments.Although the public probably wasn't afraid of actual giant insects in the 1950's, as a result of the cold war and nuclear technology, the atomic age certainly made the stars of past horror films - vampires and werewolves - look tame in comparison by opening up a whole new horizon of horrific possibilities.
Later that same year the US proceeded to use this new age weaponry to end World War II by atomising both Japans Hiroshima and Nagasaki.Adding fact's aftermath of nuclear fallout in the New Mexico desert and fictions theories of the possibilities of its consequence, this George Worthing Yates (1901 - 1975) story, who too penned It Came from Beneath the Sea, and the directional skills of Gordon Douglas (1907 - 1993) has given a sizable account of a vision of man's need to advance and conquer.
They are the newcomers in the world of analogical radiation defects and indifferent, ignorant human altered beasts that would soon burst onto the big screen, such as Ishirô Honda's 1954 analogical antiwar masterpiece Godzilla to the 2006 South Korean creature feature Gwoemul.The town's folk of Los Angeles are warned of the threat and a curfew is announced, in reflection, would the baying public have ever known of this predicament if the queen had not escaped in this marvellous film of post-war technological advancement and the reality of Government repression in the form of keeping witnesses "contained"?
Whenever one thinks about the many horror movies of the 50s, it's nearly impossible to not think about the multitude of creature features that had in common a basis on science-fiction that reflected the newly discovered fears of uncontrolled science and the cold war paranoia; and when one thinks about this 50s creature features, the ideas of cheesy story lines and laughably awful special effects quickly come to mind as those were two elements typical in many low-budget productions.
However, it would be a big mistake to think that every 50s horror movie was a bad display of special effects, as the classic Warner Brothers film titled "Them!", one of the first of those nuclear monster films, proves clearly.
Made a year after the success of "The Beast from 20,000 Fathoms", this movie followed similar themes, but gave them a more horror oriented spin and single-handed became the source of countless imitators.Sgt. Ben Peterson (James Whitmore) investigates a strange series of disappearances and murders happening in New Mexico's desert, and since one of the missing persons was an FBI agent, agent Robert Graham (James Arness) is sent to collaborate with Peterson in the investigation, however, the only clue they have is the strange prints found at the crime scenes.
What truly makes "Them!" to stand out among the rest of the movies of its time, it's the way it takes its plot (as silly as it may sound to today's audiences) with a respect that few works of science fiction (not only films) do.
While basically stereotypes (scientist, cop, government agent, etc...), every one is given enough depth to stand out and become really multi dimensional characters.Experienced b-movie director Gordon Douglas brings the story to life in a sober yet very effective style that at times echoes his work in Westerns and Film Noirs.
Combined with the serious take on the plot, this really makes the whole movie be more believable and adds an powerful feeling of impending doom that makes it haunting and truly terrifying.The four actors that give life to the key roles in the film really make the most of the characters they play, starting with James Whitmore, as the county cop whose simple and quiet life gets changed after his discovery in the desert.
As written above, Joan Weldon's role was also ahead of its time, and certainly, Edmund Gwenn's role represented the fears of a society afraid of the results of Nuclear testings.I was not expecting a lot of "Them!", I mean, the overall concept is really simple, yet the way the movie is crafted makes it one of the most haunting movies of its type ever done.
This is a movie that proves that the 50s creature features could really be worthy pieces of horror and science fiction that were more than a bunch of cheap special effects and Cold War paranoia.
Originally intended as a "3D color sensation" from Warner Brothers, this last-minute slashed budget sci-fi film about giant ants proves to be ahead of its time with an excellent script and inspired acting.
Fueled by an excellent cast and very interesting plot line THEM is one of those rare sci-fi,s of the 50,s that is not only entertaining, but is also shocking in its portrayal of what could happen due to mans abuse of nuclear energy...I,ve viewed this movie countless times and it has never failed to leave me without the message "What If" The film moves at a steady pace with the police searching the desert for a missing child that had been spotted..shortly after finding her the searchers encounter a mobile home that has been torn apart, but strangely from "the inside out".
Scared the life out of me at an early age - my Dad could do a great impersonation of the noise those ants made :) Since then the movie, for me anyway, has come to represent 1950s paranoia over the effects of atomic radiation.
is the best giant bug movie of the 1950's and one of the best, if not the best monster movie of the decade.The acting is excellent with good performances from James Whitmore (The Relic) and James Arness (The Thing From Another World).
The movie includes haunting desert settings and the giant ants look great.
New Mexico State Trooper James Whitmore and FBI agent James Arness track down giant mutant atomic ants spawned at Alamagordo, NM, following the first atom bomb tests.
was the movie that started a bunch of imitators in the giant bug sci-fi films.It was the best of the lot.
The writing introduces plenty of mystery and suspense, the acting is plenty good (although, admitted, it could be better), and the sound effects are great.If you haven't seen this movie, you must.
ranks alongside George Pal's War of the Worlds and The Day the Earth Stood Still as the best of the '50's classics.The acting from top to bottom was first rate,and every character was well cast-Edmund Gwynn as the crotchety old professor,didn't let a bad case of arthritis stop him.
It is one of the funny things about movie making that one can spend millions of dollars bringing a screenplay to the screen that is supposed to be a "blockbuster" and it is a total flop, but one can also have a restricted, low-budget film with a cast of good character actors, and it will turn out to be memorable movie making and a permanent favorite.
Soon the expert from Washington (Edmund Gwenn) is lecturing the local state police (James Arness, James Whitmore) on how organized and deadly ants are - we even see a film of a three day battle between rival ant armies.
The only thing missing (because the film is in black and white) is that the dead mutant ants are not shown to be colored red or wearing Russian words on their sides.[*Interestingly enough, in THE INCREDIBLE SHRINKING MAN, such radiation leads to a human being shrinking - what gives here?].The film is quite good and even convincing of the real danger from the over-sized creatures.
I thought I was in for a cheesy horror flick, but this was some fine film material!Following the detonation of the atomic bomb in the deserts of New Mexico, gigantic ants are on the prowl after being mutated by leftover radiation.
A goodguy cop, an FBI agent, and two scientists now must track down these ants and stop them from colonizing the earth.This movie had very good acting, pretty decent special effects for a 50's movie, and brings up a lot of interesting debates and ethics regarding scientific research.
If you ever wanna just sit back and watch a classic horror film and have a good time, I definitely reccomend this.
Through the aid of an FBI man played by James Arness and an elderly professor(Edmund Gwenn), Whitmore and company uncovers a huge ant colony located in the desert.
Okay the science involved is absolute rubbish but it is a very enjoyable film with some really good moments like the lone cop investigating the eldritch sound of the ants , the attack on the ship , and the final battle underneath the city .
The last line says it all: 'unnatural things alive or dead.' And after Gwenn shows his little film (about real ants) within the film to the DC bigwigs, he speculates mankind has about a year left at the top of the food chain.It's moments like these, copied in many later movies, that define this era of atomic age fear and dread.
This movie was one of the best of that era,black and white and as a 14yr old I thought the Ants were looked pretty good.
"Them!" was a terrific example of how sci-fi movies should always be made: a tight, engrossing, suspenseful script and great acting, with the special effects there to support the story and actors, not to be the whole movie.
We seem to get fewer and fewer such sci-fi movies anymore."Them!" overcame the limitations of 1950's special effects with a script so vivid that while you get to see the ants on screen only occasionally, you imagine so much in your mind's eye, almost like an old-time radio play.
Soon a FBI agent (James Arness), a scientist (Edmund Gwenn) and his daughter (Joan Weldon) are investigating and they discover that the atomic bomb that was dropped nine years earlier has caused the ants to grow to a giant size.THEM!
Whenever you want to recommend a monster movie done right then this here certainly ranks up there with the greatest.I think the greatest thing the film has going for it is the screenplay, which treats the material extremely serious but doesn't waste time preaching.
When the little girl finally gets her smelling salts and delivers the classic, campy "THEM!" line over and over, it's hard not to smile and laugh a little.When the doctor is on the helicopter having to communicate with his daughter (a very good Joan Weldon) on another copter, he just can't seem to get the concept of saying "Over" after every sentence he gives, and it's a clever little bit of comedy amid the tension of this scene (the characters even point out it's just one of those things movie characters have to do, without saying it explicitly).
It's taken a decade for them to be discovered, the desert being a solitary place, but when these big guys come out of their holes, it's with a feeding frenzy vengeance.First on the scene is deputy sheriff James Whitmore, who first brings in FBI man James Arness and then a father and daughter team of scientists, Edmund Gwenn and Joan Weldon.
Though the human cast does give a good account of themselves, it's the special effects creating those giant ants that is the real star of the film.
There are giant ants in the New Mexico desert, all because of the effects of nuclear testing out there a couple of years ago.Excellent performances and a decent script is what really gives this film a lot of credit.
It was a very entertaining film with good special effects considering the state-of-the-art at that time..
James Whitmore ('The Shawshank Redemption'), James Arness (the monster in 'The Thing From Another World'!), and Edmund Gwenn ('The Trouble With Harry') are all excellent, and Joan Weldon (unknown to me) is also very good.
James Whitmore, ever reliable and still holding up almost 50 years on, in such films as THE RELIC (does this guy love monster movies or what???) and currently THE MAJESTIC.
The film's debt to "The Beast From 20,000 Fathoms," which had been released by Warner Brothers the year before, is a huge one, but "Them!" was the first of the "giant bug" movies of the '50s, and surely the best of the bunch.
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The Vampire Bat
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When the villagers of Kleinschloss start dying of blood loss, the town fathers suspect a resurgence of vampirism, but police inspector Karl Breettschneider remains skeptical. Scientist Dr. Otto von Niemann, who cares for the victims, visits a patient who was attacked by a bat, Martha Mueller. Martha is visited by a mentally challenged man named Herman, who claims he likes bats because they are "soft like cat" and "nice". On the doctor's journey home, he meets Kringen, one of the townsfolk, who claims to have been attacked by the vampire in the form of a bat, but withheld his story from the town to not spread fear. Dr. von Niemann encourages Kringen to tell the townsfolk of his story. Kringen becomes suspicious that Herman Glieb may be the vampire due to his obsession with bats. Herman lives with bats and collects them off the street.
Dr. von Niemann returns to his home, which also houses Breettschneider's love Ruth Bertin, Ruth's hypochondriac aunt Gussie Schnappmann, and servants Emil Borst and Gorgiana. Fear of the vampire and suspicion of Glieb quickly spread around the town, and people start fearing him. Ms Mueller is killed that night. The analyses of Dr. von Niemann and another doctor, Dr. Haupt, conclude that the death is the same as all of the previous deaths – blood loss, with two punctures in the neck caused by needle-sharp teeth. Gleib enters the examination, and upon seeing the dead body, runs away screaming.
Next morning, Glieb enters Dr. von Niemann's garden, where Dr. von Niemann, Breettschneider, and Bertin are discussing vampires inside the house. The town fathers enter the house and announce that Kringen is dead and Gleib is missing. An angry mob hunts down Gleib and chases him through the countryside and into a cave, where he falls to his death.
That night, Dr. von Niemann is seen telepathically controlling Emil Borst, as he picks up sleeping Gorgiana and takes her down to Dr. von Niemann's laboratory, where a strange organism is seen. They then drain her blood from her neck.
Schnappmann then discovers Gorgiana's body in her bed. Dr. von Niemann and Breettschneider investigate and find Ms Mueller's crucifix, which Glieb handled the night Dr. von Niemann visited her. Breettschneider is becoming more convinced of the presence of vampires in the village as no other plausible explanations for the deaths can be found. As Glieb was seen in the garden that morning, the two conclude he is guilty.
Upon hearing of Glieb's death, however, Breettschneider's conviction is erased. Dr. von Niemann tells Breettschneider to go home and take sleeping pills, but gives him poison instead, intent on draining his blood. Bertin discovers Dr. von Niemann telepathically controlling Borst, who is at Breettschneider's house. It is revealed that Dr. von Niemann has created life, and is using the blood to fuel his organism. He ties Bertin up in his lab. Borst supposedly enters with Breettschneider's body on a trolley. Dr. von Niemann walks over to Borst, who is revealed to be Breettschneider (who did not take the pills) in costume, with the real Borst on the trolley. Breettschneider pulls a gun on Dr. von Niemann, and walks over to untie Bertin. Dr. von Niemann then wrestles Breettschneider, who drops the gun. As the two fight, Borst picks up the gun and shoots Dr. von Niemann.
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murder
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Maude Eburne and Dwight Frye make a good comedy team.This budget movie brings in elements from "The Cabinet of Dr. Caligari" with Dr. Niemann using the power of suggestion to make a somnambulist carry out his orders, from "Frankenstein" by using the human blood to help create life in the laboratory, and "Dracula" since the murders are believed by everyone except the inspector and his girl to be the work of a bloodsucker.
Mysterious murders in a European village seem the result of THE VAMPIRE BAT horde plaguing the terrified community.This surprisingly effective little thriller was created by Majestic Pictures, one of Hollywood's Poverty Row studios.
The opening sequences of this film (the first 15 minutes or so) is pure vintage horror, with a suspenseful introduction to the story (extended speeches with a detailed description of the killer's modus operandi) and a great use of set pieces and interiors that already proved their effectiveness earlier (the same scenery was used in Universal classics, like "The Old Dark House" for example).
"The Vampire Bat" isn't a very efficient whodunit mystery, but it definitely remains a must for fans of classic horror films since it brings together names like Fay Wray (immortal for her role in "King Kong"), Lionel Atwill ("Mystery of the Wax Museum"), Melvyn Douglas (Polanski's "The Tenant") and Dwight Fry. This latter is my personal favorite cast member here, mainly because he's a very underrated actor who always stood in the shadows of more important horror veterans.
I won't go into the details of the plot, as that has been covered multiple times in other reviews, and it's not the story that makes the film shine.There are three things that make "The Vampire Bat" stand out from the other poverty row films - the cast, the direction, and the comedy.The Cast - Lionel Atwill, Melvyn Douglas, and Fay Wray get the heavy lifting in the film, and all are excellent.
Obviously, this was not a big budget film, so the sets and overall production values are not high, but this is mostly glossed over by the efficiency and care shown by the director, but there are a few scenes where the seams showed too much, like the cave scene, parts of which look like it was filmed in a closet.Overall, "The Vampire Bat" is certainly worth a look for the great direction, a mad Lionel Atwill, and the always lovely Fay Wray..
The title is a misnomer as the evil that bedevils the remote Central European town turns out to be human in origin although the inhabitants of the town firmly believe that the exsanguinated bodies turning up all over the place are the work of vampires .They hound a simple minded young man ,Herman ,( movingly played by Dwight Frye ) to his death claiming he is the culprit while the real villain is unmasked shortly after his death.
Neat performances from Lionel Attwill as the town doctor ,Melvyn Douglas as the sceptical local policeman and the aforementioned Mr Frye compensate for a wan and colourless Fay Wray as the love interest and the tedious comic relief of Maude Elune as a bossy old maiden Aunt prone to fits of the vapours .Its ingredients will be familair to lovers of the vintage horror picture and we get many of the scenes that were a staple of the genre--superstitious villagers wielding torches ,a crazed man of science and the debate between science and folklore but it is expertly welded together and never oustays its welcome.
"The Vampire Bat" offers some effective moments along with Dwight Frye being his usual kooky self!The film resembles that of a "Universal" horror film but to the best of my knowledge, it wasn't actually filmed at that studio.Worth watching..
I'm not going to spoil matters by revealing the answer, suffice to say that Lionel Atwill DOESN'T play against type.Atwill's Dr. Otto von Niemann is just one of the film's many uninspired stock characters (superstitious burgermeister, sceptical police inspector, sassy female scientist, village idiot, comic relief aunt) who, along with the unimaginative script, routine direction, and predictable outcome, make The Vampire Bat a rather mediocre experience—frustrating since it features a terrific cast worthy of better material, including two-time Oscar-winner Melvyn Douglas, King Kong beauty Fay Wray, and Dwight Frye of Dracula fame, who steals the show with his excellent performance as Herman Gleib, a misunderstood simpleton with a love of bats (soft, like cats!)..
These old time films in black and white hold my interest and especially great actors like Lionel Atwell, (Dr. Otto Von Niemann) along with Fay Wray, (Ruth Bertin) and Melvyn Douglas, (Karl Brellschneider).
It is in the public domain so may not be hard to find.Quite a good cast as also starring Faye Wray as the doctor's assistant Ruth Bertin just months before she was to appear in KING KONG and Dwight Frye as the bat-loving off-the-wall lunatic Herman Gleib a couple years after appearing the horror classics DRACULA and FRANKENSTEIN..
He and his girlfriend (Fay Wray) begin to snoop around and this leads them to Dr. von Neimann (Lionel Atwill).THE VAMPIRE BAT was just one of many low-budget horror films that were released after the success of Universal's DRACULA and FRANKENSTEIN.
Stone, Lionel Belmore and Dwight Frye in small supporting roles.THE VAMPIRE BAT certainly isn't a classic of the genre and on the whole it is a disappointment but at the same time the cast is so great and the running time so short that it's still worth watching..
the suspicions soon start to fall on the village idiot that everyone thinks is weird,, the police begin to investigate, and what they come up with doesn't seem to match,, so the question is did the town weirdo kill the people or did someone that the police overlook do it,, or was it a real vampire,, not a bad little horror lflick,, lot's of elements from different movies in here, that hint at Somnabulist's and the like,, very interesting,, only thing was the picture did drag in spots, and didn't seem like everything was tied together,, otherwise it's definitely worth watching..
With a title capitalizing on the success of "Dracula" (Universal, 1931) starring Bela Lugosi, THE VAMPIRE BAT which doesn't actually deal with vampires, has acquired the source of its "Dracula" co-star, Dwight Frye, in a similar portrayal of insane spider eating character, Mr. Renfield, with that as Herman Glieb, a village half-wit who not only plays with bats but makes pets out of them, thus making others to believe he to be the living image of the vampire theory.Set in small German village of Kleinschloss, the story, opening in true horror form, starts off with the howling of wolves at a distance and the visual view of bats hanging upside down on trees as Kringen (George E.
Karl's in love with Ruth Bertin (Fay Wray), who, along with Emil Borst (Robert Frazer) work as laboratory assistants for diabolical scientist, Doctor Otto Von Niemann (Lionel Atwill), who insists all the women have been victims of a vampire.
They are soon proved wrong of their theory when these ghastly murders continue to occur.While THE VAMPIRE BAT doesn't have the macabre style of Universal's own "Dracula" or "Frankenstein", it can be credited for its fine reproduction of its creepy atmosphere, chilling scenes, along with a pursuit of the killer by an angry mob with lighted torches quite commonly found in many "Frankenstein" sequels, yet, with all that, THE VAMPIRE BAT is at times disappointing due to its slow pacing, lack of background music, low budget production and intrusive comedy relief provided by character actress Maude Eburne as Aunt Gussie Schnappmann.
One scene for amusement purposes has her fainting at the sight of Herman's bat he takes out from his pocket, only to awaken after-wards with a great dane licking her face, leading her to believe the dog to be Herman, and running for her life.As much as the movie was distributed by a lesser known poverty row studio of Majestic, THE VAMPIRE BAT has turned out to be its best known product solely due to its frequent resurrections on television dating back to the 1950s, and strong marquee names of Atwill, Wray and Douglas.
Its was filmed on the sets of the Old Dark House and Frankenstein and concerns a small Bavarian village where supposedly giant bats are sucking the blood of the villagers.Frankly its a damn good movie that has atmosphere to spare and a cast that won't quit, Lionel Atwill, Dwight Frye, Faye Wray and Melvin Douglas playing a character named Brettschnieder which is of interest to me since that was my great grandmother's maiden name.This is a carefully modulated film that has suspense and witty one liners that slowly builds for its brief running time, only going astray when about ten minutes before the end they realized they had limited time to wrap everything up.
Boy what a dud this mess was.But it only lasts an hour and I only paid a buck for it so I'll live....unlike the entire cast of this 1933 clunker who are all dust by now.So anyway a small village starts having bodies turning up that have been drained of all their blood.The local yokels start talking about vampires ,of course,and a little more loudly after each body is found.The town sheriff or constable or whatever he is,played by awesome actor Melvyn Douglas,tries to tell them otherwise.When he mentions the fact that the dead have one large hole on each side of the neck,instead of two holes close together, the locals simply then say it's a giant vampire bat.The constable insists that vampires do not exist and it must be a human culprit doing the killings.But Melvyn doesn't seem too bothered either way.He spends most of his time trying to get into the pantaloons of his sweetie,played by Faye Wray.Also in this mix is the town simpleton,played by Dwight Frye,who always seemed to have played the same role in every movie he did.He further freaks out the townspeople by catching bats and drinking his own blood.Lionel Atwill plays the town doctor who seemingly is trying to help the constable solve the crimes.And boy does he ever stink as an actor.Atwill is as close to cardboard in this role as he could get.And Lionel Barrymore is also in this thing....lots of big names to be such a pile of guano.Other than the terrible mis-title this movie has,the alternate name,"The Blood Sucker" is much better,this movie is also dull and plodding and just silly.For me the high point of the movie is watching Frye,he nails the freaky town weirdo but other than him this movie didn't offer much.And then when you find out the reason for the strange deaths and see the special effect thing that required all this blood you'll really be let down.Bela Lugosi did a lot of awful pictures but at least he was fun and interesting to watch.Think of this movie as a really bad Lugosi clunker WITHOUT Lugosi and you'll get a feel for how miserably bad this mess was.If you can't make a good 1930's horror film at least put Lugosi in it..
Part of the reason that "The Vampire Bat" looked almost as good as any Universal Pictures horror film is because Majestic leased James Whale's castoffs, the "German Village" backlot sets left over from "Frankenstein" (1931) and the interior sets from his film "The Old Dark House" (1932), plus some location shooting at Bronson Caves.
While the police detective refuses to believe the nonsense about vampires returning to the village, the local doctor treating the victims begins to suspect the truth about the crimes," according to the DVD sleeve's synopsis.An inappropriately titled, dramatically unsatisfying, vampire mystery.Curiously, the film's second tier easily out-perform the film's lackluster stars: stoic Lionel Atwill (as Otto von Niemann), skeptical Melvyn Douglas (as Karl Brettschneider), and pretty Fay Wray (as Ruth Bertin).
There is a very similar feel to James Whale's 'Frankenstein' and this is compounded by the introduction of Lionel Atwill's Dr Niemann character, complete with his misguided ideas for scientific advancement.The vampire theme is arbitrary and only used as a red-herring by having suspicion fall on bat-loving village simpleton Herman (Dwight Frye), thus providing the excuse for a torch-wielding mob to go on the rampage - as if they needed one.This is one of a trio of early horror films in which Lional Atwill and Fay Wray co-starred (also 'Doctor X' and 'The Mystery of the Wax Museum') and like their other collaborations the film suffers from ill-advised comic relief and a tendency to stray from horror to mainstream thriller elements.
A poverty row outfit called Majestic Pictures produced The Vampire Bat and for a poverty row outfit managed to get a good cast for the film which included Melvyn Douglas as a police inspector, Fay Wray as the girl he's courting and Lionel Atwill as the village doctor.
Everybody suspects crazy Herman (Dwight Frye) of it because he LOVES bats...Pretty good low budget horror film.
Burgermister Gustave Schoen (Lionel Belmore) shouts "It's Vampires" but the local police chief Karl Brettschneider (Melvyn Douglas) thinks it's a madman who's responsible and he vows to catch him.*****SPOILER ALERT***** The Burgermeister and most of the towns folk think that the local kook Herman Glieb (Dwight Frye) who loves bats and frequently talks to them is the one they are looking for and they chase him until he falls to his death in a cave.
For all of its faults, "The Vampire Bat" is still an enjoyable little film if for no other reason than to enjoy Melvyn Douglas in an early pre-MGM role and Fay Wray just before she found her 15 minutes of fame in "King Kong" the same year..
It looks like the fall guy will be the mentally challenged Herman Glieb (Dwight Frye), who admits to keeping bats as pets and playing with them.What's really going on is that the good doctor Otto Von Niemann (Lionell Atwill), in his quest to create life a la Frankenstein, has developed a mass of living tissue that needs human blood to sustain itself.
IMO, It's not as good as two other horror films with Lionel Atwill and Fay Wray from the same time period 'Doctor X' and 'Mystery of the Wax Museum', still it's fun and well worth watching for sure.
That's the disappointment.We get little more than the formulaic elements of such films but with slow pacing, low budget, not enough of Dwight Frye, the overdone presence of Maude Eburne (Aunt Gussie), and the premise for Lionel Atwill (Dr. von Niemann) to require human blood or how he exhibits mind control over his servant Emil (Robert Frazier) never made very clear.Do not watch the technicolor 'Dr. X' (1932) -- which also stars Lionel Atwill and Fay Wray but as father and daughter -- before watching this the way I did; it's an Oscar winner by comparison.
A top notch cast including Melvyn Douglas, Fay Wray, Lionel Atwill and Dwight Frye try hard to make The Vampire Bat believable, and it has some nice atmospheric touches and ghoulish moments; but it also has a totally ludicrous solution to the mystery and Maude Eburne, who makes Una O'Connor look like someone you'd love to spend an evening with!
The story seems to play on superstitions of the time.I feel, that there could have been more adversary interaction; and perhaps some kind of background score, to increase the suspense.Regardless, I feel that The Vampire Bat; is a good movie, and it should appeal to fans of Dracula and of other classical horror films..
The early 30s were of course the great days of the CLASSIC horror movie - the horror wave (although its beginnings lay back in the silent days, with first and foremost performer Lon Chaney) started in 1931 with "Dracula" and "Frankenstein", both made by Universal Pictures, which took their vampires and monsters seriously, and exploited about every old Eastern European or other superstition, until even the audiences of the time almost started believing in vampires and werewolves...The other 'school' was initiated by Warner Brothers, in 1932 with "Dr. X" and the following year "The Mystery of the Wax Museum" - and with both films starring Fay Wray and Lionel Atwill.
A two-in-one movie, you could almost say - and although we may ask ourselves after a while why the young inspector (Melvyn Douglas' turn to become Fay Wray's rescuer; he'd also had his experiences in the genre in "The Old Dark House") doesn't suspect the sinister scientist for a moment, while all the village is hunting after poor, mentally retarded Herman (another MARVELOUS madman portrayal by Dwight Frye), we're just contented when finally the big light goes on in his head, and he saves his girl from the hands of her mad employer...This movie really makes you go back in time and feel like a cinema-goer in 1933 - a piece of film nostalgia which has got just about everything: romance, horror, crime, and its share of humor; what else could you want for a GREAT late-night entertainment?.
It has one of the best horror casts outside of the Lugosi-Karloff-Chaney circle: Lionel Atwill, Fay Wray, and Dwight Frye, plus leading man Melvyn Douglas.
The Vampire Bat is set in the small German village of Klineschloss where Gustave Schoen (Lionel Belmore) the Burgermeister is holding a meeting with Inspector Karl Brettschneider (Melvyn Douglas) from the local constabulary about all the recent murders, six victims have been discovered in as many weeks all drained of blood & bearing the same two puncture wounds on their necks.
He also fears for the safety of his beloved Ruth(the lovely Fay Wray who stars for the third time with Atwill after "Doctor X" & "The Mystery of the Wax Museum")who is Niemann's assistant.Dwight Frye steals the film as a rather loony village idiot who collects bats and carries a demented demeanor wherever he goes..it's easy to see why he becomes a suspect as local paranoia is at a fever pitch.
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16 Blocks
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Jack Mosley (Bruce Willis) is an alcoholic, burned-out N.Y.P.D. detective. Despite a late shift the night before, his lieutenant orders him to escort a witness, Eddie Bunker (Mos Def), from local custody to the courthouse 16 blocks away to testify on a police corruption case before a grand jury at 10 a.m. Bunker tries to be friendly with Mosley, telling him of his aspirations to move to Seattle to become a cake baker with his sister who he has never met, but Mosley is uninterested, and stops at a liquor store. They are suddenly ambushed by a gunman, and Mosley drags Bunker to a local bar to take shelter and call for backup. Mosley's former partner, Frank Nugent (David Morse), and several other officers arrive. Nugent and his men are part of the corruption scheme, and he tells Mosley that Bunker is not worth defending as his testimony will likely out several officers with dirty hands, including Nugent. The corrupt cops try to frame Bunker for firing at an officer before they try to kill him. Mosley intervenes, rescuing Bunker and fleeing.
Mosley briefly stops at his sister Diane's (Jenna Stern) apartment to retrieve guns and ammo, and learns the police have already approached her about his activities today. He and Bunker take steps to further elude the police, and Mosley is wounded in the process. They become cornered in a run-down apartment building as Nugent and his men search floor by floor. Mosley calls the district attorney to arrange for help, but purposely gives the wrong apartment number, suspecting there is a mole involved. Mosley and Bunker are able to escape onto a passenger bus, and as the police follow them, Mosley is forced to treat the passengers as hostages. The bus crashes into a construction site and is soon surrounded by the ESU. Aware that Nugent will likely order the ESU to raid the bus, risking the safety of the passengers, Mosley allows the passengers to go free, using their cover to allow Bunker to sneak off the bus in the confusion. Mosley finds a tape recorder in the discarded possessions on the bus, and prepares a farewell message to Diane.
To his surprise, Bunker returns to the bus; while Nugent is ready to fire on him, Nugent is made to stand down by a superior officer. Bunker has come to see Mosley as his friend and wants to be there for him to see this through. Bunker's tenacity convinces Mosley to get to the courthouse, and he manages to drive the bus into an alley, temporarily blocking the police from following them. He finds that Bunker has been wounded, and calls Diane, a Paramedic, to bring an ambulance around to help, despite knowing she will be followed. Diane cares for Mosley and Bunker's wounds, though Bunker still needs further treatment at a hospital. As Diane's ambulance drives away, the police stop her but discover the ambulance is empty; she had a second ambulance pick up Mosley and Bunker that would not be under similar surveillance. Meanwhile, Mosley reveals to Bunker that should he testify, not only will Nugent be convicted but so would Mosley as one of the corrupt cops. Mosley gets off a block from the courthouse and wishes Bunker luck with his bakery, instructing the paramedic to take Bunker to the Port Authority and put him on a bus for Seattle. Bunker promises to send him a cake on his birthday.
Mosley continues to the courthouse, where the police and ESU are waiting for him, as well as the district attorney. Mosley enters the courthouse building through the underground garage, encountering Nugent alone, who tries unsuccessfully to dissuade him from testifying in Bunker's place. Mosley enters the courthouse proper, where one of Nugent's men (David Zayas) tries to shoot Mosley but is killed by one of the ESU snipers. Mosley informs the district attorney that he will testify in exchange for Bunker having his record expunged, also revealing that he had recorded the conversation with Nugent in the garage on the tape recorder, which he submits as evidence.
Two years later, Mosley is freed from prison. He celebrates his birthday with Diane and other friends, and is surprised to find that the cake had indeed come from Bunker, who has been successful in starting "Eddie & Jack's Good Sign Bakery" in Seattle.
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violence, suspenseful, murder, flashback
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train
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A reviewer emailed me that "Midnight Run" not only has a story like "16 Blocks" but Bruce Willis' character Jack Mosley has a name that is a composite of the movie names for two of the leading roles in "Midnight Run": Robert De Niro's Jack Walsh and Yaphet Kotto's FBI Agent Alonzo Mosely.
Though the story may seem like déjà vu, the action is fast paced making this an exciting film to watch.Anyone who doubts that Bruce Willis can act needs only watch his standout performance in "Pulp Fiction" to see what depth this actor can bring to a demanding role.
Playing the part of an over the hill New York cop with a game leg, nothing to live for, and a drinking problem seems easy for Willis to make it all believable.The criminal, Eddie Bunker, Jack must deliver to testify within a certain time frame is played with gusto by hip-hop artist Mos Def. Eddie is the most verbose prisoner ever.
He gets all the scrap jobs that no one wants and one of these jobs brings him straight to Mos Def who plays Eddie, a very hard to understand, very talkative guy who has apparently witnessed something and is due to testify at 10 sharp.
It's a special buddy movie between a dreary , boozy cop magnificently played by Bruce Willis and a fast-talking prisoner well acted by Mos Def , detaching an agreeable chemistry .
It's a story that's character-focused throughout, with the emphasis on the developing relationship between Bruce Willis' detective and Mos Def's criminal.
David Morse, off our screens for too long, is as great as ever as the corrupt cop who becomes the nemesis of the heroes.While the film is not action-focused, there are some highly impressive set-pieces which strive for realism – the stand-out scene being the bus hostage rescue, of course.
In New York, the alcoholic and decadent detective Jack Mosley (Bruce Willis) is assigned to deliver a prisoner to the court sixteen blocks far from his precinct in 118 minutes.
While driving to the tribunal, Jack is attacked by a group of corrupt cops and protects Eddie.In spite of being a flawed movie, "16 Blocks" is a good entertainment with lots of action and an optimistic, hopeful and commercial message in the end that people can change, with the redemption of Eddie and Jack.
However, something goes terribly awry when the cops who are the targets of his testimony attempt to knock off the witness, forcing Willis and his charge to run for their lives through the crowded streets and deserted back alleys of downtown Manhattan."16 Blocks" deserves points for at least attempting to provide a bit more in the way of characterization and theme than we are used to in run-of-the-mill police procedurals, but the film winds up falling flat despite the best of intentions and some first rate performances by Willis and Mos Def as the man whose life Willis feels compelled to protect.
Moreover, the schmaltzy, humanity-of-man ending, with its theme of mutually achieved salvation and redemption, comes across as a contrived piece of sentimental uplift that never rings true or convincing.What's good about the movie is its occasionally witty one liners and the performances by the actors in the two lead roles.
Willis, craggy-faced, gimpy and sporting a noticeable middle-age spread, is subtle and subdued in the role of a man who has grown apathetic and cynical over the years, and Mos Def makes a very compelling character out of Eddie Bunker, the criminal-with-a-heart-of-gold who never stops talking, but whose deadpan, singsong delivery endears him to the audience.
Except instead of buddy movie, it's beaten-down Bruce Willis and Mos Def racing against both clock and crooked cops.
The action unfolds in bursts and the movie would probably feel a lot more generic were it not for the character study involved.To that end, it's pretty good.
Yes, it's a Bruce Willis movie - and yes it's packed full of action/suspense - but what's unique about this film is the performances given by Willis, Def and especially David Morse.
However, in the case of the story line, I was very wrong.This film starts off getting you to know Jack Mosley as an alcoholic Detective who doesn't have much time for the criminal he has to escort Eddie (Mos Def).
By the end this became an okay crime drama as Bruce Willis plays a burnt out (alcoholic) NYPD detective escorting a small-time crook the (16 blocks) to a grand-jury session.Willis is impressive with his burnt-out-edness.
Bruce Willis gives one of his best acting performances as the alcoholic cop Det Jack Mosley I was not so convinced by the irritating performance by Mos Def of small time crook Eddie Bunker, who apparently is due to give evidence against another policeman at the courthouse 16 blocks away.
Bruce Willis plays a washed up cop given the assignment to take a witness (Mos Def) from the holding cell to the courthouse, a mere 16 blocks in two hours.
The thrill is in watching just how much action can take place on such a short journey, and in holding your breath to see who is going to win this dogfight.Willis' character is quite flawed, Mos Def's character is more than a little bit annoying, and some of the other cops are more than a little bit evil.
I'm surprised that Richard Donner managed to make a film so tepid.The rapidly ageing Bruce Willis plays a downbeat, alcoholic cop who is talked into transporting a witness (most definitely Mos Def) to the courthouse to testify against dirty cops.
Apart from all other variables this film is ruined by one thing and one thing only: Blabbermouth Mos DeF.My god, this is the first time I have EVER seen a fair-budget movie been wasted by something like this.
In 16 Blocks (2006) made by Richard Donner (whose films include Superman (1978), four Lethal Weapon movies, Maverick, Conspiracy Theory among others), Bruce Willis plays Jack Mosley, a tired broken drunk detective in NYC.
The kid, like everyone calls Eddie is going to testify against corruption and drug dealing within the very police department where Jack used to work and where he has long time friends and colleagues, including his former partner for many years, Det. Frank Nugent (David Morse).
Now Jack and Eddie are against New York's bravest and time is certainly not on their side while they are on the trip through 16 Blocks in Chinatown to make it in time to court and preferably alive.For the first 70 minutes I loved the film but then, the creators made an implausible turn in the script which made me cringe but even the way it turned, the movie was fun to watch -the combination of Action/Crime/Thriller almost always makes me happy.
Bruce Willis plays a cop who never faced the harsh realities of his past actions is drawn by the soft nature of Mos Def. The audience's empathy with the character grows and what made me like the plot was the pursuit of doing the right thing in the face of obstacles.
The plot was predictable, characters were one-dimensional, and the action was passable at best, but the worst part was having to listen to Mos Def's character as a ultra-stereotypical black small time criminal with a thick street accent banter on and on and on about nothing the whole length of the movie.
C Acting: Mos Def's character annoyed me so badly that I kept hoping his character would die in this movie, and the worst part is that I know he can do better, like he did in Be Kind Rewind.
Lethal Weapon" series director Richard Donner and wisecracking action-movie icon Bruce Willis shift down from the high-octane crime film spectacles that made their reputations for a thriller steeped in mortality and redemption.
And if Willis and Def lack buddy-bonding chemistry, they also discard the cliché of comic friction."16 Blocks" never quite transcends its origins as a high-concept action thriller, but the clean professionalism of Donner's direction, the low-key turn by Willis and the street-level heroics make it a satisfying piece of genre film-making.Those looking for another "Lethal Weapon" franchise from Donner won't find it: There's no room left for a sequel here, just an ending that feels satisfying and right.While "16 Blocks" may not last much past the month, it stands above much of what we've been offered this season.
16 Blocks would simply have been an average to mediocre action/cop movie if were not for one thing- the incredibly annoying performance given by Mos Def as Eddie Bunker.
Unfortunately the movie is largely centred around this character and his relationship to Jake Mosley (Bruce Willis) so given how irritating and badly written he is and how much screen time he has the movie is pretty much scuppered.Aside from that the movie still isn't particularly good.
I haven't seen many decent Action movies recently and this was actually very impressive, nice plot and twists and action filled sequences.The chemistry between Mos and Bruce was also what made this film stand out.
Both performed great in this film, and this has been Bruce's best performances over past 5 years, along with Sin City.I thought the film was very uplifting also, too often in life we judge a book by its cover and don't give second chances, well thats the impression i got from this anyway.Top action movie 8/10.
What intrigued me the most was Mos Def's character.Bruce Willis (who is getting very old, mind you) plays a burnt out cop who is hooked on drinking and has a pointless, boring life.
Mos Def plays a frequently convicted criminal, who has plans of change even though no one believes him.Our story starts off like a mindless action movie, but turns into an emotional friendship between 2 men who are almost the complete opposite of each other.
It takes the means of Bruce Willis wanting to do the right thing and Mos Def believing he can still do the right thing no matter how many wrongs he has done, to pull this movie through.Ed (Mos Def) has witnessed a crime pulled off by some dirty cops and is on his way from jail to the courthouse (the 16 Blocks) to testify.
(insert: sarcastic tone here) Now that you have your genre you would probably choose the "buddy-cop formula" because well it's perfect and has been done to death.After the test is complete, you hear that "over-the-hill" director Richard Donner and star Bruce Willis have read the script by mistake and are interested in making it a film.
It's a solid performance and it's probably the only thing the film does correct and makes sense.Mos Def has a lot of potential to be a good character actor.
This time staring the other great of the 80s cop movies genre - Bruce Willis.
Bruce Willis, non-stop action, and New York streets - it's a formula that's worked before, and it works again, better than ever, in "Sixteen Blocks," a 2006 film that also stars Mos Def and David Morse.
Hip-hop artist Mos Def is a natural - offbeat, funny, warm, and touching as Frank Bunker, a small-time crook with a nasal voice who wants to testify and get on with his new life; and David Morse, the kind doctor of "St. Elsewhere" is great as a desperate, mean as dirt cop.Richard Donner directs a good script at a brisk pace, but it's not just about buses crashing, it's about the characters, too; there's a slight twist at the end as well.
Even the watered-down, "Hollywood ending" version is better than most of the action movies is distribution, especially Willis' recent efforts.Mos Def gives one of those Oscar-overlooked performances.
It isn't your usual Bruce Willis runs into a room and blows everyone away.16 Blocks provides a fantastic story with great characters at every turn.
But with 16 Blocks, he turns in a passable excuse for an action movie that hits all the cliché notes for a film of it's type.Bruce Willis plays Jack Mosley, a New York cop who is on the edge of death, it seems.
Bruce Willis was pretty good in this film, he was convincing as his character, same with Mos Def, he played his character well and stole the show.
For constant chase scenes, great dialog, realistic acting by Bruce Willis and the smoky atmosphere, I give '16 Blocks' thumbs up for being a satisfying pursuit film with a deeper message.If you liked this I would recommend The Fugitive, Hostage, Inside Man..
Bruce Willis plays a tired, aging cop - which is appropriate for him, being a tired, again action star - who is transporting Mos Def sixteen blocks to the courthouse where he will testify against police corruption.
The film has an old-fashioned look and feel to it through-out, which may cause further distancing to the younger audience who may be more used to the flashy, kinetic Matrix movies, but to those who can see past this, we have an enjoyable and at times surprising little movie on our hands here.Willis is on pretty good form, certainly not the best type of work he's done with the hard-bitten cop role, but, as others have noted, a role he could pull off in his sleep but maybe one he's just a little tired of playing.
Between Mos Def's annoying but believable street-smart hustler to Bruce Willis's half drunken yet well-meaning anti-hero cop, this movie not only brings together the old and the new, this movie makes movie going worth the 12 dollars i paid.
Bruce Willis is good, Mos Def is great, and this film is underrated.
Bruce Willis is pretty good in this movie as a down on his luck cop who is asked to take a witness 16 blocks to the courthouse to testify.
On his way to get Eddie (Mos Def) to testify, Jack (Bruce Willis) runs into some trouble with some crooked cops who want Eddie dead because he's going to testify against a few cops.
It's like "The Shield" crossed with "The Gauntlet" set in a fictional Manhattan.Our attention is kept rapt in the performances of an understated Bruce Willis and Mos Def. Compared to his flashy action roles in previous Richard Donner directed films, Willis's alcoholic, paunchy, gimpy cop is similar to Clint Eastwood in "In the Line of Fire", particularly when you can see him thinking on his feet, such as in a very engaging hostage sequence with its ironic reference to "Speed".Mos Def, who has been good in small roles in such dramas as "The Woodsman" to "Lackawanna Blues", makes his character an effective chameleon with a heart here instead of what could have potentially just been a bug-eyed comic motormouth.
Donner effectively keeps a quiet background to the exchanges between Def and Willis, as their relationship raises this from a conventional action movie, almost bringing it to the level of another corrupt cop morality tale about doing the right thing, "Training Day".
The acting here is top-notch, Bruce Willis should get some credit for the amount of believability he brings as worn out, drunken cop (Jack Mosley) who is having a really long day and wants to rest, but before he can do that he has to take a witness (Eddie Bunker played by Mos Def) to court, 16 Blocks away in 2 hours but after an attempted murder of the witness fails.
16 Blocks-Go See It. I just saw 16 Blocks, I liked it, I think Mos Def is really good in it and if you are a Bruce Willis fan, you will enjoy it.
If you want to see an atypical Bruce Willis action movie with an interesting co-star this could be one for you.
Bruce Willis may be a much more major figure in the film industry despite his downfall ever since Cop Out, but he actually gives a performance that seems underwhelming compared to Mos Def's performance because Bruce Willis mostly plays his own character in real life, but despite that they both share great chemistry in the movie.
Mos Def plays a criminal and Bruce Willis plays a policeman and together they develop a subtle friendship throughout the movie much like the friendship between Mel Gibson and Danny Glover in the Lethal Weapon film series and I really enjoyed that.
The movie itself features plenty of action and shoot-em-up scenes and there are quite a few showdowns between Bruce Willis's character and the NYPD, which make things quite interesting.Richard Donner's film is about a washed-up, alcoholic NYPD detective named Jack Moseley who is given a simple task of escorting a witness sixteen blocks to a courthouse where a trial is taking place.
David Morse plays a good role as the corrupt cop always on Jack's tail.Overall, 16 Blocks is a highly entertaining action movie if one can forgive the action movie clichés and the annoying voice of Mos Def. The film breezes by in its rapid storytelling and there are a few moments of humor to be had.
I went yesterday to this movie's premiere and I really liked it.The film is very fun,it never bored me.There's a good twist near the ending,too.Mos Def has a very good performance on this movie.I think that,on this movie and on another movie called The woodsman,Def has a lot of talent.Director Richard Donner,after two consecutive false moves with Lethal weapon 4 and Timeline,did a very good movie.The movie kept me interested.A great thing about this movie is that Donner took this action movie to a realistic level.The characters are very well constructed,too.16 blocks is a very good and fun movie that I recommend..
A surprisingly good little thriller, 16 BLOCKS provides a tight, minimalist script, fine directing, excellent camera work, and standout performances by Bruce Willis, Mos Def, and David Morse.
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tt1117385
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Felon
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Family man Wade Porter (Stephen Dorff) is living the American Dream with his girlfriend Laura (Marisol Nichols) and their son Michael: they have a nice house, Wade has just raised a loan to make his company grow and they are going to get married. However, their dream becomes a nightmare when Wade unintentionally kills a burglar on his lawn. By attacking the fleeing, unarmed intruder outside of the house, he is arrested for murder, and during the first night in the county jail, Wade gets into a brawl after being attacked by an inmate in the community cell.
With $1,000,000 bail he can't raise, after 90 days, the public defender is able to negotiate a deal for Wade to serve three years for involuntary manslaughter, or he could spend more time awaiting trial. Sentenced to Corcoran State Prison, during the bus ride over, Danny Sampson (Chris Browning), leader of the local Aryan Brotherhood, stabs a man and hides the knife with a young Aryan member named Snowman (Johnny Lewis) sitting behind Wade. In a moment's panic, Snowman hides the knife under Wade's seat and forces him to deny knowledge of it. As a result, Wade is sent to solitary confinement until the mess can be sorted out. Upon further investigation by Lieutenant Jackson (Harold Perrineau), Jackson is convinced Wade is an accessory to murder because he denies knowledge of the knife, and decides to send Wade to the Security Housing Unit (SHU), of which Jackson is the commanding officer.
Elsewhere, John Smith (Val Kilmer), an inmate serving a life sentence in San Quentin prison for killing the entire families of two men who brutally raped and murdered his wife and daughter, is shown in solitary confinement for starting a riot among the prison population for what appears to be his own pleasure. During a visit with his friend Gordon (Sam Shepard), a former prison guard who John had saved from being killed, Gordon reveals John has been given one final chance before being stuck in solitary confinement for life. Gordon requests that John be transferred, and subsequently, John is sent to the SHU as well, and becomes Wade's new cellmate.
Life is tough in the SHU. In addition to 23-hour lockdown days, and the inability to see his family at first, the daily hour of yard time consists of inmate fights, on which the guards bet. Scared and desperate, Wade initially groups with the Aryans, even going so far as to shave his head. At first upon the request of Snowman and his cronies, Wade cooperates by participating in a majority of the fights. When Wade decides at one point that he's fed up with being the one to do so and confronts Snowman, he's attacked by the group, and narrowly escapes with the help of John. As a result, both John and Wade are now green lit by the Aryans. Soon after, Sampson meets with Wade, John and the rest of the Aryans. Revealing he knew Snowman hid the knife under the bus seat on the way to the prison, he has him beaten and stabbed. Sampson also informs Wade that he is now without the Aryan's protection unless he joins, but assures him none of his men will come after him.
At different points throughout the film, it's shown that not all of the guards are in favor of Jackson's methods. Officer Diaz (Greg Serano) complies fully, and appears as sadistic as Jackson, but Sgt. Roberts (Nick Chinlund) does not want to get caught and lose his pension, and newly hired Officer Collins (Nate Parker) clearly has a higher moral standard than his boss. Due to Jackson's influence, however, both remain quiet and cooperative on the operation.
In addition to the prison violence, Wade's regular visits with Laura start to take their toll on their relationship. Michael has nightmares after one of his visits, and the family's finances are running low, even after selling the house and the truck, and using up virtually all of Wade's business loan. Things come to a head when Snowman, having been released from the infirmary, agrees with Lt. Jackson to testify against Wade and Sampson concerning the bus murder, and be placed in protective custody. Wade and Sampson are subsequently put on trial and sentenced for an additional six years and life, respectively. Laura, at the encouragement of her mother, breaks up with Wade through a letter. Enraged, and seemingly having nothing to live for, Wade breaks down and resorts to fighting the prisoners.
One night, Jackson is called to a hospital after his son was run over by a drunk driver, and due to this being his third DUI offense, he is being guarded by police. Jackson visits the man's room, and promises he will spread word around California prisons that the man is a pedophile, guaranteeing that he will be beaten and tortured mercilessly no matter where he does his time.
Laura visits Wade again and reveals neither she nor their son want to live without him, and she will wait until he gets out. After talking to John, Wade devises a plan that can reveal the truth about the violence in the prison, and get him released. Laura goes to meet John's friend Gordon, and together they persuade an FBI agent to accompany them to the prison. Meanwhile, Wade asks Jackson to schedule a fight with the black inmate who first assaulted Wade in the jail. Lt. Jackson, however, declares that this match be to the death. The morning of the fight, Laura, Gordon and an FBI agent arrive to meet with the warden of the prison. Wade, meanwhile, enters the yard and fights, which ends with him slamming the inmate's head into the ground repeatedly. Jackson orders Wade to kill the inmate, and when he does not comply, Jackson threatens to shoot Wade. Suddenly, John, Sampson, and the rest of the prison population stand in front of Wade to protect him, having grown tired of Jackson's sadistic actions. Jackson orders everyone out of the yard and turns the surveillance cameras off.
Wade and Smith are ordered back in the yard, and forced to kneel with Jackson holding a knife, while Officer Diaz aims his gun from the control room. Jackson tells them since they are convicts, no one will care what they think, and because the cameras are off, Jackson can murder them both and then claim John murdered Wade, and the guards had to kill John in retaliation.
John pulls out a knife he concealed and slashes Jackson's leg and throat, but is killed immediately after by gunshots. Suddenly Officer Collins, having secretly turned the cameras on in the control room, sounds the alarm, alerting the rest of the prison. Hearing the sirens, Laura, Gordon, and the FBI agent discover what has happened in the yard from the warden. The footage is reviewed, and Wade is placed in protective custody, his sentence reduced back to the original three years (which will end in less than three months). Wade is visited by Gordon, who passes on Laura's message about setting up a new wedding date, and leaves him with a letter John wrote to Wade before he died.
Before departing, Gordon reveals that John never told him of anything that happened in the SHU, and even though John saved him from getting killed, Gordon kept visiting because John was one of his true friends, to which Wade replies "Mine too." Wade then says that John died the way he wanted, and that the prison never broke him, to which Gordon agrees.
In a voice over, John reads the contents of his letter to Wade, urging Wade to protect his family and do anything for them, even if it means having to kill again. Snowman is then shown being brought back to the SHU from protective custody, and is put in a cell with Sampson. The last shot shows Wade walking out of the prison a free man, and his wife and child run to embrace him as John's voice concludes the letter with "So long, friend."
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realism, violence, murder
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wikipedia
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However, the film also shows that even in these circumstances, there are great acts of humanity and compassion.A very good movie, definitely worth the watch.
At first I wasn't expecting much as the last film I saw with Val Kilmer-Conspiracy-I shut off 15 minutes into it in disgust.Felon, is an excellent film with great acting, a great plot and good dialog.
This is by far the best movie I've seen Stephen Dorf in and Val Kilmer gives a solid performance.
While the storyline flirts with typical prison antagonists and a pseudo-familiar plot the story is very realistic and highly believable.Lots of suspense, good solid action, excellent cinematography and great acting make this film a must see for drama/suspense fans.
Kilmer played a pivotal role towards the end, for all the dubious minds who'd question his character/ role in the film.I believe Ric Roman did a wonderful job by addressing the many different situations that we as humans can go through in daily life.
It's defiantly one of those films that you can watch again and again.Wade Porter (Stephen Dorff) is an average guy, successful business, and living with his fiancé and son.
The line that John Smith (Val Kilmer) puts over a couple of times in the film, "When your life is defined by a single action, you change the concept of time", is interwoven into all the individual characters plots so brilliantly, this film hits you on some many different levels.Marisol Nichols, who I have only seen in 24 before, gives a great performance as Wade Porter's fiancé, struggling to make ends meat while he is in prison.
The picture tells the authentic experiences of convicts of a prison that is a hell on the earth, reflecting the hardship existence of the inmates .We have seen men tortured,harassed and humiliated in a gaol where rules the strongest law.An ordinary family man (Stephen Dorff, also producer) is a fine worker with a good woman(Marisol Nichols) and one son.
Stephen Dorff's interpretation is very fine but Val Kilmer is much better, he makes a terrific acting as the veteran convict who teaches at naive inmate to taking on the risks and dangers of the gaol ; his performance bears remarkable resemblance to Ben Kingsley in ¨An innocent man¨ directed by Peter Yates and that also has certain similarities in the argument.
It kinda reminded me of "The Shawshank Redemption" (another great movie) with Stephen Dorff being Tim Robbins and Val Kilmer being Morgan Freeman (the comparison is a little bit forced but still valid with the two movies plots being somewhat similar).
The movie delivers a very diverse emotional palette, with tear breaking scenes all the way to explicit hardcore violence thanks to incredible acting by Dorff, Kilmer and Perrineau, truly bringing their characters to life.
His cell-mate John Smith (Val Kilmer) that was sentenced to life revenging the death of his family befriends Wade and gives helpful advices and hope to Wade to return to his family.The good "Felon" is another movie that discloses the corruption and brutality in the American Penal system, where the rules of a civilized society are neither followed by the inmates nor by most of the security guards.
The dramatic story is engaging, and it is great to see Val Kilmer having again a top-notch performance after a long period of weak movies.
Stephen Dorff (remember him?) stars as an ordinary family guy who accidentally kills a burglar and finds himself in a high-security prison.The usual prison clichés abound, with a lot of the focus on brutal fisticuffs as inmates battle it out for supremacy.
Dorff, too, is actually pretty decent, making it easy for the viewer to sympathise with his character's plight.FELON certainly isn't a classic film, and it's far from the best of the prison movie sub-genre, but it's one of those movies you catch on TV late at night which leaves a real impression.
Hard Time is surely upon the inmates for they are being put to fight each other under the supervision of Jackson and his team who eventually ends all fights by shooting the fighting inmates but only after a fair amount of fighting took place.The movie in itself is not badly done and features some great acting by both Kilmer (as the wise and ruthless bunk mate) Perrineau and Dorff.
But there are some serious issues with the film.In brief: the movie is overwrought, crammed with the usual prison clichés and too unrealistic for it's own good.
Felon also suffers from being way too straightforward and lacked heavily in the humor department.That said, there are some very convincing scenes and I would recommend this movie to those that are really into the underdog prison type of films such as Lock Up and The Last Castle.
Officers in other districts have been found innocent of this same scenario when the item mistaken for a weapon was a cellphone, candy bar, pen, and car keys for some examples.Guns deaths in this country in self defense situations, civilians in the U.S. kill more criminals than police, at nearly double the rate.Regardless of whether or not you agree that police or civilians in self defense have a right to kill another person, it doesn't matter because the plot of this movie completely disregards U.S. laws and just runs with a false premise.No one would be convicted of murder to quickly if they had accidentally killed someone that was robbing their home clearly.
He gave his character an extremely believable depth and solidity, and coupled with some great performances from Dorff, and the rest of the prison cast, created a malignantly sick and implosive atmosphere in the scenes.
another pile of shite!Reasons not to watch - Poor script, poor acting, lame story, seen it all before prison film (made 'Lock Up' look a work of genius).
The action fight scenes are engulfing, the acting by Kilmer and Dorff is amazing...Far from Blade and Heat....but performances just as good if not better!
This is Kilmers best performance since Kiss Kiss Bang Bang and Dorff, who I haven't seen in quite a while, does an amazing portrait of an ordinary man who is forced to make some terrible choices just to stay alive and be able to go back to his life.All characters are human and believable.
While Kilmer's character is truly believable, Dorff's can stretch the imagination at times.While some of the scenes are exaggerated they are handled with the realm of reality, having spent 15 years in prison, being moved several times, I can say that this does happen maybe not to this extreme but in parts there is a lot of truth behind this.
The move gives insight into a life in prison and conjures up feelings of pity, anger and sympathy at different times.Val Kilmer puts in a tight performance and i barely recognised him in the first short cause of his unusual beard.
this one is for all val kilmer fans.This may not be the best prison movie..say something like shawshank redemption but it has its heart on the right place..
I cannot understand the fuss being made about this film.It starts well enough making you very empathetic towards the lead character Wade Porter who reacts to a situation in the way we all like to think we would.
I gave it a 5 because in no way is it an 8.You have Movies like Shawshank Redemption and Escape From Alcatraz..Then you have Lock-Up and Penitentiary..This movie falls somewhere in the middle.Its a rehash of a much already told story.And Val needs to lay off the chips and dip.If you go into it expecting nothing new...but you dig prison flicks...have at it.
The only weak one in the cast was definitely Harold Primeau who looked thoroughly uncomfortable in his role as the caricature of a villainous, inhumane prison guard.You can tell that the director went to great lengths to preserve the accuracy of this film with respect to prison life in general.
Having watched prison documentaries on Discovery and NatGeo, I can say that this film does not glorify nor undermine the no-holds-barred lifestyle of survival present in the corrections system.Val Kilmer does extremely well with his role as a convicted 'lifer' felon who has spent a significant part of his life behind bars.
Stephen Dorff - who is thrust suddenly into this fish-out-of-water role after being convicted - is surprisingly convincing.Ric Roman Waugh - in the DVD commentary - ensures that the prisoners in this film are real-life gang members or ex-convicts who were also technical advisors.
Over the years I've seen many great films, funny ones, one's that make you think and one's that you come out the picture house with that cold shiver running down your back.For several years now I've been so disappointed with what gets shown in my local picture house, just seems to be films with such weak scripts or just your usual commercial rubbish but i can honestly say that FELON is not one of these films.I'll not write a review of it but just say that I recommend it to anyone that enjoys a well acted and written movie, this is without a shadow of a doubt top of it's game in both those fields.Cheers Todd.
Shawshank redemption is a good example of how this could have dragged on a little more to delve more into some of the 'side factors' of the characters.First of all, he way they shot the film puts the viewer in a somewhat 3rd-person view to give you the impression that you are actually there when it is all happening.
Harold Perrineau as the prison guard captain was a nice add-in, although they could have used someone perhaps a little more 'scary-looking'.All in all, the original storyline, excellent characters, and general feeling of fulfillment makes this movie a definite see..
I can't say that I like it.I can't say that I don't like it.This sadly is the truth of what prison is like.You can get jailed for little reason and unless your defense is solid, you go to jail - whether it's long term or not, there are rules...and they are not the same as outside.Many times the guards are far worse than the inmates who are detained...and this proves it to a better perspective than most jail movies I've seen.It's a game that once you leave that courtroom, you have to learn very quickly.To those that commented on being charged and arrested for protecting your family - yes, sad but true...unless you were injured there was a weapon in direct contact, should you kill somebody or even injure them serious enough to be disabled or have physical problem, then you can be charged with murder, attempted murder, willful negligence and a slew of other charges.Even if you were in a convenience store and it was being robbed and you worked as a cashier...unless a weapon was brought onto you, should you defend yourself and hold and sustain the attacker - you are liable for criminal charges...even if there are witnesses and camera video recordings.The justice system is beyond messed.If you were to injure somebody in a related instance, it would sometimes be better to be killed in the same event - as the law can screw you severely.This happens in the US and in Canada.Nobody is innocent and that is the sad but true fact.Your own home, locked, secured and protected by you and your family has little value the moment you decide to defend yourself and have any good chance in doing so.Justice is blind, it's for the wealthy and the famous.Never rely on the public defender.
He pleads to manslaughter and immediately his life is turned upside down by the prison system.Val Kilmer puts on a super performance in this movie as a mentor and his deep thinking philosophy of the way the prison system works and cool calmness is just incredible and I think he really nailed his part.The film does not fail to deliver all the way through .Definitely a must see for the Val Kilmer fan or to learn more about how corrupt the American prison system truly is..
It makes you see the unjust nature of the world we live in, and how the worst things can happen to the nicest of people.it will make everyone who watches it appreciate everything in their life so much more.I am surely glad that Val got a shot at playing a role in a film that got good reviews as well.
this movie is about person who kills intruder unintentionally and was sent to jail which was more like hell then how he survives in the jail where police controls the illegal activity (involving prisoners fight with each other ) with the help of his cell mate played by Val Kilmer(who has done an excellent acting) while his family falling apart ,pain and suffering shows no sign of ending and against all odds how he managed to get his life back is the driving source of the movie .
the best part of the movie, yeah of course, is the brilliant acting by Stephen and Val as well as other characters, the desperation of humanity, the struggling of reality,the hope of life, are so impressive that it terrifies the audience about prison life.
At the start of the film I thought it was another low budget film with Stephen Dorf,but Val Kilmer is in it too it was worth a look.Can I honestly say that the dialogue and character were as the rookie and veteran interactions brilliant.I must say the film had me in tears at some points due to the fact the film portrays the fear & anxiety of prison life created on screen.
I decided to watch this film after reading some great comments and ratings.Felon is about a man who is convicted of a crime and his time he servers whilst in America's prison facility.
Steven Dorff plays in his finest role to date as a man who, in the process of protecting his family, is torn from them and himself.This film brings to light a side of society that none too many are familiar with: The United States penal system and its subhuman politics of both inmate, and prison employee.The suspense will entrance you, the violence will shock you, and the realism will hopefully bring to light that this story unfolds in our country on a daily basis.
Just like those hero movies when you know the good guy would not stand a chance if anything at all would go a little wrong and the screenwriter would not be on his side, you feel it in your gut that this story would and could not end so well.Maybe in this whole thing lies the tragedy.
Am I the only one who watch this and though it was another Direct to DVD above average movie, damn, Val Kilmer was doing a lot of bad stuff theses days, i enjoy conspiracy but except that the past 2-3 years...
Val Kilmer once again shows great depth and deep knowledge of his character, and Marisol Nichols makes the most of a small but important role.The entire cast is excellent.
Although Stephen Dorff Is Excellent In His Role As The A Man Surviving To Get Back To His Family It Is Val Kilmer's Roll As The Anti-Hero That Makes This A Brilliant Movie ...
Stephen Dorff, a guy who already has the gritty look as soon as he walks into a frame, plays Wade Porter, a simple family man who is just starting out at life along with his wife (Marisol Nichols).
I don't normally think much of Val Kilmer, but here he plays his part well and you'll find you have sympathy for everyone here, even some people you think you may not normally like.All it all, Felon is a great little movie.
With its Heart in the right place but its head and body somewhere else, this is a well Acted Prison Movie that is arguably a Realistic look at the "Life" inside.
These Shaky Camera Shots are many and tend to upstage the more thoughtful and provocative parts.Not a bad Film and the always reliable Stephen Dorff does what He does, but Val Kilmer is the Acting Surprise here as a barely recognizable Sociopathic Mass Murderer with tender leanings and a passion for Philosophy.Realistic or not about Prison and its Microcosm and the Legal System, the Movies High Road gets lost among the Tattoos and Shaky, Showy, fight Scenes.
I have just finished watching Felon and come straight to you to urge you not to miss this very powerful drama.I thought that the acting was truly superb, particularly the three main characters played by Dorff, Kilmer & Perrineau, the script and cinematography was excellent and the storyline quite believable, particularly what life must be like in a maximum security prison.I would urge you to go and watch this superb piece, I promise that you will not be disappointed..
I went into the film not knowing anything but was pleasantly surprised by both the acting and the movie, i didn't recognise Val Kilmer but he was surprisingly excellent as John Smith as was Dorff and 24 fans Marisol Nichols (Nadia in season 6).
A great cast, fantastic storyline and simplistic yet stunning effects help make the movie one of the best of 2008.Stephen Dorff and Val Kilmer are right on the money in the film especially Klimer who not only brings his own unique persona into the movie but also portrays a dark, troubled man seeking revenge.
Fellon was extremely well acted as well, Stephen Dorff was great as the man who gets his life completely upside down, Val kilmer's performance was a pleasant surprise and Harold Perrineau was outstanding as the sadistic guard Jackson.
Excellent movie that i would recommend everyone and anyone to watch to get a good look at the world of prison, and how easy it is to go there.
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Blood Thirst
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Adam Rourke [Robert Winston], a wise-cracking sex-crime specialist from New York, who
talks to himself and carries an old, lifesize dummy named Harvey in his
suitcase, is called to Manila by old friend and chief inspector of
homicide, Captain Miguel Ramos [Vic Diaz]. Girls have been turning up dead, found
hanging upside down from trees with their wrists cut and their bodies
drained of blood. The only lead is that the latest victim (Maria Cortez)
was working at the Barrio Club. Adam suggests that a good way to approach
the investigation would be for him to go undercover, posing as an American
writer. Miguel agrees, but only on the condition that he and Adam have no
contact with each other while Adam is undercover. Miguel's London-educated
sister Sylvia [Katherine Henryk], however, takes an instant dislike to Adam's cavalier
attitude, particularly his poohpoohing the "unsophisticated" rumors that the
killings might have something to do with voodoo or vampirism.The next night, Adam visits the Barrio, asking to see the club's
owner, Mr Calderon [Vic Silayan]. He doesn't get very far with his cover about wanting
to write a story about Maria's murder. Calderon agrees only to think about
it. While discussing his article with Calderon, Adam's attention is drawn
to the bellydancer Serena Brioso [Yvonne Nielson]. Later that night, as Adam prepares to sleep, he is attacked
by a man with a machete. Hehehe. The man didn't know it, but the machete
just killed Harvey the dummy. Adam was standing in the shadows with his
loaded gun and killed the killer. A bit later, Adam goes for a walk and is
confronted by a one-legged beggar named Herrera [Eddie Infante] who turns out to be
Miguel's contact (and also the guy who took care of the machete-wielder's
body). Herrera will be watching Adam and will never be too far away, he
says. On his way back into the hotel, Adam sees Sylvia drive up. She tells
him to get into her car and drives him several miles outside of the city,
where she kisses him, then slaps his face and drives off, leaving Adam to
walk back to his hotel. [This is payback for Adam stealing a kiss the
night before.] On his walk back, Adam notices Theresa, a girl from the
Barrio Club, being dropped off.The next morning, Theresa turns up dead. [Clue: Both Teresa and Maria
were attacked by the same person, whose face looks like an advanced case
of neurofibromatosis.] That evening, Adam returns to the Barrio Club to
get an answer from Calderon regarding the article he wants to write. While
they chat, Serena does her bellydance again. In the middle of the dance,
however, she stumbles, feels her face, and runs out. [Clue: Serena is
using the blood of the murdered girls to sustain her beauty.] Adam
attempts to follow Serena but the club's bouncers toss him out.The next time Adam goes to the Barrio Club, Serena takes him aside
and asks him to meet her at the club the following evening when Calderon
is planning to be away on business. Calderon is charming, Serena warns,
but he can be strange and violent. While walking back to his hotel, Adam
meets up with Herrera who informs him that another waitress (Elena Munoz)
from the Barrio Club has disappeared. Adam informs Herrera about his
planned meeting with Serena and tells him to relay the message to Miguel
that he should be ready to move when he gets a telephone call. When Adam
returns to his hotel room, he is immediately aware that he's not alone. In
the dark, he tackles the intruder. It turns out to be Sylvia bringing news
from Miguel, who has been checking on Calderon's background. It seems that
Calderon and Serena fled to Manila from Peru where Calderon was involved
in the murder of a wealthy plantation owner. Calderon and Serena have been
together for about three years. Now aware that she's in love with Adam,
Sylvia boldly solicits a kiss.The next evening, Adam meets Serena as planned. She tells him that
Calderon is a maniac and is planning to kill both her and Adam. She asks
Adam to meet her later that night, one hour after the club closes. In the
meantime, she orders him a drink, which is served to him by none other
than their newest waitress -- Sylvia. I wanted to help, Sylvia explains to
Adam. Adam berates her for getting involved, not knowing that Serena is
listening to their conversation. Sylvia calls Adam's attention to the
armbands that Serena always wears. I saw them once in a London museum,
Sylvia says. They're Aztec or Incan and very expensive.Cut to Elena Munoz. She is currently tied to a table down in a cellar
somewhere, and neurofibroma man is wielding a knife. He slits Elena's arms
and collects the blood in a big cauldron. The cauldron then rotates in a
circle, stopping at a chair where Serena is seated. Her face has turned
haggard. She opens a locket, takes out a pinch of magical herbs, and
tosses it in the blood. Immediately, a lot of fog covers her. When it
clears, her face is young again.An hour after the Barrio Club closes, Adam shows up as planned.
Serena picks him up and drives him to her house. Adam pours himself a
drink, but the liquor is drugged and he passes out, but not before Serena
spins a tale of how Calderon killed his wife, killed Maria and Theresa,
and threatened to kill her, too, should she ever leave him. When Adam
comes to, Serena haughtily explains that she is a Golden Goddess, chosen by
her people to be immortal, existing on the blood of young women. As she
raises a knife to kill Adam, Elena Munoz's father steps out from behind
the tree. Serena runs, and Munoz cuts Adam free. Unfortunately, as Adam
and Munoz make their getaway, Serena runs down Munoz and kills him. Adam
is forced to make his way back to the club on foot, but not before he
stops at a roadside stand and telephones Miguel.Meanwhile, Sylvia was snooping around the club. She made her way down
into the cellar where she was seen and caught by neurofibroma man. As he
now prepares to slit her arms and collect her blood, Adam and Miguel break
open the door. They shoot neurofibroma man, but he keeps coming. He tries
to strangle both Adam and Miquel, but Herrera knocks him out with his
wooden leg. Adam and Miguel cut Sylvia free. Serena, who has been sitting
in her chair waiting for blood, tosses the magical herbs into the cauldron
of blood, but something goes wrong. First, she turns into an old Filippino
woman, then she disintegrates into dust.Epilogue: Miguel and Sylvia are saying goodbye to Adam at the airport. As
a gift, Miguel presents Adam with a nicely-dressed and freshly-painted
Harvey. Sylvia asks Adam whether he'll come back to Manila, and Adam
answers by kissing her. [Original Synopsis by bj_kuehl.]
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cult, murder
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Made in the Philippines (around '62 or '63, I would guess, despite its official release date of 1971) on an obviously limited budget, the picture is wonderfully well photographed in black and white with some moody, noir touches.
The lead, Robert Winston, is quite good-looking, albeit modestly talented.
The usual, grinding expository dialogue is graced with some humor, I LIKE the monster, the scenery is interesting and, on the whole, it moves along quite nicely.
I really wanted to see the other film ('Castle of Blood' -USA title) on the DVD and only watched 'Blood Thirst' out of curiosity and because my wife said, "lets give it a chance".
We figured how can you go wrong buying two films on a DVD for one dollar especially when one of the films('Castle of Blood') is rated highly.
The earlier comments here lead me to believe 'Blood Thirst' was going to be a bomb.
As opposed to scenes that are unintentionally funny in some truly bad films.
The film had a great early 60s feel to it and the B/W only made it better.
I also found it hard to believe this was released in 1971 because of the early 60s look and feel.Anyway, I wouldn't let the other comments here keep you from seeing this, it's an enjoyable/offbeat little film with some good acting in it and surprisingly funny scenes.
It's worth your time for a fun detective /horror film with a few chills and romance thrown in for good measure.
There's barely enough horror in this film to call it such, and what there is, is extremely cheesy, but I found myself loving it nonetheless.
Use the dialog that is rich with ominous one-liners and full of household clichés and heavily sexual innuendos that are from the bottom of the lowest barrel; be sure the action is full of tough and cool wannabes slapping each other in uncontrollable sexual frenzy; add the soundtrack that suffocates the viewer with loads of sexually sizzling cool jazz and exotic (equally sexually loaded) Latino mambo music.
A few exotic dances by a blond sex goddess wouldn't harm, even when the lady is only capable of waving her arms a little - as long as she is oozing sexual promiscuity.
Great for studying what film noir is all about - there's much to learn about why the ingredients don't always sum up to what one might expect..
Great Monster, Poor Film.
Blood Thirst (1971) * 1/2 (out of 4) Women are being found outside a nightclub with their blood drained.
The police captain (Vic Diaz) has no clues and no idea of what the cause could be so he calls his detective friend (Adam Rourke) from New York to help him investigate.BLOOD THIRST has a 1971 date on it but this B&W film was actually shot in 1965 but couldn't find anyone to release.
If you do happen to see the film then it's best to remember when it was made and not when it was released because the film certainly doesn't have much sexuality or violence.The biggest problem with this film is the fact that they decided to try and milk the "mystery" surrounding the murders.
What's worse is that we've got a weird looking creature that is doing the killing yet they keep him off the screen for the majority of the running time.I mean, if you're going to have a great looking monster then why not show him off more?
Surely seeing the monster attack more victims is more entertaining than watching a couple guys talk, right?.
A hideous monster is on the prowl in Manila, draining the blood of its victims, all young, female employees at the Barrio nightclub.
Local police inspector Miguel Ramos (Filipino regular Vic Diaz) calls in his old friend Adam Rourke (Robert Winston), a smarmy, smart-ass sex crimes expert from the U.S., to help him on the case.With a title like Blood Thirst, one might reasonably expect a gory piece of exploitation schlock, but sadly this is not the case.
What we get is more like a noir-ish detective flick (complete with shadowy black and white photography and a sleazy jazz soundtrack), albeit with slight horror elements.
This means that for much of the time the film is content to follow Rourke as he investigates the mysterious murders, romances Miguel's sister Sylvia (Katherine Henryk), and gets in a few fist fights, all of which proves very dull.The silly climax sees Serena, a dancer at the Barrio, revealed to be a South American Golden Goddess who possesses the secret to everlasting youth.
As Miguel and Adam battle Serena's disfigured helper, they interrupt her ritual—which involves human blood, special herbs, and a chair that harnesses the energy of the sun—causing her to rapidly grow old and disintegrate..
This was made in 1965 but released in 1971 on the US grindhouse circuit - that is why the film "feels" like a 1960s film (some people don't seem to realize this).Grindhouse?
so an American sex-crime specialist has been called in on the case by a detective friend in Manila.
It's not overly bloody nor a gore-fest, it's just believed to be sex-crimes and the film was made in the Philippines.It's better than it looks - yes it's a monster that looks like chewed bubblegum that appears at the latter part of the film (you can see that by the poster/video cover) but if you can look past that then you'll find an okay detective crime-horror film.
Vic Diaz vs the Bubblegum Monster.
From the clothes, hairstyles and black and white film grain it looks like Blood Thirst was filmed in the Philippines by an American production company around the mid Sixties, but wasn't released until 1971 on the bottom of a double bill with British vampire movie Bloodsuckers (1970).
Even in 1971 Blood Thirst would have seemed like an anachronistic curio quaint, and for the most part uneventful, until the ludicrous ending's payoff where we see the film's chewed bubblegum-faced monster.
Then, and only then, can I say: baby, all is forgiven.Chubby Vic Diaz (and let's face it, it's not a Philippines B film without the seedily lovable Vic) plays Inspector Ramos, a Makati policeman on the trail of missing hostesses from the Barrio Club, a downbeat tourist trap run by the suspicious Senor Calderon.
When the girls turn up hanging upside down and drained of blood from cuts on their arms, he sends for his old friend from the States, a cop named Adam Rourke who, as a New Yorker, is obviously used to seeing ritual murders.
Posing as an "Ugly American" on a writing assignment, he goes undercover at the Barrio Club, asks one too many questions, cracks jokes like a proto-Arnie while shooting a would-be assassin, and turns out to be an ill-tempered ladies man with his eye on every Caucasian-looking woman in Manila.
Just like every sleazy Hawaiian shirted white guy on a Philippines hayride.His eyes settle on both Inspector Ramos' adopted sister Sylvia, who resists Rourke's questionable charms until she can no longer stand it, and on the Barrio Club's featured attraction, the exotic dancer and blond Peruvian bombshell named Serena.
It seems her beauty is more than skin-deep: it's vein-deep, and may be the still-beating heart of a blood cult of Mayan or Incan origin or older, we're never quite sure in which Golden Goddesses are kept eternally youthful with the blood of club hostesses.
The Golden Goddess theory may explain, though not fully, why Serena looks more Swedish than Peruvian, but definitely won't point to where she's stashed her stewardess uniform for Scandinavian Airlines.And so to the "horror" element: a blood cult, a bubblegum faced monster waving a knife at a young girl strapped to an altar.
It's an odd film reminiscent of an undercooked episode of Hawaii Five-O minus the pineapple, that's more interested in its mystery angle than the gore or supernatural elements.
It also feels empty, and not just plot-wise Blood Thirst is the only film I can recall that makes a city of over 10 million people seem uninhabited.
Still, it's an interesting 73 minutes, more for what it is than what it does: a cheapo spook-show which predates the John Ashley/Roger Corman deluge of Philippine horrors by several years.
For those connoisseurs of foreign horror films who are desirous of seeing the 1965 Filipino obscurity entitled "Blood Thirst," their only recourse, it would seem, is the DVD currently available from those maniacs at Something Weird.
The picture in question shares the disc with another relatively unknown film, the similarly titled "Bloodsuckers," and it was to see this British product of 1970 that I initially rented out this DVD.
But "Bloodsuckers" turns out to be a terrible mess of a film, despite the participation of Peter Cushing and Patrick Macnee; an ineptly put-together head scratcher that suffers even more in comparison to "Blood Thirst," a surprisingly good, well-made little chiller that manages to satisfy on all levels.
Released in America six years after its Filipino debut, the film features gorgeous B&W cinematography by DOP Hermo Santos and comes off like a film noir crossed with a cheesy horror flick...and with winning results!In the picture, we learn that a serial killer has been slaying young girls on the streets of Manila.
Their bodies are always found hung upside down and completely drained of blood, their forearms slit exactly the same length every time.
At a loss as to how to proceed, police inspector Miguel Ramos (played by the great Filipino mainstay Vic Diaz, who seems to pop up in just about every Filipino movie that I watch) calls in his American friend Adam Rourke (Robert Winston), a homicide lieutenant who is an expert in sex crimes.
Hunky dude Rourke centers his investigations on the Barrio Club, an upscale nightspot where several of the murdered girls had worked.
He thus encounters the club's suave owner, Calderon (Vic Silayan, who comes off like a Filipino Cesar Romero), as well as its featured exotic dancer, the blonde hottie Serena (Yvonne Nielson), while being aided by Ramos' sister, the emotionally conflicted Sylvia (Katherine Henryk).
As the film proceeds, the viewer learns that the killer is quite a sight indeed; a lumbering mess of a man (?) with a face composed of innumerable lumps and hideous nodules.
And as Rourke evades numerous attempts on his life while getting closer to Sylvia, he learns that the solution to this murder mystery might be even stranger than he had guessed....Tightly directed by Newt Arnold, "Blood Thirst" was filmed at the height of the secret-agent craze, the same year that the 007 vehicle "Thunderball" broke box-office records, and its debt to this international spy mania is very pronounced.
(For example, the last time I encountered Diaz, it was in the 1971 Eddie Romero film "Beast of the Yellow Night," in which Vic plays the Devil himself!) Rourke's love interest in the film, Sylvia, has been cast most unusually, as Henryk is not pretty in the conventional sense, and yet, because of her appealing nature and spunky disposition, she is a woman who grows more and more attractive as the picture proceeds.
I was also happy to spot Bruno Punzalan in this film, here playing the thuggish bartender at the Barrio Club; Punzalan, like Diaz, also seems to pop up regularly in these Filipino outings of the period, and he has a doozy of a dustup with Rourke about halfway through this picture.
"Blood Thirst" is well acted by every one of its players and is overall a surprisingly intelligent affair; a film whose noirish elements gradually blend into pure horror by its exciting conclusion, in which blood, "solar electrical energy," and the powder of roots of trees hundreds of years old are all combined in one mind-boggling melange.
The film tends to drag a bit in its central 1/3, but it never grows dull, and the stunning-looking B&W photography, artfully employing light and shadow, is always a feast for the eyes.
Simply put, the film looks great, and is nicely captured here on this Something Weird DVD.
For this viewer, the film comes as something like serendipity; an unexpected treat that I had previously never heard of before.
To my great surprise, I must warn viewers AWAY from "Bloodsuckers" and urge them to see "Blood Thirst" instead, a film that is truly ripe for rediscovery.....
I actually like Filipino horror films - they tend to be fantastic, have pretty good production values (other than the monster costumes and mad-scientist sets), and have some fine actors in them.
Filipino horror films, like Mexican ones, also have different religious undertones that add something to them.The acting is usually solid, although the dialogue probably would flow better if the Filipinos spoke Spanish.
Vic Diaz, who is in this one, is great.
Dull dull dull.A bunch of women in the Phillipines have been found drained of blood completely.
An American detective named Adam Rourke (Robert Winston) comes to investigate.
END SPOILER!!!!They also have this "monster" (a guy in hilarious makeup with gives him a lumpy face) helping drain the girls of blood.
This is being passed off as a horror film--don't let that fool you.
I'm giving this a 3 for two reasons: 1) Robert Winston--he sure can't act but he's pretty nice-looking and has a lengthy shirtless sequence showing a nice body and 2) there is some beautiful black & white cinematography--MUCH better than this film deserves.But it's basically a dull, stupid, forgettable movie.
This is one of those rare films that seems oddly out-of-date.
Although this movie came out in 1971 the black and white film, along with the music played during the picture, made it seem like something out of the late 50's or early 60's.
The reason for this was the fact that it was initially produced in 1965 by a developing film industry in the Phillipines and not shown to a world-wide audience until six years later.
Essentially, attractive women are being killed and drained of blood on the outskirts of Manila.
This has the detective in charge, "Inspector Miguel Ramos" (Vic Diaz) so baffled that he calls a friend of his in America named "Adam Rourke" (Robert Winston) to come and help him with the investigation.
Anyway, I liked the performance of Robert Winston who vaguely reminded me of George Lazenby in the James Bond film "On Her Majesty's Secret Service".
I also appreciated some of the attractive actresses like Katherine Henryk (as "Sylvia Ramos"), Yvonne Nielson ("Serena") and several other uncredited ladies as well.
On the other hand, other than possibly Robert Winston, the acting wasn't that great and the special effects for the "bubble-headed monster" were just plain laughable.
Macho wisecracking playboy American sex crime expert Adam Rourke (decently played by Robert Winston) is summoned to the Phillippines by jolly and affable police captain Miguel (a typically fine and engaging performance by ubiquitous Filipino exploitation cinema mainstay Vic Diaz) to investigate a baffling series of brutal murders.
Fortunately, this film is beautifully shot in gorgeous sepia-tinged black and white by cinematographer Hermos Santos; the various blue, green, and red hues give this picture an exquisitely moody and stylish film noirish look.
In addition, the mellow jazzy score hits the groovy spot, there are a few cool secondary characters (my favorite is the crippled, but still highly capable undercover cop who helps Rourke out), the climax is reasonably lively and exciting, and fetching blonde Yvonne Nielson as a sexy exotic nightclub dancer adds a little sizzle to the otherwise pretty drab proceedings.
A surprisingly well-made Filipino horror flick.
BLOOD THIRST is an interesting and engaging little horror effort shot in the Philippines by a US crew.
It was made in 1965 so it's short and in black and white, although it wasn't given a US release until six years later.
I immediately lumped it in with the trashy shockers that Eddie Romero was shooting during the period (like the infamous MAD DOCTOR OF BLOOD ISLAND) but it's a much classier affair.
Surprisingly, it has decent production values too, perhaps the best I've seen in a Filipino horror film.The plot is simple enough, yet fun with it.
Robert Winston is the imported American, a detective who goes undercover as a writer for reasons that remained obscure to me.
He hangs out a lot at a nightclub full of dancing women while at the same time investigating a series of bizarre murders in which lone women are killed on the streets at night, their bodies found strung up and drained of blood.
It turns out that a rubber-faced monster with links to the nightclub is responsible.
The monster is cheap but cheerful and I personally loved the look of it.BLOOD THIRST is well-shot and quite stylishly directed in places with a good sense of location.
One of the most engaging things about the production is the inimitable Vic Diaz, that stalwart actor of Filipino cinema, getting a chance to play something other than a bad guy for once.
In the Philippines, a strange series of murders have occurred to pretty young ladies.
When their bodies were found, they were completely drained of blood and someone or some 'thing' is obviously running amok.
For some odd reason, a local police official thinks it's important to contact his American friend and ask for his undercover help.
Why this was necessary is beyond me—as was the extremely hostile reaction the policeman's step-sister has towards the American.The look and especially the soundtrack has a strong film noir feel to it.
The leading man also, at times, talks like a typical noir character—very cool and self-confident.
I especially liked the slapping scene—what a tough guy!
However, the movie goes off in a weird direction in the end—one that is very, very unlike noir—and more like a typical cheesy 1950s horror film.
Despite some decent acting and a nice style, a film that only masochists need see.
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12 Angry Men
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In a New York City courthouse a jury commences deliberating the case of an 18-year-old boy from a slum, on trial for allegedly stabbing his father to death. If there is any reasonable doubt they are to return a verdict of not guilty. If found guilty, the boy will receive a death sentence.
In a preliminary vote, all jurors vote "guilty" except Juror 8, who argues that the boy deserves some deliberation. This irritates some of the other jurors, who are impatient for a quick deliberation, especially Juror 7 who has tickets to the evening's Yankee game and Juror 10, who demonstrates blatant prejudice against people from slums. Juror 8 questions the accuracy and reliability of the only two witnesses and the prosecution's claim that the murder weapon, a common switchblade (of which he possesses an identical copy), was "rare." Juror 8 argues that reasonable doubt exists and that he therefore cannot in conscience vote "guilty," but concedes that he has merely hung the jury.
Juror 8 suggests a secret ballot, from which he will abstain and agrees to change his vote if the others unanimously vote "guilty". The ballot is held and a new "not guilty" vote appears. An angry Juror 3 accuses Juror 5, who grew up in a slum, of changing his vote out of sympathy towards slum children. However, Juror 9 reveals it was he that changed his vote, agreeing there should be some discussion. Juror 8 argues that the noise of a passing train would have obscured the verbal threat that one witness claimed to have heard the boy tell his father "I'm going to kill you". Then, Juror 5 changes his vote. Juror 11 also changes his vote, believing the boy would not likely have tried to retrieve the murder weapon from the scene if it had been cleaned of fingerprints.
Jurors 5, 6 and 8 question the witness's claim to have seen the defendant fleeing 15 seconds after hearing the father's body hit the floor, since he was physically incapable of reaching an appropriate vantage point in time due to a stroke. An angry Juror 3 shouts that they are losing their chance to "burn" the boy. Juror 8 accuses him of being a sadist. Jurors 2 and 6 change their votes, tying the vote at 6–6.
Then, a rainstorm strikes the city, threatening to cancel the game for which Juror 7 has tickets. Juror 4 doubts the boy's alibi of being at the movies, because he could not recall it in much detail. Juror 8 tests how well Juror 4 remembers previous days, which he does, with difficulty. Juror 2 questions the likelihood that the boy, who was more than half a foot shorter than his father, could have inflicted the downward stab wound found in the body. Next, Jurors 3 and 8 conduct an experiment to see whether a shorter person could stab downwards on a taller person. The experiment proves the possibility but Juror 5 steps up and demonstrates the correct way to hold and use a switchblade; revealing that anyone skilled with a switchblade, as the boy would be, would always stab underhanded at an upwards angle against an opponent who was taller than them, as the grip of stabbing downwards would be too awkward and the act of changing hands too time consuming.
Increasingly impatient, Juror 7 changes his vote to hasten the deliberation, which earns him the ire of Jurors 3 and 11, both on opposite sides of the debate until Juror 7 admits that he truly believes the boy is not guilty. Then, Jurors 12 and 1 change their votes, leaving only three dissenters: Jurors 3, 4 and 10. Juror 10 vents a torrent of condemnation of slum-born people, claiming they are no better than animals who kill for fun. Most of the others turn their backs to him, except for Juror 4, who says to him 'sit down and don't open your mouth again' he then humiliatingly sit downs in a corner by himself.
When the remaining "guilty" voters are pressed to explain themselves, Juror 4 states that, despite all the previous evidence, the woman from across the street who saw the killing still stands as solid evidence. Juror 12 then reverts his vote, making the vote 8–4.
Juror 9, seeing Juror 4 rub his nose (which is being irritated by his glasses), realizes that the woman who allegedly saw the murder had impressions in the sides of her nose, indicating that she wore glasses, but did not wear them in court out of vanity. Other jurors, including Juror 4, confirm that they saw the same thing. Juror 8 adds that she would not have been wearing them while trying to sleep and points out that on her own evidence the attack happened so swiftly that she wouldn't have had time to put them on. Jurors 12, 10 and 4 change their vote to "not guilty", leaving only Juror 3. Juror 3 gives a long and increasingly tortured string of arguments, building on earlier remarks that his relationship with his own son is deeply strained, which is ultimately why he wants the boy to be guilty. He finally loses his temper and tears up a photo of him and his son, but suddenly breaks down crying and changes his vote to "not guilty", making the vote unanimous. Outside, Jurors 8 (Davis) and 9 (McCardle) exchange names and all of the jurors descend the courthouse steps to return to their individual lives.
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murder
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Jack Lemmon takes on the voice of dissent (the Fonda role), while George C Scott is the redneck extremist (played earlier by Lee J Cobb).
Scott), and a man who just wants to get out of there, even if it means making an unjust choice, Juror #7(Tony Danza).Lemmon, Scott, Williamson, Stahl, and even Danza put on great performances.
Edward James Olmos is supposed to play "the foreigner," but Armin Mueller-Stahl, the man playing the wealthy and dignified Juror #4, speaks with a very noticeable German accent.Even though I wanted to avoid it, I think I will do a point-by-point critique of the actors' performances based on how their characters were designed and based, somewhat, on the nearly flawless performances in the 1957 classic: Juror #1 - Courtney B.
It's just that everyone else is too old and it makes him look young.) Juror #10 - Okay, Mykelti Williamson simply does not cut it when it comes to Ed Begley's original, hateful bigot.
Also, a few of the roles in the remake are badly miscast (Tony Danza and Ozzie Davis both come to mind).I'd give this version 6/10 and the original gets a 10/10 from me..
This version of 12 Angry Men is certainly worth seeing, but it does not come close in overall excellence to the original film with Henry Fonda.
I just finished watching the 1957 version and I admit it seems like a play (and probably was developed originally as a play since it basically takes place in one room) and it was also broadcast live during the heyday of the golden years of television.
I'm not sure if the casting was simply dead-on or the actors happened to nail the roles they had or a combination, but each person seems very well-suited to his role and it's hard not to get wrapped up in the dialog and the general pace of the movie (as though you were peering into the jury room through a peephole).
Scott presage their conflicts in the later made-for-TV remake Inherit the Wind as the two jurors who refuse to budge from their convictions that a murder case does and does not have reasonable doubt attached to it, respectively.As with the original, 12 Angry Men is really an ensemble piece, the first American example of avant-garde filmmaking on a mass scale; with the exception of a few brief flashes at beginning and end, the film takes place in two adjoining rooms, a jury room and a men's room, allowing the director no scenic latitude at all and forcing him to concentrate on the actors themselves.
The producers do deserve some credit for making the rabid reactionary racist a black muslim thereby saving the viewer from some patronizing PC garbage but at the end of the day the original movie didn`t need remaking and this TVM proves it.
But the tension and suspense that is created within the single jury room is more than most high budget suspense-thillers I see today.I really reccomend this movie to people who haven't seen the original and to those who have.
But what do you call a movie which also includes (1) extremely stereo-typed and implausible characters (take a look at the former Nation of Islam member who behaves like he's from Mars), (2) a plot which you can see coming from miles away (surprise: a one-to-eleven vote changes into twelve-to-nil) and (3) a disclosure of 'evidence gaps' which is an insult for the intelligence of the viewer (none of the jurors even considers the option that an eye-witness will not need her *reading glasses* to see a murder at a 10 meters distance).
12 Angry Men (1997) ** 1/2 (out of 4) By the numbers remake from director William Friedkin tells the same story as the original film.
12 angry men the original is a true masterpiece, this remake is just a fine picture, supported by the amazing casting as Jack Lemmon.
Scott, Ossie Davis, Hume Cronyn and Armin Mueller Stahl, the atmosphere looks like almost the same, but lose the first impact to the viewers over the original, therefore stay clear that this remake was some steps behind, still has a psychological approach of human nature, when someone has to decided just by first impression given on the courthouse, by simply facts, without proper consideration, this picture was a warning for those who are in charge to decided between life and death!!!Resume:First watch: 2019 / How many: 1 / Source: DVD / Rating: 8.
And I have my reasons to think the original is one of the best films of all time, while this is just a decent movie I'll never see again.I think one of the main weak spots is the atmosphere, it would require less illumination, less space around the table, a more maintained jury room, a more claustrophobic kind of look.
Scott and Jack Lemmon, especially the latter (on his golden years, with Wilder).The director completely misunderstands the original concepts such as camera-actor positioning relation, the pronunciation of certain iconic phrases such as "but not very probable" (spoken by E.G. Marshall), "I don't know, I'm guessing" (spoken by Henry Fonda), "I'm one of them" (spoken by Lee. J.
The original movie is a unique, irreplicable work of art, while the remake looks like a fine stage representation that was casually recorded.There where some good things and improvements:
But, despite the huge quality gap, the remake also shows us that the original script by Reginald Rose is timeless and even 40 years later, it feels fresh and new, and with good performances, it prevents the film from being mediocre..
His starlight had faded a little when he remade in 1997 the iconic "one-room" drama that made a name out of Sidney Lumet and proved beyond the shadow of a doubt that you could thrill without dangers, and inspire without any fanfare.You don't necessarily make a second masterpiece by remaking one, but "12 Angry Men" is a good remake of a great film, which makes it a great made-for-TV program by proxy.
Or it's much simpler: the original film was also a version made after the play and the TV program, and there always was Reginald Rose's brilliant study of justice through characters handling, questioning and applying it with all their differences, biases and personalities.Because that's what the story is about: characters, the reason why the big screen provided the best version is because of the casting.
Still there were no women, no ethnic people (the accused was), it was a "typical" jury room of the 50s that could have inspired a Portman-line introduction going like: "and the 12 Angry WHITE Men are..."Of course, the remake escapes from the initial "bias" since it features four black actors (Courtney B.
He's obviously a member of the Black Nation brotherhood, not an Arab but it's eerie how the one hateful character was representing a culture that wouldn't be much appreciated four years later.I wish I could blame it on the casting choice but by intellectual honesty and given how powerful was Williamson's performance (his angry mumbling at "facts" would almost be funny if it wasn't so scary), I will blame it on the people who gave the negative images through actions.
Scott would win the Golden Globe for Best Supporting Actor in a TV Production, Lemmon lost to Ving Rhames who gave him the award and contributed to what Lemmon called "the sweetest moment of his life".I wish I could find an interesting correlation with the overall racial content of the film, but if only for that beautiful gesture coming a few years before Lemmon's death, I'm glad Friedkin remade "12 Angry Men" and cast the great Jack Lemmon..
It's very strong because the point of view of the film is precisely what is said about the act, and not its nature.January 12, 2017 - I just saw the 1957 version of Sydney Lumet with the splendid Henry Fonda.Surprised: I find that the version of William Friedkin of 1997 is better than that of 1957.
Also the diversity of ethnic background, which I don't believe was thought of back in the fifties, makes it a better movie to be understood in our times, while even tho the first story must have had the same characters personalities, this one is set on a different man, to show that good morals, ample intelligence and reasonable doubt is human and not belonging to a certain race..
It is far from boring though, for they all raise some very interesting points to consider when convicting a man accused of a crime.The movie opens in the courtroom for just a brief moment as the attorneys are both resting their case and the judge is instructing the jury to deliberate.
After many heated confrontations with the rest of the jury, juror #eight still insists that the young man may be innocent.The critical intention in this movie can come off in different ways.
I believe it does.I have seen both the classic 1957 movie with Henry Fonda and the 1997 remake with Jack Lemmon.
which is already a remake of the play filmed for TV by Sidney Lumet)This remake was the opportunity to correct some of the details of the Reginald Rose one, such as the discussion about the motives of the crime, or to make George C Scott older.All that could be criticised or praised, this to my mind improved it a little bit, but above all I would say the second one (well, I actually saw it first) is more realistic, more human than the first one, probably because of this wider range of race and social background of the jury.Well, it just changed my life and the way I look at others (at Tony Danza definitely, but in fact at any person I meet).
You will, however, be more than satisfied with the excellent, powerful acting, superb writing and great directing in this movie.I've not seen the original 1957 version with Henry Fonda, but I certainly intend to at first opportunity..
I have not seen the original and can therefore unfortunately not say how they compare, and the script seems like something that might have started out as a stage play, for which it would also work brilliantly.The idea of a film including only the discussion between jurors of a small and seemingly insignificant trial, might seem a boring one at first glance.
But, no, this turns out to be a film spanning the foundations of justice, and browsing on important subjects of prejudice due to race and age, as well as containing a critique of a society where impatience has become all too common, and the life of a single person as well as the conscience of all hangs in the balance.I'd recommend this film for its brilliant cast and acting alone, but it has a story that really grips you, and you cannot watch this for long without starting to feel you are also there in that room, a part of the discussion, and not just watching a movie..
The storyline is very true to the original which shows respect for a great movie and the only real need to remake this classic is due to the changing times, so hopefully the younger generation can watch and learn as I did..
When I first saw 12 Angry men I said oh this is going to be a A+ to me it made me feel as if I was sitting right at the table with each an everyone of them Jack was just a snap of the finger the way he just set there listening to the rest of the 11 Jury men I mean the man he told it just like he heard it he didn't set there an run his mouth at the start he set there listening to the 11 an then he jumps right in with the best of his self not only with words but he acts out what he really believes happen..
Scott in his 40s or 50s.As in the original, a number of the characters had so little to do or say that I found it didn't matter to me in the slightest who the actors in this version were and since most of them were now being played by African-Americans, it seemed more like tokenism than anything else.
Vance, James Gandolfini, Ossie Davis (was he trying to channel John Fiedler's nebbish demeanor??) and Dorian Harewood could have easily been played by other actors (or even actresses, had the movie been called "Twelve Angry Men and Women").
If the racial and age diversity of this cast was meant to be politically correct or reflective of society, it would have been better served in a film which used that diversity to full advantage and, in cases like Scott's and, to a lesser degree, Jack Lemmon's (whose Davis seemed bored and tired half the time compared to Henry Fonda's deeply compassionate and thoughtful portrayal), one wishes, as I mentioned earlier, that these actors had been about 20 years younger.
It has definitely made its way into one of my all time favorites.I have not seen the original film, but as to some of the comments regarding poor acting in this movie - I didn't think it was at all evident.
It takes an actor of Lemmon's class to be able to achieve the same quality.The strongest points about the remake when set against the original are Friedkin's direction - starkly different from Lumet's, although not nearly so ground-breaking - and the Mykelti Williamson character.
The casting for this movie is great and includes many familiar actors like Tony Danza, Edward James Olmos, Courtney B.
The twelve actors brought a freshness and an integrity to the play and which did not for a moment make me pause and think that Jack Warden was more of a sport lout than Tony Danza (but who can forget Jack shooting the ball of paper at the fan), or that Lee J Cobb played the bully better than George C Scott, Robert Webber a slicker ad-man than William Petersen.
This is a production that updates the superior original film with its all white cast to the present with mixed race actors, each of whom shades the interpretation of their dialogue as members of the multitude of ethnicities, nationalities, creeds, ages, and ideologies that comprise modern American society.In finely tuned performances which brings vitality to the story of men locked in life-altering judgement of a young man accused of patricide, the cast performs with give and take of mature actors, each of whom is capable of holding the screen individually.
Twelve Angry Men is a superior remake of an outstanding original film.
On the opposite end, in one of his finest roles: Jack Lemmon and Hume Cronyn.I liked that this film allowed elderly men to be brilliant.
Jack Lemmon replaces Henry Fonda as the good juror #8, the late great George C.
This was the tv movie version of 12 angry men, this first came out 40 years before this one in 1957, starring Jack Klugman and the other actors who i can't remember.
This version, like the 1957 film, both based on a play, shows by means of a fictitious jury deliberation how any juror's interpretation of evidence might be influenced by his own personal problems and prejudices.
I remember being a little kid, watching the original version of 12 Angry Men on TV thinking this is one of the best movies I'd ever seen.Then I heard they were re-making it for TV and I thought, "no way, the magic of this movie just can't be replicated."Of course it couldn't.
Reginald Rose has tweaked here and there with his original teleplay, comtemporizing the trial and the twelve angry men, but, ultimately it's the same movie...in colour.That said, it isn't a bad film, and is thoroughly watchable, with some fine performances and sparking dialogue.
I've never seen the 1954 original in which Bob Cummings played Juror #8, (The Fonda/Lemmon role).
He wins this one big and it's a big win for the old film.Juror #4: In the original this man is played by the wonderful EG Marshall, who would go on to star in Rose's `The Defenders'.
CSI's William Peterson doesn't make much of an impression the remake, (except that he's put on a lot of weight in seven years).So, I'll take Cobb, Binns, Fonda, Begley and Webber from the 1957 film and Vance, Davis, Mueller-Stahl, Harewood and Cronyn from the 1997 TV Movie, with the other two positions a tie.
I didn't watched the original version of this movie, but I liked very much this version,so I guess the first one is so great or even better then this one.(I will watch it eventually) 12 jurors need to conclude if a boy accused to have killed his father, is guilty or non guilty.
As much as I like Lemmon, Fonda delivered a more captivating performance; oddly, I found Scott did the same, but for the last version of the film.The things that were noticeable in this remake, when comparing to the original, are: 1-The jury room is slightly bigger, not much but it is noticeable.
As does the 1957 version.Two great movies based on a stage play by Reginald Rose, of how one man, refuses to go along with the other jurors, and takes a stand and just wants to talk, because it's "just possible" that the boy is "not guilty".EXCELLENT..
With the exception of a decided lack of female jurors, I think the jury in the remake was more representative of what you would expect to see in a modern day jury (the original could have just as easily been called "Twelve Angry White Men".
I have viewed both versions of this film, and both have merit, although I like the original better.
The part of the dissenting juror, Henry Fonda in the original and Jack Lemmon here, would take on a new dimension if it were played by a woman.
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Scary Movie 4
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Shaquille O'Neal and Dr. Phil wake up chained in a bathroom (spoofing Saw). Shaq has to make a free throw with a huge rock in order to get the saw down to cut off their legs (spoofing Shaq's famous difficulties at the free-throw line). Shaq and Dr. Phil have only two minutes to free themselves of their leg braces before dying from the room's airborne nerve gas. Finally, Shaq makes the basket and lowers the saws down. Dr. Phil ends up sawing off the wrong foot, thereby remaining chained and the two are presumed to be dead.Tom Logan (Charlie Sheen), spoofing Bill Pullman's character from The Grudge, wakes up. There are three girls (from The Girls Next Door on E!) in his bed who later have a pillow fight. He tries to kill himself by taking too many sleeping pills but the pills turn out to be Viagra, resulting in him tumbling over a balustrade, landing on his erect penis, and dying. Cindy Campbell goes to get a new job (parodying Sarah Michelle Gellar's character in The Grudge). She's been asked to be a caretaker for the creepy "Grudge House." She receives a tour inside, Cindy expects nothing and she gets a 'feeling of evil' as the guide tries to hide the overflowing hair on the ceiling, in drawers and baskets and on his head; and The Grudge Boy in the bathtub by pushing him down with a plunger, and then walks out naked and Cindy smiles and says "I'll take it".Meanwhile, Cindy's neighbour Tom Ryan (Craig Bierko), spoofing Tom Cruise's character in War of the Worlds, gets fired from his job as a crane operator at the docks. At a bar afterwards he runs into Mahalik (Anthony Anderson) and CJ (Kevin Hart) where it is revealed, in a parody of Brokeback Mountain, that the two have started a homosexual relationship. Tom gets home, where his ex-wife (Molly Shannon) has just arrived with his children, Robbie and Rachel, who both resent him. Cindy's job is to look after the incapacitated Mrs. Norris (Cloris Leachman), however she is incompetent at it, to the point of accidentally sponge bathing Mrs. Norris with her own urine. Throughout the night Cindy notices strange events going on in the house, culminating in her finding a ghostly boy in the attic.The next morning she confides in Tom about the events of the previous night, which leads to a conversation about their past relationships. Cindy has a flashback to her first marriage, showing a big African-American man cussing her out, and then another to her second marriage, to the death of her husband George (Simon Rex) where, in a parody of Million Dollar Baby, George trips and breaks his neck (as do numerous members of the audience) during a boxing match between Cindy and Tiffany Stone, a female version of Mike Tyson also showing a pile of bitten-off ears. As they share a kiss, the sky suddenly goes stormy and everything electrical stops working (In the real movie cars stopped working, but in this movie cars, bicycles, skateboards and a man runs out of a toilet, trousers down and holding a newspaper ("My bowels have stopped moving!"). Tom goes to investigate, and discovers the world has come under attack by gigantic triPods (giant iPods) that play 80s music... and then switches to the "Destroy Humanity" playlist, transforming the iPods into actual Tripods, which vaporize the humans they zap (it was also showed three people which seemed to be rappers, get vaporized and dropping a huge pile of bling-blings).Cindy runs back into her house and finds the ghost boy again. They began talking in "Japanese" (actually Japanese brand names and "buzz words" such as Sony, Mitsubishi, and Fujitsu), in what may be a parody of the scene between Beatrix Kiddo and Pai Mei in Kill Bill in which Pai Mei says "Your Japanese is lousy. It dishonors my ears.", which the ghost boy says to Cindy. She is told by the ghost boy that she can find the answer to the alien attack when she finds his father. He gives her directions to his location but Cindy couldn't read them so they transformed into a Yahoo map so that Cindy could read it. Tom splits up with Cindy and flees with his kids. Cindy runs into Brenda Meeks (Regina Hall), who apparently faked her death in Scary Movie 3, and together they manage to find the last working car and follow the directions of the ghost boy.The scene then changes to the President of the United States being informed that aliens are attacking. President Baxter Harris (Leslie Nielsen) is sitting in Edna R. Penhall Elementary School, listening to a book being read (something about a duck); when his aide Jamison (Alonzo Bodden) comes, he sits motionless, wanting to hear the rest of the story. This mirrors George W. Bush's being read a children's story for seven minutes, after being told about the September 11 attacks. At an emergency session of the UN, and a round of horribly inappropriate jokes, President Harris reveals a weapon made to combat the aliens. Scientists have taken the lasers used by the TriPods, which kill the people but leave their clothes behind, and modified it to do the opposite to the aliens. The members of the UN get an unexpected, and quite unwelcome, demonstration when President Harris accidentally hits the switch and is soon standing in front of all the delegates, completely unaware that he is totally naked. Its not long before the entire UN is stark naked. Baxter's aide Harper (Bryan Callen) tells Baxter that he's naked too where Baxter thinks that he was wearing a wrinkly leather coat. Harper escorts the President out of the UN.Cindy and Brenda come across a village that is a hundred years behind modern times. After unsuccessfully trying to steal clothes off some villagers, they take some from a laundry basket and attempt to fit in. Unfortunately, they are captured and are taken into a court to decide their fate. Henry Hale (Bill Pullman), the head of the village, rules that Cindy and Brenda may stay in the village, but they may never leave.Tom and his children run into a battle between the Army and triPods. Robbie decides to join the fight, excited by the graphic violence. While Tom tries to dissuade him, Michael Jackson (who has gathered a bunch of children) tries to persuade Rachel to come with him, but Tom manages to stop her in time. Unfortunately, Robbie gets away. Jackson is zapped by the triPod's heat ray; the first blast causes him to revert to his Bad appearance, the second into his Thriller appearance, and the third reveals his true form - a balding middle-aged black man - before a fourth blast destroys him totally, leaving only his nose. Tom and his daughter flee into house protected by Oliver (Michael Madsen), parodying Tim Robbins' character from War of the Worlds, who is telling them that they should make their own tripods ("Ours will have FOUR legs").That night, the village is attacked by Those We Don't Speak Of, however it is discovered that they are simply villagers in costumes. Next door, Henry is stabbed by the mentally challenged Ezekiel (Chris Elliott). Henry reveals to Cindy and Brenda that he is the father of the ghost boy, who was killed at Cindy's boxing match because everyone snapped their necks and Don King crushed him. He tells Cindy that only she has the power to defeat the triPods. At that point, Cindy and Brenda get captured by a triPod, as do Tom and Rachel.The characters wake up in the bathroom from Saw. Cindy and Brenda are wearing the "Venus Fly Trap" from Saw II and Tom is wearing a device that would shoot a large dildo into his anus. Jigsaw appears on a monitor on the wall, and tells them they have 60 seconds to get the Venus Fly Traps off before they close. Eventually, Cindy figures out (after much prompting) that she has to get the key from behind her eye, which she does with ease, because the key was behind a glass eye she got due to a "bad bar fight in '96". Cindy frees them from their traps, and Tom's kids come down from the ceiling, about to be sliced into bits unless he holds onto a rope which happens to be between an iron maiden. He grabs onto the rope which leaves him open to another torture device called the Nut Cracker, which gives him various punishments such as kicking his crotch, and giving him a purple nurple and a wet willy. Moments before their deaths, Cindy finds photos in the toilet of Jigsaw, a woman, and the ghost boy, and realizes that Jigsaw was the ghost boy's real father, and the entire invasion was revenge for his son's death. He then says "Anyone can hold a grudge, but it takes real courage to forgive," and it is at this time that Jigsaw comes into the spotlight. He then tells them that the invasion is over and allows them to leave.He apologizes for the invasion and killing millions of people, and then Brenda (who went through a rotating wall into the control room earlier) and Jigsaw's brother, Zoltar, emerge from the other room, where they have just had sex. Jigsaw asks Zoltar if he caught anything, Zoltar replies that Brenda (untruthfully) told him she was a virgin and Jigsaw finishes by saying "We are so fucked." Nine months later, Brenda gives birth to a baby that looks just like Jigsaw and Zoltar.After that, James Earl Jones gets hit by a bus (which may be referring to what happened to Terry in Final Destination) while delivering Morgan Freeman's closing lines from War of the Worlds.A five minute epilogue spoofs the Tom Cruise couch incident by showing an Oprah Winfrey Show episode with Tom Ryan jumping on a couch with Oprah (played by Debra Wilson). Tom runs around the studio, does backflips (performed by David Leighton), swings across the studio, and chews/rips apart one of the couch cushions. Cindy Campbell walks in and gets thrown by Tom off the stage. Tom then breaks Oprah's hands and wrists, smashes a chair over her head, runs towards the camera lens, and the screen goes black.
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cult, boring, stupid
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train
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imdb
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The Wayans' relied far too much on lame sexual humour and gross-out jokes and I enjoy slapstick far more than that.Not that Scary Movie 4 doesn't have its fair share of (hilarious) crude jokes.
That's the level of the humour in this movie, and if you are entertained by violent slapstick, people getting hit by cars, sexual jokes, and brilliant dialogue such as:"I saw this face..." "With a nose?" "Yes." "Hmm. Sounds like a face."...then this movie is worth buying a ticket for.
While Scary Movie 4 definitely isn't a "good" movie, it's hard to put down comedy this funny.
As for the appearance of 'Michael Jackson' in the film, I'm still laughing every time I think about it - heaven knows how they got away with it, but its certainly a funny moment!!
Further, when I see this type of movie, I know exactly what I am going to see: scatological jokes, funny and surrealistic references to other films and definitely a movie that will never be indicated for an Oscar.I found this "Scary Movie 4" also very funny.
What do they expect to see when they go to the movie theaters or buy / rent a DVD called "Scary Movie 4" ("the last part of a trilogy"), directed by David Zucker and with Leslie Nielsen and Anna Farris in the cast?
The plot involves Cindy Campell, star of all the previous Scary movie films, moving into a new house.
For this one the required viewing or basic knowledge of a movie that you need for this one is mainly "Saw", "The Grudge", "The Village", "Million Dollar Baby", and for me the best one "War of the Worlds" (a movie that needed some fun poked at it).
There is also something in there making a bit of fun of a movie pretty much you don't need to have seen are know all that much about...you will get it as long as you watch a bit of television.
I was looking forward to it so much, but I have to say- at the end of the movie I found myself leaving the cinema slightly disappointed.Don't get me wrong, It was an OK film, its not like i hated it, but it sadly lacked the comedy of the other 3 films.
I was very pleased to see Brenda back, however, not even she could bring this up to the standards of the others.It felt as if each scene was rushed and just randomly placed together- for some reason, it didn't all seem to fit with each other, it was like "OK, we've done one spoof- quickly we have to do the next one" and everything seems so rushed and unfinished.However, it wasn't a complete disappointment, Their were some really funny moments in the film which save it from complete boredom.
The film is funny at times, but brow-beats its parody of Tom Cruise's character in War of the Worlds.
It was interesting to see Dr. Phil willingly take self-deprecating humor, and Debra Wilson is a comedy goddess (I miss her on MadTV), but other than that the laughs ran so thin that sometimes it was hard to tell if they were making fun of other movies or just getting some more use out of left-over sets.
Oh My God, i can't believe i wasted $8 bucks on this piece of crap.I mean the some of the jokes were funny but most of them seem like an 8 year old that just learned what sex was would write.
This movie is most likely suited for children under 12 that think poop jokes are funny.1&2 were much more funny but I don't know what they did to this series, they just made it more disgusting and retarded.
However, I will give the studio kudos for recreating those scenes with splendid accuracy.If you enjoy watching movies you have already seen, except poorly modified in completely low-brow attempts to make you laugh, then run out right now and see this.
The effects in the movie are good and the lampooning is not awful but the comedy is something America threw out five years ago, lets hit someone in the head or make a joke about farting....lets not!Its a shame that Zucker and Neilson would throw something this bad out because both air plane and the naked gun are genius.
I strongly recommend this movie for fans of the "Scary Movie" series, and to people with a special sense-of-humor, what I mean is people who laugh at immaturity and really funny bathroom humor.
However, the second half of the movie has quite a few laughs and had enough energy to keep me interested in the movie, but the movie needed a refill for the last few minutes, as it runs out of gas before it reaches the finish line.This time around the plots of recent movies such as War of the Worlds, The Grudge, Million Dollar Baby, Saw, The Village, and quite a few others are intertwined to form a smudge of a comedic plot.
It's as if they had no other funny dialogue to come up with, and added fart and ball jokes instead that reminded me of the previous bomb this year, Date Movie.
Scary Movie 4 rating: 1 out of 4If a comedian were to crack a thousand jokes and we laughed at four, this comedian would not be considered funny.
The movie explores all the box office hits such as War of the Worlds, The Village, The Grudge, Million Dollar Baby and Saw. Scary Movie 4 is way better than 2, 3.
I did not care for War of the worlds, I thought they totally destroyed a very good story / Concept when they created that movie, but made it worse by trying to make fun of it in SM4.
SCARY MOVIE 4 (2006) * Anna Faris, Craig Bierko, Regina Hall, Anthony Anderson, Leslie Nielsen, Carmen Electra, Bill Pullman, Chris Elliott, Cloris Leachman, Molly Shannon, Simon Rex, Debra Wilson, Charlie Sheen.
(Voices of Dane Cook, James Earl Jones) (Cameos as themselves: Dr. Phil, Shaquille O'Neal) Virtually laugh free chapter in the ongoing comedy spoof of horror and sci-fi films this time poking fun at "War of The Worlds", "The Grudge", "Saw", and "The Village" among others with barely a smile inducing moment despite David Zucker back at the helm with his jam-as-many-jokes-as possible per frame is overwhelmed for its lackluster inspired lunacy one would anticipate.
A movie with no plot (which, admittedly, isn't the main objective of the "Scary Movie" franchise, but come on, this had nothing) that was like a 5 year old kid trying to do exactly what his "cooler" 18 year old brother would do is what I got.From Viagra to pure toilet humor in every sense of the phrase, "Scary Movie 4" was an exercise in futility as much as it was a comedy movie.
Among the spoofs are the movies "War of the Worlds," "The Grudge," "Saw," "Brokeback Mountain," (don't ask) and "The Village." None of the spoofs are done particularly well, at least compared to the spoofs in "Scary Movies 1-3" (the Shaq/Dr. Phil scene that was on TV every five seconds in the weeks before the movie was released was basically the whole scene in itself, and it wasn't even that funny).The only redeeming quality to the movie was the performance of Leslie Nielsen as the President of the United States, and even then, the obvious mocking of the attacks, or response thereof, on 9/11 were in bad taste."Scary Movie 4" failed in all aspects.
"Scary Movie 3" got good performances from Anna Faris and Charlie Sheen.
Understandably that this movie was meant for potty humor and cheap laughs, but come on you can only go kicking a dead horse so many times and the joke gets old, really old.The only thing entertaining about seeing this movie was watching the girls in front of me chatting back and forth about what clothes their going to wear tomorrow.
Half an hour into this film I snuck out of Scary Movie 4 and snuck into She's the Man (a surprisingly awesome comedy, it aims for the same age audience, but those with a higher IQ) The failing for this film is obvious - there is no sense of plot or character and so the jokes consist solely of spoofs of popular recent films without anything to hold it together - or hold your interest.
Then again, toilet humor has been done right plenty of times in other movies - but that fact just makes this movie's failure more catastrophic.Outside of writing that outdoes the Wayans Brothers in suckedness (In Living Color was the last documented moment these guys were funny), the overall production is poor.
Once this film is released on DVD, the goof-ups section of IMDb will absolutely light up, if people even bother.When *HUGE* target movies like 'The War of the Worlds', 'Brokeback Mountain', and 'The Grudge' are so severely missed with an almost too-easy opportunity, this movie deserves to be slammed for 10 more paragraphs, but hopefully a point has been made.
After watching the previous Scary Movies I was expecting at least a moderate laugh.
The evil TriPods, and the evil kid who was killed in a boxing match which killed other people all linked to Cindy Campbell and the mysterious guy who put a stool in the arena (still doesn't say who did it).A movie that makes fun of War of the Worlds, The Grudge, The Village, Saw must mean some serious business.
I had seen Scary Movie 1 & 2 and thought they were pretty amusing, so when I saw this new one was number 1 at the box office I thought maybe it was good too.I was wrong.
Special FX put on the slapstick humor make the movie seem like a silly cartoon where characters bounce around uncontrollably rather than a comedy.I loved all the previous scary movies but this one is worse than mediocre.
A lot of the jokes still raise a chuckle, some of the best being the Brokeback Mountain out-take and Bierko's hilarious impersonation of Tom Cruise's ridiculous over-acting in the recent War of the Worlds re-make, not to mention his iffy personal life.
But unsurprisingly the best comes from that master of the trade Leslie Nielsen, really showing how it's done hilariously sending up George Bush's dim-witted responses to threats to the country.Cracks are starting to show a little now and I hope this series doesn't go the way that the Police Academy movies (apparantly) did, but for a damn good laugh to escape it all, the Scary Movies are great fun and it's just too bad if this is the last one.
The concept of the "Scary Movie"-series is beginning to look more like a tragedy instead of a comedy.
Which ironically also stars Leslie Nelson, who plays the dimwitted President that just can't get anything right"Scary Movie 4" focuses on Tom Ryan (Bierko) who is a knuckle head and teams up with again Cindy Campbell (Faris) and her thought to be dead friend Brenda (Hall) who together have to stop an alien invasion.
Fans of the 'Scary Movie' series will know pretty much what to expect: plenty of gross out gags, parody and a decent performance or two.
That pretty much sums it up: if fart jokes and a girl getting hit in the head on a couple of different occasions with a ball is funny to you, then look no further than 'Scary Movie 4.' If you're hoping to find something a bit more sophisticated, you'll do better searching elsewhere..
The "Scary Movie" franchise has hit a new low, which I did'nt think was possible after the third entry.Comedy is obviously a personal thing, but I enjoyed the first two movies due to their energy and the way they threw everything at the wall to see what would stick.
In contrast, this film seems to be an auto-pilot all the way through, spoofing movies such as "War of the Worlds" and "Brokeback Mountain" with no zest or imagination.The only bright spot is Leslie Neilson, who only appears in a handful of scenes but is the funniest thing in the film by far.Just a terrible, unoriginal, unimaginative, unmotivated movie which is a complete waste of 80 minutes.
The Grudge, War of the Worlds, The village and Saw...WTF...not only have they taken films from totally different areas of the horror genre but they have clearly mashed them together purely because they were big at the time (although i think most would agree with me when i say The Village and The Grudge were hardly good films) The acting is standard for this type of spoof films and i have no problem with the actors, what i do have a problem with is the script that i could have written in half an hour tripping on acid!
As the Scary Movie films keep coming it seems the script writers just cannot be bothered, and to be frank I can't be bothered to watch any more.This movie just dips into about more movies than I can think of, but doing so makes it lose some of the plot and it just about gets boring after about 20 minutes or so.
Personally I just don't see the funny side of this series no more as this movie just about made me titter at one part of the film, and throughout the rest I was thinking "is it nearly finished yet?!".
I, ironically, laughed 4 times (once kind of hard) at Scary Movie 4.
Spoofs of "War of the Worlds", "The Grudge", "Saw", and "The Village" are just some of the big movies spoofed in the 4th sequel to the extremely popular series.The "Scary Movie" franchise has been a spoof franchise that I feel is overrated.
I found them kind of funny but since "Saw" is probably the best movie out of all the movies spoofed I think they could have made the "Saw" jokes funnier Luckily, even though I didn't think everything worked in "Scary Movie 4", I still think the film was better than the first two which is good news to me.
However, I must say neither part 3 or 4 have topped the opening sequence in the 2nd film which was "The Exorcist" spoof.Director David Zucker does an OK job directing but like I said sometimes I feel he thinks one joke is never enough.
The man created "The Naked Gun series" and "Airplane" so he knows what a good spoof is.In the end, "Scary Movie 4" is a decent sequel that just tries to hard at times to be funny.
I think maybe the "Scary Movie" franchise needs to come to an end and Zucker and Anna Faris should move on and work together on new projects.
So while "Scary Movie 4" wasn't a masterpiece, it still delivered a decent amount of laughs and I think majority of fans of the series will enjoy it.
So if you like the franchise, see the 4th because even though it's not as good as the 3rd, it's still a decent attempt at the spoof genre and is a whole hell of a lot funnier than "Date Movie."MovieManMenzel's final rating for "Scary Movie 4" is 6 out of 10.
Scary Movie 4 spoofs millions of films like 'The Grudge,War Of The Worlds,Saw,The Village as well as pop singer Michael Jackson'.
Meanwhile, aliens invade the Earth and threatens to destroy mankind.Spoofing a host of movies like Saw, War of the Worlds, Million Dollar Bay and The Grudge, this movie has a lot of gags, but I just didn't find them funny.
He was in the previous Scary Movie)and The Village also gets spoofed with a funny turn by Bill Pullman.
Better Than the Previous Two. Scary Movie 4 (2006) ** (out of 4) The fourth film in the series has Cindy (Anna Faris) getting a new job inside a house, which she believes is haunted.
I didn't like any of the previous movies, but because I've seen all the kinds of films being spoofed, I kind of ended up watching it anyway.
These Scary Movie movies are nothing short of giving crappy horror films the same humour and spoofing style as Airplane and The Naked Gun, the first 2 were done okay-ish but this one and the third one hit the humour right on the head.The movie's plot doesn't really matter, you just watch it for laughs and if you look at comedy movies that way you will say this one is the best.
Especially the jokes about Brokeback Mountain, Million Dollar Baby and Saw are still hilarious.Even though those series were finally rather childish with a very bad first part, an acceptable and entertaining second and fourth part and a really good third part, I would like to see a true fifth part in the future as there have been many movies in the past years that should be parodied by this sympathetic crew..
You will get some good laughs out of it and the reason the jokes mostly work is because there are great comedic talent like Regina Hall, Lislie Nielsen, Anna Faris, Craig Bierko, Anthony Anderson, Chris Elliott, Kevin Hart, Charlie Sheen and Simon Rex. They spoof every horror hit of that year or last and make a story of it all and they parody everything from War of the Worlds to Saw its not as good as the other Scary Movies but still a pretty good spoof.
"Scary Movie 4"- A weak comedy that is salvaged by a few good laughs....
David Zucker returns to direct, as do Anna Faris and Regina Hall return to star in "Scary Movie 4", the weakest entry in this parody series.
A lot of the jokes seemed like last-ditch attempts at humor, and the few truly funny moments are few and far in between.In the end, it comes to is this- "Scary Movie 4" isn't good.
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tt0918940
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The Legend of Tarzan
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In the late 1800's, a conference was held to divide up the African Congo region. King Leopold of Belgium seized control of the land's minerals, which resulted in large profits for his country. When the resources began to run dry, Leopold sent Captain Leon Rom (Christoph Waltz) to secure more minerals.Rom leads a large group of men into the Congo where they find a large rock formation that looks like a face. In the fog, the men hear a sound. A spear is thrown and hits the ground. Rom's men open fire, killing dozens of African tribesmen. Other members of the tribe stand above the rocks and retaliate by killing all of Rom's men. Rom is approached by the leader, Chief Mbonga (Djimon Hounsou). In his hand are three little mineral rocks. Mbonga says he can give Rom all the minerals if he brings him one particular man. Rom agrees and says he only needs a name.In England, the Prime Minister (Jim Broadbent) speaks to John Clayton III, Lord Greystoke (Alexander Skarsgard), who is invited by King Leopold to head an expedition to Boma. George Washington Williams (Samuel L. Jackson) urges John to go, as he is really Tarzan, the famed ape man that lived in the jungle and was raised by apes and has now returned to civilization to claim his place as the last surviving Greystroke family member of the Greystroke estate. John declines the invitation, to the dismay of George and the PM. George follows John outside and tries to persuade John to consider otherwise, and to let him join. John changes his mind and agrees.We see a flashback of decades earlier when John's father had kept himself and his wife Alice in a treehouse as she gave birth. Alice died, and John II buried her. Moments later, John II was attacked and killed by a band of gorillas. In the treehouse, an ape named Kala (Madeleine Worrall) and her son Akut (Matt Cross) find the baby John. Kala adopted him as her own.In the present, John finds his wife Jane (Margot Robbie) conducting a lesson to a group of children. John makes a bird sound, which excites the children as they know he is Tarzan. Later, John tells Jane about the expedition trip. She thinks he is asking her to come, but he tells her she cannot. He worries for her since they have already lost a baby. She leaves disappointed, but he later finds her up in a tree and says she may join.John, Jane, and George take their trip to the Congo. John sees three lions that he knew since they were cubs, and they greet each other (as lions would). The three then encounter a friendly tribe that knew John and Jane during their stay in the jungle. At night, the tribe sings a song that Jane says is "The Legend of Tarzan". As she describes it to George, we see Tarzan as a child trying to live among the apes. The ape leader Kerchak (William Wollen) beat up the boy until Kala intervened.Rom and his men take another ship toward the location where he knows he will find John. They attack the tribe's camp and tie up John and Jane. Rom also shoots the tribe's leader in front of everyone. He captures Jane and several tribe members while John rolls away down a hill. George and the remaining tribe members chase after the villains, but they get away. George finds John and unties him.John sets out to find Jane and the tribe members. George thinks it's a bad idea, but he still follows John, along with seven other members. It is time for him to become Tarzan once again.We see another flashback from the past when Jane first went to the jungle and met Tarzan. At that time, he did not speak or understand a word of English and he began to sniff her. When he started to sniff in certain areas, she pushed him off and scared him away.In the present day Congo, Tarzan and George swing from vines onto the train carrying the tribe members. Tarzan finds a train car full of men that want to kill him. He quickly kicks all their asses. The biggest men enters the car, but Tarzan kicks him out the train in seconds. The tribe members are freed.Rom plans to use the tribe members as slaves in his expedition. On the boat, he has one member and very good friend of Tarzan and Jane, Wasimbu, caged over the water. Jane yells something to Wasimbu in his language, making Rom drop the cage into the water. Jane jumps in and breaks Wasimbu out. They swim to the shore and avoid gunfire and a hungry hungry hippo.Tarzan and George separate from the members so that Rom and his men don't try to kill them. The two encounter Akut, now grown. Tarzan knows he has to fight Akut because he will consider Tarzan a deserter for leaving the jungle. The two fight each other, but Akut overpowers Tarzan. George kneels and bows before Akut so that neither of them get killed.Another flashback shows the reason why Mbonga wants Tarzan. His only son Kulonga (Charles Babalola) killed Kala with an arrow. Tarzan retaliated and killed Kulonga. As he held a dying Kala in his arms, Mbonga's people brought Kulonga's body back to his father.In the present, Tarzan and George find Rom and his men bringing a recaptured Jane toward Mbonga's tribe. The tribesmen attack Tarzan, but he fights them off with ease. Mbonga faces Tarzan and fights him. Tarzan overpowers him and holds his knife to Mbonga's throat. He decides not to kill Mbonga because he wants to help his tribe, knowing that Rom would just kill them all to get what he wants.Rom and his men prepare to ride off on their boat to meet with other miners and explorers. Their camp is trashed by a stampede of wildebeest. Tarzan rides one toward the boat. Jane makes it to safety while Tarzan hops on the boat. He increases the pressure on the boat's engine. Rom chokes him out with his rosary beads. Tarzan calls upon some crocodiles to come toward the boat. He grabs Rom with his legs and holds him as he breaks the beads with his neck muscles. Tarzan releases Rom and lets the crocs eat him. The boat then explodes, destroying the minerals. Tarzan appears behind Jane and kisses her.George returns home and exposes Leopold's dealings to the rest of the world. Tarzan and Jane stay in the jungle as they welcome their first child.The film closes with Tarzan swinging through the trees with his ape family.
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comedy, murder, violence, historical fiction, good versus evil, flashback, humor, action, revenge
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train
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imdb
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After a great opening scene, there is the filmic equivalent of "dead air" for about 35 minutes and when the script does finally get in gear it stumbles and falls, subject to a wildly disjointed narrative and equally bizarre editing.Alexander Skarsgård has been impressive in other films (a race driver, a superhero) and I think with different material and a different director he could have connected.
If you want to see a painfully unoriginal and unengaging story of paint-by-number characters getting at it in the green room for 90% of the time, go see this movie.The most deplorable thing about this movie - aside from the plot being an incoherent mess - is the way the villains are portrayed as caricatures, and the good guys as saints who can do no wrong.
Honestly when I first heard about the film I had little interest in seeing it, but the trailer was better than I expected, and when has Christoph Waltz been anything short of terrific in every role he has played, but particularly when he is a bad guy.
If what you want is a live-action version of the Disney cartoon, or a remake of those old "Me Tarzan, you Jane" camp fests, this isn't the film for you.
It's disheartening, and it's so obvious they don't really know anything about the character and don't care enough to learn.If, however, you have yearned for the day in cinema when Edgar Rice Burroughs' epic hero is treated with the gravitas and respect he deserves, and if you enjoy epic jungle adventure with a heart, by all means GO SEE THIS MOVIE!
Alexander Skarsgard's Tarzan erupts instantly and spectacularly with a combination of physical force and gut-chilling animal sounds and pins the American to a wall, then growls out the words: "They have my wife, and their families." In this single small moment, Yates and Skarsgard put on display Tarzan's utter commitment to the woman he loves while at the same time same evoking the internal contradiction of a man who in adulthood could pass among society as a aristocratic Englishman, but whose feral upbringing has left him with a volatile beast within that can overwhelm the civilized trappings in an instant.
Edgar Rice Burroughs would approve of it, and 21st century audiences will, if they can be lured into theaters to see it, be intrigued and satisfied by it.Legend of Tarzan begins eight years after Tarzan and Jane (a luminous and effective Margot Robbie) have left Africa to undertake a gentrified life in London, where Tarzan has claimed his birthright of John Clayton III, Lord Greystoke.
It still tells us his origin in laziest way possible and it still follows a three act structure that we have seen a couple thousand times over.As I blankly starred at the jumbled mess I was watching on screen I couldn't think of a single thing I hated, nor a single thing I loved.
Upon his return to his childhood home in the Congo, Greystoke (a.k.a. Tarzan) discovers man's cruelty in the form of Belgian huntsman, Leon Rom (a typecast Christoph Waltz, playing, what else, but the villain).
The panoramic vistas help to give the film a sense of epic adventure, even if the adventures we witness never attain the grandeur of other epic film tales due to its script.The narrative structure swings from its more interesting backstories (Tarzan's early life and upbringing, his adaptation to his aristocratic England, Jane's personal journey) which are only hinted, to the standard main story dealing with The Great White Hunter's poaching of ivory, diamonds, and the slave trade...granted all important subjects, but the treatment is painted in the most black and white terms with the widest of brushstrokes.
The love Tarzan feels for his ape mother is passed on to the movie viewer to be felt, not just seen.The panoramic views of the jungle are even as ERB described them to be.
And FINALLY
a film worthy of the original character of Tarzan from Edgar Rice Burroughs' original novels, with all his power, fearlessness, and without hesitation toward action against insurmountable challenges.See this film expecting to see a fitting representation of real heroism driven by love, dedication, and absolute resolve.
Maybe the trailers for this film big'd it up too much , but 10 min's in I had to check that I am watching the right movie and not some spoof , or maybe a TV low budget Tarzan with cheep effects cheep actors and even cheep'er writers ...
The flash backs are random and pointless, there's no real set up or relationship with any of the characters, the story line predictable Samuel Jackson thought it was a comedy Tarzan and Jane thought it was the next transformers.
The iconic character created by Edgar Rice Burroughs in 1912 is brought back to the silver screen in this epic drama, skillfully mixing both traditional and new cinematic techniques.Both wild and romantic at the same time, it tells a struggle for life and freedom, for dignity and liberty.Last but not least, it is not often that we are offered such an accurate portrayal of the ravages of imperialism and colonialism conducted by the Western power elites on the African continent in the XIXth century.A movie with a Heart and a Soul.
Although Robbie is very good as Jane, she doesn't get a whole lot to do as she's tied up by the villainous Leon Rom (Christoph Waltz) for half the film.
I think that's the best way to describe most of the film, average.I appreciate the filmmakers approach in taking the Tarzan story in a different direction in having it be about his return home and to his animalistic ways.
The movie was not packed, about a 1/3 full, probably expected for an early screening, mostly older people, but some teenagers and some smaller children as well.The movie, all though not perfect was about as close as I could have hoped for in portraying this character, and instilling the sense of wonder and excitement on the big screen, that we all sensed growing up reading the novels and the comics.Yeah, some liberties were taken, some settings and time frames are not exactly as Burroughs wrote them, but that is expected somewhat in a movie that needs to appeal to a broader audience.
The main thing, the most important thing, is it was obvious the Director, Producers writers and actors all were familiar with the ERB works enough to want to get this right, in respect to ERB, and all the fans who yearn for a really good Tarzan movie!
The movie does not start out quickly as far as action, and that is OK, because we are learning about the relationship between Tarzan and Jane, and why they are living in London, and not their birthplace Africa.
Burroughs understood the need for romance to play a large part in his novels, and that is an aspect of this film that will be appreciated, and hopefully draw in a larger audience.One of the most touching, and tender moments, is Lord Greystoke and Jane, in their quite moment in a tree on their London estate, just prior to returning to Africa.Tarzan, is played almost perfectly by Skarsgard, quiet, reserved, intelligent, fierce, majestic, yet slightly vulnerable in his affection and devotion to his mate.
The scene in the coach, just after John is swayed by Williams to return, where John "chuffs" in anger upon hearing what is happening in his beloved Africa, was subtle, but moving.Christopher Waltz, as Rom played the perfect bad guy (as usual) his relatively small physical presence belied a well honed dangerous ability with his small makeshift lasso, which he used to good effect.We see in this film a gradual return to the greatness, the strength and prowess that we expect from Tarzan.
Moreover, the level of violence is simply too much for small children to watch.Here is the bottom line: This is not a good family movie, but rather an action one with plenty of special effects that many will still enjoy..
The book was a Penny Dreadful that was fun as heck, silly as all get out, and pretty skewed from reality (Tarzan teaches himself to read from a book he found in his dead parents tree house and he can do that because he's of Nobel birth) LOLThis new version of Tarzan not only tries to make it as realistic as it can be in the circumstances (it is a super hero jungle guy), it also incorporates history of the time (turn of the 19th Century) by having the villains be the Belgians in the Congo.
The Legend of Tarzan takes the legend and makes it a better story.The stars of the movie are all fantastic in their roles.
Christoph Waltz was very villainy and believable.Thank you to all the people who made this movie, for thinking we needed yet another Tarzan.
In short, the one - star review is basically for the appearance of Margot Robbie's face, even if she is billed FIFTH on IMDb behind five male actors, three of whom are playing the same character.As for the film itself, Christoph Waltz is in it .
. and Sam Jackson's in it cause it's a movie.Djimon Hounsou does an admirable job, acting as if his role isn't completely beneath him and for a film that seems to admire the environment so much, the fact that there are no real animals in it, being worn as some kind of badge of honor in the p.r drive, speaks volumes about the overall quality of the production.I could arguably give the film two stars because of Sam Jackson's presence but that's just not enough to qualify this plot less, pointless, piece of boring nonsense as anything other than a complete waste of billions of dollars and anybody's viewing time.So obviously expect the sequel sometime in the next .
More importantly, The Legend of Tarzan is a terrific, engaging story, with great characters and pacing and plenty of action, but not so much that it seems like overkill.
Yates and company have done a superb job of crafting a good old-fashioned adventure, retaining the look and feel of the Africa of a century ago, and combining it with a plot and theme that is relevant today, aided greatly by the addition of real life character George Washington Williams.
As others have mentioned, the way they are filmed leaves a bit to be desired.This is the best Tarzan movie ever, and it is hard to see how anyone could do a better one.
If you are a Tarzan fan, an Edgar Rice Burroughs fan, or just love a great adventure movie, this is for you..
"The Legend of Tarzan" effectively updates a classic character, puts him in a compelling historical context and gives us a fresh story with quality acting and visuals..
There's a distinctly modern sensibility to the script (and you won't finish this movie with a very positive impression of western governments of the late 19th century), but Brewer and Kozad remain true to the spirit of the original character and incorporate aspects of a couple different Tarzan books along the way.
Waltz has carved out a nice Hollywood career playing immoral or morally ambiguous characters and gives us another great one here – perhaps his most despicable yet."The Legend of Tarzan" effectively updates a classic character, puts him in a compelling historical context and establishes who he is while giving us a fresh story with quality acting and visuals.
In The Legend of Tarzan, Alexander Skarsgård plays the character much like I imagined him when I read the books.
They were each good, but every time they appeared on the screen, I never really saw the characters they were playing, I saw the actors.Overall, I liked the movie.
It tells the origin of Tarzan, a boy lost in the jungle and raised by apes to become a ghost like figure, but this film more focus on the life after Tarzan left the jungle and joined civilization were his legend became the stories that Edgar Rice Burroughs wrote about.Samuel L Jackson plays a doctor who needs Tarzan's help when Tarzan gets an invitation to come back to the Congo, the doctor needs to come with him to find out if slavery is being practice there, but it turns out the invitation was a trap laid out by the the villain, Rom, played by the brilliant Christoph Waltz in his element, to deliver Tarzan to an old enemy, also played brilliantly Djimon Hounsou.Jackson's role in this keeps it from being some white dude who saves Africa from other white dudes.
At first it seem they tried too hard to to make Jane not just the chick Tarzan saved, but as the movie went on and her character developed , she went on a small adventure herself that was as exciting as Tarzan.It's an action packed adventure through the Congo.
In this movie featuring real people playing the roles everything that could've gone wrong did, we almost walked out as it was so bad.The Legend of Tarzan (2016) was the let down of films this year and had so much potential; though not one part of it was attempted to make it an entertaining film; it was more like paying to be laughed at for spending the money.
Margot Robbie is the new Jane, an attempt for more spunky and powerful female, but she's trapped in usual pretty damsel in distress role, which ironically the movie points out hoping for the opposite effect.Samuel L.
Saddled once again with a clichéd and incredibly one-dimensional noble savage character, with a back-story every bit as simplistic and predictable, Djimon Hounsou tries but lacks the dignity and passion needed, it can be one-note at times.Although it has been said that 'The Legend of Tarzan' looks great, not everything in the visual department comes over completely successfully.
The special effects are variable, most are fantastic like the elephants and the gorillas (different to the gorillas one usually is acquainted with but fits the descriptions of the gorilla species from the source material), some like the lions are mostly well-rendered but are hindered by rushed editing and tighter budget constraints seemingly in busier scenes and others like the ostrich, the buffalos and to a lesser extent the crocodiles are so fake-looking and lack the finesse shown elsewhere that it took me out of the film.Scripting was a huge issue here (Jane getting a lot of the worst of it), aside from the story it was the asset that most brought 'The Legend of Tarzan' down.
It's a reasonable shorthand, depicting the Belgian colonisers as evil and the Africans as noble, and if the film was outrageous fun I would have revelled in such a split, but it isn't and the archetypes bore, the simplistic presentation of Dick Dastardlies (chiefly Christoph Waltz) vs brave warriors (Djimon Hounsou & co) or loving families leaving me wanting for human complication and wondering if this treatment wasn't, you know, a bit racist?
Waltz was a classy good villain ( his rosary pseudo presence was cheap and the supposed to be funny mention of him and his priest relationship, wasn't "no one in the full packed IMAX movie theater laughed") Well, the only positive thing was that my wife liked the romantic connection between Tarzan and Jane.
In short: I would prefer ANY Tarzan movie with Johnny Weissmuller over this flick, the only interesting character plays Christoph Waltz again, but compared to his great roles like in Inglorious Basterds and The Hateful Eight or Unchained even he looks a little "too professional done".
It never managed to feel necessary, it's the first Tarzan movie in years and yet there is nothing that tells us "this is why we needed another Tarzan" there is nothing special about it, nothing you would not see in any other film with this character.As well as that, the CGI is everywhere, making it come across as lazy, the production felt rushed, they should have taken the time to find real landscapes, develop real sets and hire real animals, this would have given the movie a more authentic feel, it clearly relied far too much on green screen and special effects, which did not help in making it any bit more compelling.
So I am going to start this review off by saying I clearly do not remember the Disney animated movie, if I even did see it, because The Legend of Tarzan was not at all what I was expecting.
The plot was so unengaging, and could not decide was it was about, I cared so very Little about what was going on.Riddled with Flashbacks that don't contribute to the story or the characters, the characters will tell you Everything anyway, and i wish they would not, at least I laughed out loud a few times over how bad the dialogue was.And the CGI, don't get me started, was I watching an old Tarzan TV-series from the nighties?
Yes, the plot is not overly original but the film is not being driven by the plot as much as it is the characters and the gradual discovery of who Alexander Skarsgard's Tarzan and Margot Robbie's Jane really are.
This Tarzan movie has better action, drama and humour, it has a good story-line.
I believe that this movie does a good job of keeping the character, & the legend of Tarzan fresh.In this tale of Tarzan, we don't get the wild man version at first.
Count on Christoph Waltz's Leon Rom to mess things up for them and everyone else.Alexander Skarsgård and Margot Robbie are well-cast in their respective roles as Tarzan and Jane.
Thankfully, he's not as abrasive as he's been in some other movies, though the film almost feels like it's more about Tarzan and George than Tarzan and Jane.
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Mononoke-hime
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Note: This synopsis describes the English version of the film. See the Discuss tab for details. Princess Mononoke is a fantasy adventure: the story of an epic struggle between humanity and nature, where nature is represented by ancient, vengeful gods. The story's tangle of competing interests -- cursed monsters, an assortment of ambitious people, a selfless hero, and those vengeful gods -- is remarkable for including no villain.Ashitaka and the DemonThe film opens on a view of a mountainous forest, shrouded in mist. Giant beasts and ancient gods inhabit the forest, says a voiceover, and owe their allegiance to the Great Forest Spirit. While they once lived harmoniously with humans, times have changed. The forest is disappearing and now is the age of gods and demons.A young man named Ashitaka (English: Billy Crudup), Japanese: Yôji Matsuda), a prince of the dwindling Emishi people, rides his red elk, Yakul, up the hillside from his forest village. Along the way, he passes three village girls including Kaya (English: Tara Strong), his younger sister (or, in the Japanese edition, the girl Ashitaka has promised to marry). He tells the girls that the village oracle, Hii-sama (Japanese: Mitsuko Mori), has sensed trouble and is ordering everyone to the village. Kaya tells him the old man Ji-san noticed something from his watchtower, so Ashitaka rides to see him. He climbs the tower, sensing something deep in the forest. He and Ji-san look to the edge of the forest where a massive creature suddenly emerges. Covered in wormy tendrils, the beast moves into the sunlight where it's revealed to be a massive boar changed into a demon: a tatari gami. It breaks through a stone wall and knocks down the tower; Ashitaka manages to jump with Ji-san to a nearby tree.The demon rushes towards the village. When Ashitaka mounts Yakul to pursue it, a villager warns him that the beast is cursed and he must not let it touch him. Ashitaka talks to the demon as it runs, begging it to still its anger and leave the village alone. When it threatens Kaya and the other girls as they run to the village, Ashitaka takes his bow and attacks the demon, shooting it in the eye. The demon wraps its tendrils around Ashitaka's right arm just before he shoots another arrow into the boar's head. As it dies, the tendrils dissolve from its body and from Ashitaka's arm, burning it. Villagers rush up the hill, one of them carrying the elderly oracle Hii-sama. She gives Ashitaka some water to pour over his arm and approaches the dying boar. Bowing, she promises to give it a proper burial and asks the demon to bear them no ill will. It bitterly responds that they will feel its hate and "suffer as I have suffered." Then it dies, quickly decomposing into a bloodied skeleton.That evening, Hii-sama calls the village elders together in her high hut and performs a divination using fortune stones to interpret the day's events. She tells Ashitaka to show his arm to the others. He reveals a large red and black mark left by the demon's tendrils. The oracle tells him that his wound is cursed and that the infection will spread and eventually kill him. However, instead of waiting to die, he can rise to meet his fate.Hii-sama shows Ashitaka a rough iron ball found in the boar's body; she believes it turned the boar god into a demon. Since the boar came from the west, Ashitaka must ride there and discover what calamity has befallen those lands. But if he leaves, he can never return. When anyone leaves the village, the Emishi consider him dead -- their way of protecting the secret of their existence. The village elders complain sadly about the loss of their last prince and how unfair it is that he is banished for having saved them all. One remarks that the gods must be laughing at them because, despite having hidden from the Emperor's shoguns (military generals) for so long, their numbers continue to fall.Ashitaka cuts off his topknot of hair as a sign of his separation from the tribe and leaves. As he rides Yakul out of the village, Kaya approaches him, breaking the taboo of seeing a banished person. She gives him her crystal dagger necklace. Ashitaka thanks her and says he will never forget her before riding off, Kaya staring after him.The Strength of the CurseAshitaka and Yakul travel many miles westward, across plains and mountains. One day, they see smoke in the distance and ride closer. Samurai soldiers engaged in a battle with villagers shoot arrows at Ashitaka; fleeing, he sees another samurai attacking a woman with a long sword. When he draws his bow and orders the samurai to stop, the wound on his right arm throbs visibly and spreads. Ashitaka's arrow flies with such fierce speed that it takes the samurai's sword and lodges it in a tree, with the man's arms still attached. Two samurai on horseback threaten to intercept Ashitaka. He yells at them to let him pass, but when they refuse, he releases another arrow, decapitating one. The other watches Ashitaka flee, convinced he's a demon.Holding his right arm under a small waterfall, Ashitaka notices the mark is growing. In a town, Ashitaka attempts to buy rice with a gold nugget. The seller refuses it at first, saying it isn't money, but a monk named Jigo (English: Billy Bob Thornton, Japanese: Kaoru Kobayashi) remarks that the nugget is pure gold and worth several bags of rice. Ashitaka quickly leaves the growing crowd with his single bag.Jigo follows Ashitaka as he leaves town, commenting that he noticed Ashitaka's fighting skills in the samurai-ravaged town earlier. They see some thugs following them, no doubt after Ashitaka's gold, and Jigo proposes a quick getaway. They camp together later, cooking their rice, and Jigo mentions an ancient people called the Emishi who made bowls and arrows like Ashitaka's and who were rumored to ride red elk, but he hints that he'll keep Ashitaka's secret. Ashitaka tells Jigo about his experience with the boar demon and his quest to discover its origins, and shows Jigo the iron ball. Jigo doesn't think much of Ashitaka's curse. ("You're under a curse? So what? So's the whole damn world.") But he does tell him of a mining town further to the west, surrounded by ancient forests where giant gods still dwell. Jigo also mentions that the emperor has offered a mountain of gold to anyone who can help him live forever. The next morning Ashitaka leaves quietly to continue his journey alone, while Jigo sleeps.Gods and Spirits On a rain-slicked mountainside, a caravan of oxen and men carrying rice to Iron Town moves along a narrow path. Their leader, Lady Eboshi (English: Minnie Driver, Japanese: Yûko Tanaka) keeps watch with her first lieutenant, Gonza (English: John DiMaggio, Japanese: Tsunehiko Kamijô). Suddenly she notices two giant white wolves charging down the muddy slope. A masked girl rides one of them, holding her spear high. Eboshi orders her men to open fire with their ishibiya, or hand cannons. The shots drive off the wolves and one man remarks that they weren't so big. Eboshi responds that they were just pups; "wait till you see their mother."As if on cue, Moro (English: Gillian Anderson, Japanese: Akihiro Miwa) attacks the caravan, sending people and oxen tumbling down the mountain. Moro is more than twice the size of her "pups" and has two tails. The guards use a flame-thrower to set her on fire and Lady Eboshi shoots her in the chest, sending her off the cliff. The surviving men are pleased with themselves, but Eboshi reminds them that it takes more than that to kill a god. She urges the survivors onward and tells them to forget about those who fell.Meanwhile, at the base of the mountain, Ashitaka arrives at a river swollen from the rainfall. He sees bodies floating by and pulls out two injured men, casualties from Lady Eboshi's rice caravan. Ashitaka notices the massive body of Moro on the other side of the river, along with her pups. He watches as the warrior girl, San (English: Akihiro Miwa, Japanese: Yuriko Ishida), tends to the injured wolves, trying to suck the bullet from Moro's wound and spitting out blood. (One of the movie's publicity shots is from this scene; it shows San turning from the wounded wolf with blood on her face.) Moro's growling alerts San to Ashitaka's presence. He introduces himself and asks if they are ancient gods. San tells him to go away before disappearing into the forest with the wolves.A scream brings Ashitaka back to where he left the injured men. One of them, Kouroku the ox-driver (English: John DeMita, Japanese: Masahiko Nishimura), has woken up and is trying to get away from a small white spirit with a bobbing head. Kouroku doesn't get far because his right arm and leg are broken. Ashitaka calms him and tells him that it's a kodoma, a tree spirit, and it -- and the others that begin to appear -- are a sign that the forest is healthy. However, Kouroku tells him that the creature will bring its master, a large forest spirit. Ashitaka talks to the kodama in a friendly way, asking for guidance and safe passage through the forest. Kouroku is convinced they will be led astray. Ashitaka is worried about the other wounded man, one of Eboshi's gunners, and wants to take him home to Iron Town by the most direct route, which lies through the forest. As they follow the original kodama, Ashitaka carrying the gunner while Kouroku rides Yakul, more kodamas join them.They come to a beautiful, mysterious, mossy part of the wood where large trees grow among pools of clear water. This is the domain of the Forest Spirit, though they don't know that yet. Ashitaka sees the footprints of San and the wolves. He sets the gunner down to fetch some water and notices the tracks of a three-toed animal he doesn't recognize. He scans the area and spots a herd of deer followed closely by one with many antlers. It stops and Ashitaka's arm suddenly throbs and moves on its own. He struggles to subdue it but only regains control when the mysterious deer vanishes. After the incident, Ashitaka notices the gunner he's carrying seems a bit lighter. Kouroku's arm stops hurting and he raises it in the air proclaiming that it's healed, but quickly realizes it's still quite broken.Iron Town They emerge from the forest where they can see the Iron Town, Tatara, a large settlement on the other side of a lake. The town is protected by a tall wooden stockade. They are taken across and welcomed by a crowd as Kouroku tells how Ashitaka rescued them. Gonza approaches Ashitaka and demands to know who he is and how he managed to walk through the forest (which is forbidden to most travelers). He is cut short when Kouroku's wife, Toki (English: Jada Pinkett Smith, Japanese: Sumi Shimamoto), runs down and berates Kouroku for getting injured and risking his livelihood. She takes a moment to thank Ashitaka before criticizing Gonza for not taking better care of his men. Lady Eboshi appears above and also thanks Ashitaka. She invites him to come see her later on.Ashitaka eats with the men of Iron Town. Some of the women stop by and invite him to see where they work. They heckle the men before leaving, giggling to themselves. The women are former prostitutes, the men explain; Lady Eboshi freed them by buying their contracts from their brothels. While they're hard workers, they hardly make acceptable wives. However, since Eboshi came to Iron Town, things have changed for the better and she fears no one, not even the gods. They tell of Nago, the boar god who once ruled the forest surrounding Iron Town. He became enraged when the men cut trees down to get at the ore beneath the ground and often attacked them with his herd of boars. When Eboshi came with her gunners, she set fire to the forest and shot Nago. Ashitaka's arm swells in anger as he realizes that it was Nago who inflicted his cursed wound, and Lady Eboshi who turned Nago into a demon.Ashitaka finds Lady Eboshi inspecting samples of iron set to go out with the next shipment, Gonza at her side. He removes his sleeve and shows Eboshi his cursed wound, the direct result of her actions against Nago, and the iron ball which, he tells her, killed Nago. She doesn't deny responsibility, but asks him what he's doing in Iron Town. He repeats what Hii-sama told him before he left his village: he has "to see with eyes unclouded by hate." Though Eboshi laughs at this, she agrees to show Ashitaka her secrets while Gonza is left in charge, irritable and suspicious of Ashitaka.Eboshi takes Ashitaka to her private garden where a group of leper gunsmiths live in a small house. There, despite being wrapped in bandages, they create new weapons for her including new rifles inspired by Chinese design. Lady Eboshi has asked them to design an ishibiya gun light enough for the women to use. Eboshi shows Ashitaka that the new models, while still too heavy, are perfect for piercing samurai armor and powerful enough to kill gods. Ashitaka objects to this new way of spreading hate but Eboshi maintains the necessity of protecting the fort. However, she apologizes for what happened to Ashitaka. At the mention of the curse, Ashitaka grows angry and his wounded arm springs to life and tries to draw his sword on Lady Eboshi. Only with difficulty can his other arm keep the cursed one in check. The lepers shrink back in fear, though Eboshi remains calm. She asks if his arm would like to kill her and Ashitaka says the hate would not stop there. An elderly leper asks Ashitaka to have mercy on Lady Eboshi because she took pity on the lepers, caring for them and sheltering them when no one else would. He says life is hard, it is cursed, but still people find ways to keep living.Later that night, Ashitaka and Lady Eboshi are on the town's stockade. Lady Eboshi showcases her new rifle's power by shooting at the gods of the ape clan, who she says come out at night to plant trees where the people of Iron Town have cut them down. Eboshi asks Ashitaka to stay at Tatara and help her kill the Forest Spirit. He's horrified, but she says that when the Forest Spirit is dead, all the animal gods will be dumb beasts. The land will be the richest in the world, and Princess Mononoke -- San -- will be human again. (Ashitaka is interested; this is the first time he's heard San called Princess Mononoke, which means vengeful spirit. By this time anything to do with San intrigues him.) Eboshi says San's soul was taken by the wolves and she now lives to kill Eboshi for what she's done to the forest. The blood of the Forest Spirit is said to grant immortality and Lady Eboshi believes it can cure anything, even the lepers -- even Ashitaka's curse.Ashitaka goes to the forge where the women are working the bellows. He offers his help as Toki explains that they work the bellows for days at a time, but it's better than being in the brothels; the men know their place and the women can eat all they want.San Attacks San, with her two wolf brothers, is on the mountain looking down at Iron Town. She dons her war mask and they run down the hillside. With astonishing agility and strength, San makes it over the stockade wall and races across the rooftops, dodging shots fired at her. Ashitaka senses her presence and runs to meet her. Though she attacks him, he tries to explain that he's not her enemy. He follows her up onto the roof of the huge building that houses the forge. Lady Eboshi, backed by riflemen and by two women wielding the new guns, calls to San to come down. She says the two women with her want retribution for husbands killed by the wolves. Ashitaka tries to tell San to stop before running into a trap, but she ignores him and charges down the roof. A blast at her feet sends her tumbling to the ground where Eboshi's women fire shots at her. One blows her mask off and renders her unconscious.While she's down Ashitaka holds off Gonza and a group of men by pulling a beam off the roof and throwing it at them. (His curse lends him superhuman strength.) As soon as she recovers, San pushes Ashitaka away and runs off to fight Lady Eboshi. Ashitaka follows San, the curse showing as ghostly tendrils around his right arm. When Gonza tries to stop him, Ashitaka bends Gonza's sword blade into a circle.San, with a knife, and Lady Eboshi, with a sword, are fighting in a circle of armed townspeople who are cheering for Eboshi. Ashitaka breaks into the circle and separates them. He holds up his right arm, covered in the writhing, snaky tendrils that show the curse is at work."This is what hatred looks like," he tells the onlookers. "It's eating me alive, and soon it will kill me. Fear and anger only make it grow faster."But nobody's ready to hear his anti-hate speech. San is struggling to break his grip and Lady Eboshi, quipping that she'll cure him by removing his arm, swings at him with her sword. Ashitaka knocks them both out to stop them from fighting him and each other. He hands Lady Eboshi to her people and says he's taking San away. The townspeople aren't happy about this; one of the women, upset at his treatment of Lady Eboshi, shoots Ashitaka as he carries San. (Although the woman is angry, it's not clear that she meant to shoot him.) The ball passes through his body and he bleeds, but the curse has made him so strong -- for the moment -- that he keeps walking. When the guards won't open the town's huge gate, saying it takes ten men to lift it, he opens it himself despite bleeding profusely. San's wolf brothers are waiting just outside. Ashitaka tells them he's bringing San out to them, and he leaves Iron Town with San and Yakul.Yakul carries Ashitaka and the unconscious San on the mountainside. As before, San flails and struggles the moment she comes to, before she knows where she is. She knocks Ashitaka to the ground. He lies there, not moving; the strength that comes from the curse has ebbed, and he's wounded and very weak. The wolves threaten him but San calls them off, then threatens to kill him herself -- and draws his own sword for the purpose. She demands to know why Ashitaka stopped her from killing Lady Eboshi. He's barely conscious, but tries to say he wanted to save her life. Then he says she's beautiful, which shocks her. She's interrupted by the ape clan, who also want to kill Ashitaka. They believe that if they eat him, they'll gain his strength. The wolves threaten the apes, but San tries to calm and conciliate them until her wolf brothers chase them away. She convinces the wolves to leave her alone with Ashitaka and places him on Yakul, whose trust she gains.In the Domain of the Forest Spirit With Yakul's help, San takes the unconscious Ashitaka to the heart of the Forest Spirit's domain, where they cross the lake to an island. The island is the forest's holy of holies, and Yakul will not at first set foot on it. San tells him he's wise not to. She leaves Ashitaka lying half in the water with his head pillowed on the soft moss of the island, sticking a small tree she cut earlier into the ground at his head. She removes Yakul's harness, telling him he's free, before swimming away. The little kodamas (tree spirits) watch the humans, then turn their attention to the horizon as a huge figure comes into view: the Night Walker, the Forest Spirit's two-legged nighttime form. They greet it with a clattering noise they make by rotating their heads. The Night Walker lowers itself into the clearing where Ashitaka lies.On a mountainside some way off, Jigo sees the Night Walker too. He points it out to one of the hunters who are assisting him -- they're all wearing bear skins -- but the hunter says it's a sin to look at the Night Walker. Jigo watches it shrink down into the trees as it resumes its deer-like daytime shape. On the island, the Forest Spirit walks over to look at Ashitaka. It has wise eyes in a red, mask-like humanoid face. Wherever it steps with its odd three-toed feet, plants grow, flower, and die back. When it comes close to the little tree San put near Ashitaka, the leaves wither and die.As Jigo and his hunters climb down the mountain, they see hundreds of boars coming up. These boars aren't native to this area; they must have traveled a great distance to get to this forest. Their leader is a giant white boar god, Lord Okkoto (English: Keith David, Japanese: Hisaya Morishige). Jigo and the hunters run when Okkoto lets out a roar and they realize he is aware of them.Ashitaka is under water. When the Forest Spirit touches the gunshot wound in his chest, it stops bleeding. He wakes up on the island and finds the gunshot wound is gone -- but Nago's cursed mark remains on his right arm.San comes back. Ashitaka is surprised to hear her call Yakul by name. She says that Yakul told her his name, and a bit about Ashitaka. She says she'll help him because the Forest Spirit spared his life. San offers Ashitaka meat jerky, but he's too weak to chew it. San chews for him and passes the food from her mouth to his. The act brings tears to Ashitaka's eyes.Moro arrives with San's brothers, then Okkoto with his herd of boars. They say they've come to kill humans and save the forest. San, protecting Ashitaka, says that the Forest Spirit healed him. The boars are angry -- why would the Forest Spirit heal a human when it didn't bother to heal Nago? Moro says that she's wounded as Nago was and she's dying. Ashitaka confesses that he killed Nago and shows his cursed wound. Lord Okkoto comes forward and sniffs at Ashitaka and San. San realizes that Okkoto is blind. Okkoto thanks Ashitaka for dealing with Nago, but says he'll kill Ashitaka if they meet again. Though they suspect it will be futile, Okkoto and the boars plan to attack the humans (meaning Iron Town). Moro tries to convince Okkoto that they can't defeat the humans, but Okkoto says they'll fight to the last. After the boars leave, San and Ashitaka see the Forest Spirit walking on the water of the lake.A Skirmish A battle rages near Iron Town as Lady Eboshi and the Iron Towners fight Lord Asano and his samurai. Asano wishes to control the ore-rich lands but his men are decimated by Eboshi's gunfire. As Eboshi returns to Iron Town, she meets Jigo, who sends his riflemen to hide. Lady Eboshi tells Jigo that Lord Asano has offered to back off if she gives him half her iron. As they reach Iron Town's main gate, a messenger from Asano asks to speak to Eboshi. The women at the gate refuse and taunt him:"You want some of our iron? Here you go!" They shoot at the messenger, who flees.Jigo laughs at the women's bravado before introducing an interesting note to Eboshi. Sent from the Mikado (the emperor) himself, it requests the head of the Forest Spirit and offers a large reward. The emperor believes that the head will give him immortal life and Jigo is keen to collect the reward with Eboshi's help. If she won't cooperate he threatens to withdraw his riflemen, who are helping to hold off Lord Asano. Lady Eboshi shows the letter to the Iron Town women, who don't think much of it; they don't seem to know who the emperor is. Lady Eboshi tells Jigo that her way is better than Jigo's direct attack: keep chipping away at the forest, year by year, and there will be no loss of life. (She's considering only human lives.) But Lady Eboshi says she'll keep her promise to help Jigo kill the Forest Spirit, and by the way he should tell his riflemen to come out of their hiding place. Jigo laughs.Before she goes, Jigo asks Lady Eboshi whether a young man riding an elk has come to Iron Town."Came, and went," Lady Eboshi replies.She doesn't entirely trust Jigo and his riflemen; she arms the Iron Town women and tells them to stay behind and defend the town -- against Lord Asano, and also against the possibility that Jigo's riflemen will turn on them. She tells them not to trust men.Moro's CaveAshitaka wakes in Moro's cave, high above the trees, and finds San sleeping beside him. He gets up, his arm throbbing, and walks out onto the rock ledge to look down on the forest. Moro, perched on the rocks above him, suggests that he jump to end the pain his wound is causing him. Ashitaka asks what's been happening and Moro tells him that he's been asleep for days. She's sorry he didn't cry out in his sleep because then she would have felt justified in biting his head off to keep him quiet. The boars are on the move, Moro says, and she can feel the pain of the forest as it dies beneath their rampaging feet.Ashitaka asks why the humans and the forest can't live together in peace but Moro laughs, saying such a thing can't happen. She longs for the day when she can kill Eboshi. There will be a battle, she predicts, and San will fight alongside the gods and die with them. When Ashitaka objects, saying that she's human, Moro becomes angry and reveals that she once attacked some humans who invaded the forest. In their terror, the people threw their baby at Moro. The baby was San; Moro kept her and raised her. Though she loves San, Moro understands that San will never fully belong anywhere -- either to the wolves or the humans -- and there's nothing Moro or Ashitaka can do about that. Moro tells Ashitaka to leave her cave by dawn; if he comes back she'll kill him.When Ashitaka wakes up again in the cave, it's broad daylight and San and Moro are gone. Ashitaka gathers his things, finding supplies neatly left for him. Still very weak, he stumbles down to Yakul. One of the wolf brothers escorts him out of the forest and on to a path to Iron Town. Ashitaka throws Kaya's crystal dagger necklace to the wolf, asking him to give it to San.A Battle San rides her wolf brother to meet Moro on a mountainside overlooking Iron Town. In the fields around the town, Lady Eboshi's people have built stinking fires that block the animals' sense of smell. They cut down trees to anger the boars, hoping to lure them into a trap. Moro can see it, but observes that Okkoto is too stubborn to change his tactics. San says she's going to help Okkoto; she feels that with neither eyes nor sense of smell to depend on, Lord Okkoto needs her more than Moro does. Moro tells San that she can go away with Ashitaka if she wants -- "that boy wanted to share his life with you." San replies bitterly that she hates humans. But when her second brother arrives and gives her Ashitaka's necklace, she seems touched at this gift. San puts it around her neck as she says goodbye to Moro, who will go and wait for the Forest Spirit. San and the young wolves go off together to join the boars, who are running headlong into battle. When they catch up with Okkoto, he won't listen to San's warning about the humans' scheme to enrage and trap the boars. They run into battle together.As Ashitaka rides towards Iron town, dejected, he hears the explosions set off by the rampaging boars. From a distance, he sees the traps exploding around the town; the battle has begun. However, closer gunfire draws his attention. As he nears the town, some samurai try to stop him. Yakul leaps over one, jumps into the lake, and swims for Iron Town as Ashitaka deflects the samurais' arrows with his sword. They find Iron Town under siege by Lord Asano's men. From the top of the stockade, Toki and the other women tell Ashitaka that Lady Eboshi and the men went after the Forest Spirit; Asano waited till they were gone to attack. Only the women and the lepers are left to defend Iron Town, and they're having some trouble. They ask Ashitaka to carry word of their plight to Lady Eboshi and bring her back. Kouroku returns Ashitaka's bow and arrows.Ashitaka rides off, pursued by samurai on horseback. As he nears the mountain, which is smoking from the remains of the battle, a samurai shoots an arrow into Yakul's haunch. His anger and his wound increasing, Ashitaka stops to fight. His arrows take the arm off one samurai and decapitate another. He snatches one of the samurais' arrows out of the air. The remaining samurai rides off. Ashitaka pulls the arrow out of Yakul's wound and tries to leave him behind, saying he'll come back for him later, but Yakul limps along behind him.They reach the part of the battlefield where Lady Eboshi's men and a few of Jigo's mercenaries are burying their dead. The fighting here was very fierce; many human bodies -- mostly Iron Towners -- are laid out awaiting burial, and dead boars are piled everywhere. They don't see San among the dead. Ashitaka tells the men that Iron Town is being attacked and he needs to deliver a message to Eboshi. One of the mercenaries challenges Ashitaka and demands to hear his message. Ashitaka says he needs to deliver it in person and is told she went into the forest.Eboshi's men explain that a trap had been laid for the boars, but the men did not realize they were meant as live bait. The mercenaries planted land mines and didn't tell the Iron Town men where they were. Consequently many of the Iron Towners were blown up along with the boars, who were slaughtered in great numbers. One of the men says he saw San, but he doesn't know what happened to her.Ashitaka tells the men that Iron Town needs help. The men of Iron Town become angry when the mercenaries tell them they can't leave to protect their home. Ashitaka notices one of San's wolf brothers trying to wriggle out from under the boar corpses. He helps, but isn't strong enough to free the wolf. A mercenary objects, and Ashitaka says he needs the wolf to guide him to the forest where Lady Eboshi is. The mercenary responds by shooting darts at Ashitaka, which is the last straw for the Iron Town men -- they knock the mercenary out with a shovel. Then they help Ashitaka free the wolf. Ashitaka leaves Yakul in the care of the men and goes with the wolf to find San and Lady Eboshi.An Ambush In the forest, a hunter reports to Jigo and Lady Eboshi that Lord Okkoto is badly wounded and heading for the domain of the Forest Spirit; San is with him.San walks with Okkoto and her wolf brother. Okkoto is bleeding heavily and losing strength. He stops as a clan of ape gods appear in the trees overhead, throwing sticks and claiming that San's actions have brought terrible things into the forest: "Bad things coming -- neither human or animal."San is unable to smell anything over the blood and can only watch as small animals run from the oncoming threat. A boar appears behind them, followed by many others, but they slither across the ground unnaturally. San realizes they're humans wearing boar skins. (In fact they're Jigo's hunters wearing the skins of their defeated foes.) Okkoto believes them to be his warriors returned from the dead. Renewed but delirious, he walks towards the domain of the Forest Spirit.San fears that Okkoto is becoming a demon; like Nago before him, he's defeated, mortally wounded, and filled with fear and hate. She sends her wolf brother to tell Moro what's happening but stays with Okkoto herself, hoping to avert his change into a demon. But there's nothing she can do. San begs him to stop, but Okkoto ignores her and soon his anger and fear begin to bubble out of him in bloody tendrils as he transforms into a demon.As she fends off the ghost boars, San hears one of her wolf brothers howling a message: Ashitaka is looking for her. An answering howl from the other brother tells Ashitaka that San is in danger. Which is more true than they know -- San is knocked out by a hunter's slingshot and sucked into the tendrils covering Okkoto. Demon-Okkoto resumes his rush toward the heart of the forest.Ashitaka mounts the wolf to move faster and soon comes upon Lady Eboshi. He dismounts to tell Eboshi to halt her death march and return to help Iron Town. But Lady Eboshi, intent on finding and killing the Forest Spirit, only says the women can take care of themselves. Eboshi tells the company to keep moving. Jigo is confused as to whose side Ashitaka is on. Behind Lady Eboshi's back, some of Jigo's men wonder if they can do without her, but Jigo says killing gods is dangerous business -- he's happy to let her do it.Meanwhile, Ashitaka has rushed ahead and reached the Forest Spirit's pool, where he finds Moro, who is dying. Demon-Okkoto arrives, still followed by the hunters in boar skins. San calls to Ashitaka and he can see her struggling inside the demon. She is growing demon-tendrils herself. He asks Okkoto to give up San; the hunters interfere. Ashitaka leaps onto Okkoto's snout and tries to dig San out of Okkoto's body while the wolf brothers fight off the hunters. Ashitaka is thrown off by the demon. He hits Moro, waking her up, and lands in the water, stunned. Moro, who was saving the last of her strength to fight Lady Eboshi, rouses herself to confront the demon and drags San out of the mass of tendrils.As Moro frees San, the Forest Spirit approaches in its deer form, walking across the water. Jigo and Lady Eboshi can see it from their hiding place. Quelled by its appearance, Okkoto backs away and the tendrils begin to melt. Ashitaka wakes in the water to the sound of Moro's voice asking him to save San. He comes to the surface and sees Lady Eboshi shoot the Forest Spirit, though he cries out to her to stop. The Forest Spirit stops and sinks a bit when it's hit, then recovers and keeps walking toward the island. Ashitaka takes San from Moro and returns to the water to wash the demon tendrils from her. On the island, the Forest Spirit heals Okkoto but allows him to die. Moro too falls to the ground and seems to die. Eboshi and the mercenaries watch the Forest Spirit from a distance, and Eboshi comments that life and death are his to take or give.The Forest Spirit starts to change from its daytime deer form into the Night Walker."Watch closely, everyone. I'm going to show you how to kill a god," says Lady Eboshi. "The trick is not to fear him."Seeing her take aim, Ashitaka throws his sword and hits her ishibiya, which only distracts her for a moment. The Forest Spirit looks at Lady Eboshi and plants sprout from the wooden parts of her gun, but this doesn't stop her either. She fires and hits the half-transformed Forest Spirit in the neck; the head falls to the ground. Horrible black goo spouts from the neck, killing whatever it falls on. Dead kodamas fall from the trees all around. Lady Eboshi grabs the severed head and gives it to Jigo. Porters come up carrying a round metal box. Jigo puts the head in the box and they run off.Human HandsMoro's head, apparently detached from her body by the black ooze, bites off Lady Eboshi's arm and disappears into the ooze. (This was foreshadowed during San's attack on Iron Town when San was knocked out and Lady Eboshi warned her people that even a decapitated wolf's head still has the power to bite.) Ashitaka swims to Lady Eboshi and pulls her into the water, telling Gonza, who is with her, to come too to escape the ooze. When Gonza complains that he can't swim, Ashitaka tells him to walk on the bottom of the pool, which isn't very deep. They go to the sacred island, where San is waiting with her wolf brothers. San wants to kill Lady Eboshi and is angry with Ashitaka for helping her. She's in despair and is sure that nothing can save the forest, but Ashitaka asks her to help him try.The Night Walker is prowling the forest in search of its head, spreading black ooze and destruction with every step. It grows tentacles from its neck and sends them down into the forest, knocking down trees and tossing them around. Jigo and his men are running away with the head as fast as they can go, but the Night Walker seems to sense where they're going and has a couple of near misses as it gropes for them.In Iron Town, it's quiet. The women are guarding the walls and keeping an eye on Lord Asano's camp while one of the leper gunsmiths fixes Toki's ishibiya. Looking up at the mountain, they see the headless Night Walker and its tide of black, killing ooze coming over the ridge toward the town. It destroys Lord Asano's encampments and keeps coming. Ashitaka, San, and her wolf brothers arrive. Ashitaka tells the women and the lepers to get in the lake to escape the ooze. Urged on by Toki, most of the people manage to get away before the ooze overruns the town. Standing in the lwater, they watch their forge catch fire and burn.San, Ashitaka, and the wolves go after Jigo and the head. When they catch Jigo, Ashitaka demands that the head be returned to the Night Walker. Jigo pleads to keep it. When the sun rises, he says, the Night Walker will disappear. Then he attacks Ashitaka, telling the three porters carrying the head to run. San goes after them. The porters go uphill, but the black ooze heads them off. They give up and run away, leaving the head behind in its box. Jigo grabs the box and tumbles down the slope with it, fetching up on a large rock with San and Ashitaka, surrounded by a rising tide of deadly ooze. Jigo is finally convinced that there's nothing more he can do; he opens the box. Saying "human hands must return it," Ashitaka takes the head and he and San hold it high in the air. Ashitaka calls for the Night Walker to reclaim his head and be at peace. The Night Walker's neck grows down to meet the head and the Forest Spirit is made whole again.On the lake, the Iron Town refugees watch the Night Walker straighten up with its head back in place and resume its usual appearance of starry transparency. Rafts approach carrying Lady Eboshi, Gonza, and the rest of the Iron Town men; the two groups are happily reunited.The Night Walker stands to face the sun, but when the sunrise touches it, it collapses and falls on Iron Town, disintegrating. A strong wind blows the burning remains of Iron Town away into the hills. Slowly, the bare, dead hillsides around the lake -- even the ruins of Iron Town -- begin to turn green again with sprouting plants. Kouroku looks on in amazement and the lepers look down at themselves to find they've healed.Yakul, who arrived on the rafts with the men, finds San and Ashitaka asleep in the grass. Nearby is the rock where they were marooned in the black ooze. San's wolf brothers and the metal box are still there. Yakul wakes Ashitaka, who wakes San. San says that the Forest Spirit is dead; Ashitaka replies that the Forest Spirit is life and death itself and cannot die. Ashitaka notices that his wound is healed -- the marks of the curse on his right hand and arm are mostly gone; only faint pink traces remain.San says she cares for Ashitaka but can't stay with him because she can't forgive the humans for what they did. Ashitaka says "you'll live in the forest, and I'll help them rebuild Iron Town." He promises to visit her in the forest. Riding one of the wolves, San departs.Lady Eboshi, recovering from the loss of her arm, is optimistic. Sitting with her women and Gonza, she promises to start anew and build a better town. She sends for Ashitaka to thank him.Jigo, perched on the rocks high above with his one remaining porter, laughs to himself. He says, "Well, I give up. You can't win against fools."Around the dead trees near the Forest Spirit's pool, new trees are growing. Among them walks a little white kodama, rattling its head.
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dark, fantasy, dramatic, cult, violence, atmospheric, psychedelic, action, tragedy, romantic, historical
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There are at least half a dozen well developed characters threaded through the story, and their animation is wonderful in displaying subtle character.The original Japanese soundtrack has some amazing singing and draws upon some of the best talent available for voices - in Japan, Miyazake is universally known and this was a masterpiece carefully crafted.
Even Lady Eboshi the most antagonist character in the movie had a reasonable motive for trying to get rid of the animal gods and cutting down the forest.
Perhaps the portrayal of this message (and the tiny hint of San and Ashitaka's romance and Moro's views on nature) was what made the film so touching to me.Like many Miyazaki movies, the animation (as always) is wonderful and nicely detailed which is also another quality that genuine Disney films lack (thank goodness for Studio Ghibli).
It is Miyazaki most visually intense (surpassing, at long last, Nausicaa) and is alive with color and movement the like not yet seen in anime.The story is complex, and after talking with Japanese friends, it is clear that much of it went over my head (particularly that relating to specific Japanese myths), but the important elements came through.
Upon watching Princess Mononoke, I must say I first thought it would be very difficult to look past the animation style and see it for what it was- a dynamic film directed be the highly acclaimed Hayao Miyazaki.
From the very beginning, it was clear that the Japanese director had a fantastic flair for animated film, and the uncanny ability to engross his audiences beyond the normal movie-experience that makes him the King of Escapism.
Over ten years later, it seems that Miyazaki is still just as good, if not better, as he invites the world into his latest visionary fantasy, the cult classic "Princess Mononoke".The film is set in Japan, during the Muromachi Era, and begins in the quiet peaceful township of the Emishi tribe, when young Prince Ashitaka (Yôji Matsuda), the last of the Emishi royalty, is wounded slaying a demon in an unexpected attack.
What he finds is a war being waged between the villagers of Iron town, an industrious Iron-works fort led by the ruthless Lady Eboshi (Yûko Tanaka), and the beasts of the forest, represented by the beautiful Princess Mononoke (Yuriko Ishida), a human girl raised by wolves, with whom the cursed prince falls in love.
Soon Ashitaka's efforts to make peace are put to the test by each side's bid for allegiance."Princess Mononoke" is a fantastic work of art on many fronts, and arguably Miyazaki's best film to date.
More to the point, there's a proper story, well-conceived and well told, there's a memorable, beautiful and violent world, credible characters and a good deal of charm.The animation is mostly very fluent and careful, though not flashy in the way we're getting used to in this CG age.
But there is occasional jerkiness, though not enough to detract seriously, and perhaps it wouldn't trouble audiences whose frame of reference isn't so western as mine - I'm not sure.Talking of the western and eastern sensibilities, the Region 2 DVD which I'm reviewing gives you a choice of English and Japanese dialogue, and though I watched the American dub first, I'd generally prefer the Japanese version, for the key roles of Ashitaka and San. Billy Crudup is appealing but too low-key, and Clare Danes strikes me as badly miscast: she sounds a bit too old, and altogether too urban to bring out the core of wildness or the steely sense of loyalty to her world.
The plot was at first a bit confusing, this is a movie that you have to watch more than twice: Its hard to get at first.With beautiful backgrounds, carefully chosen seiyuus, Mononkoe Hime entertains both adults and kids.The first time I watched Princess Mononoke, I was a bit confused about the characters.
However, in seeking the domain of the gods he walks into the middle of a three-way battle between the samurai, who want Iron Town's iron deposits; Lady Eboshi who rules Iron Town and is stripping the forest of it's trees to mine it out; and finally the animals and spirits of the forest who must defend their homes, fighting for them is the human Mononoke, a young woman raised by the wolves.It is hard to top Spirited Away, and it is maybe unfair of me to come to this film after I had seen that.
And many scenes that have more of that samurai-movie quality to them (again, Kurosawa) are extremely well-done on their own as then they become mixed around again with the fantasy elements.To say that the film is really a 'family' film might be not entirely accurate, as some of the battle and attack footage is pretty graphic in its own ways, if not as much as other more adult anime like Fist of the North Star or Ninja Scroll.
Up until a certain point i regarded spirited away as Miyazaki's masterwork and my favorite of his filmography; Spirited Away is still his best and Miyazaki at his peak, but Princess Mononoke has resonated with me like a film never has.
My brother loves anime and showed me Spirited Away, Final Fantasy, and Princess Mononoke.
Miyazaki's Masterpice Princess Mononoke is packed with incredible music, amazing anime, vise dialogs, and an extreeeeemly good story!: Humans against nature and its animals!
Let me tell you, 5 year olds have, with their boundless imagination, no difficulty getting into this.This film is just so good it's hard to believe someone just sat down at a table, wrote the thing and then drew it on a piece of paper.** Addition ** I've recently read the Nausicaa anime, and it becomes even clearer now that Mononoke is Miyazaki's re-take on his Nausicaa film (which was premature even in its full-length format), with Nausicaa split in two over Ashitaka & San. However, though this is obviously Miyazaki's second best (after Laputa), it remains difficult to pour all the complex musings about man's relationship to nature in 2 hours (the Nausicaa manga is over a 1000 pages long and took him 13 years; when it was finished he made Mononoke).
From the opening scene in Ashitaka's village to the forest of the gods, and even the factories of Iron Town, Miyazaki never lets up on creating a wonderful piece of cinematic beauty (He drew over half the frames himself).
Most live action films can't achieve the complexity of Princess Mononoke, and it would have to be even harder for animation to convey real life feelings, but as I watched it, the script and beauty kept drawing me in further and further.The voice acting was OK for the US version, and outstanding for the Japanese version.
In particular you get a good look at the main character Ashitaka(voiced by Billy Crudup) as he tries to stop a conflict between San(voiced by Claire Danes) ,a girl raised by wolves, who is helping lead the wolves and other Forrest creatures up against Lady Eboshi(voiced by Minnie Driver) the Head of a village who are gradually destroying the Forrest for the resources the land has.Compared to other films Princess Mononoke should rank among the best animated films as it have a level of grandness that could only be matched by films like The Lord of the rings.
It was such a revelation for me to see my first Studio Ghibli film (Spirited Away) and when I watched more of Miyazaki's masterpieces, most notably Mononoke-Hime, I realised what animation can and should be.
Princess Mononoke is one of the best animated movies I have seen in a long time, and is up there with Studio Ghibli's best along with Spirited Away.
Princess Mononoke, like Miyazaki's other works, is not a vehicle for shameless fan-service, nor does it rely on the tired and implausible concept of mecha as its selling point, unlike so much anime I have seen.
Instead, it deals with the age-old tension between human attempts to shape the environment for its own ends and the life-and-death power of nature.Despite its clear point, Princess Mononoke does not stray into obvious lines of good and evil or try to drop the message on the viewer like an anvil.
This is a great anime and the first movie i ever saw from Hayao Miyazaki, i loved this movie and did not know he made it until later.After this movie i watched a lot of his movies like spirited away and castle in the sky, his films are some of the best anime movies out there and this one is one of his best.It is very original, but i love thus movie for it's great fight scenes and wonderful creatures and characters.The story is wonderful and the animation is just about perfect, with great voice overs that i just loved.This is a rare anime that i think any anime fan shouldn't miss out on, with many great things this anime is a classic..
Because Hayao Miyazaki's Princess Mononoke isn't just one of the strongest feature films put out by the artistic filmmaker or Studio Ghibli as a whole but is a landmark in the world of animation whose quality story, thematic elements & breathtaking on-screen execution makes regular animated flicks look like the works of amateurs.A period drama infused with elements of fantasy & set in early centuries of Japan, Princess Mononoke tells the tale of Ashitaka; a young prince who after saving his village from a rampaging boar-god/demon is stricken by a deadly curse & journeys to the forest of the West looking for an answer, only to find himself involved in the struggle between the supernatural guardians of the forest & the humans who are consuming its resources.The title refers to a young girl who was raised by the wolf-goddess & has a strong hatred for mankind.
The 2D animation is absolutely dazzling, the supernatural creatures as well as forests are vividly imagined, the voice actors have done a fab job & music elegantly moves its story forward.The main theme this film deals with is the effects of industrialization on nature, deforestation & how it affects the species who've inhabited these places long before man's greed laid its eyes on their lands.
On an overall scale, Princess Mononoke is an expertly crafted, deftly envisioned, gorgeously photographed, swiftly paced & masterfully composed work of art & entertainment which transcends the confines of animation with its complex story, strong characterization, adult themes & makes its statement heard rousingly clear.A standard of 2D animation, a treasure of world cinema, and arguably the pinnacle of Studio Ghibli's creativity, Princess Mononoke (Mononoke-hime) is strongly, extremely & one hundred percent recommended to each & every film lover around the world..
Musically, the film is decent but not especially remarkable.In the end, when you consider the whole package (animation, voice acting, storyline, etc...) I think that "Princess Mononoke" makes a strong case for being Miyazaki's best film, though I admit that I haven't seen all of them (yet).
It has heart, it has violence, it has visual beauty, it has internal conflict.What I like the most about Princess Mononoke is beyond all of these wonderfully delivered elements of a great movie.
It's about how astonishingly much more acute and attuned an animal's understanding is of the world's natural order than that of a human's.I think Princess Mononoke, while being a beautifully made action-adventure, it's an important film, especially for Miyazaki's younger fans.
Princess Mononoke is a grand epic about war, human nature, inevitability, resilience, philosophy, and culture.The best description I can come up with is that this film would Japan's version of The Iliad if The Iliad was as sprawling and beautiful as The Lord of the Rings.
She has a nasty hatred for all things human, but she ends up falling in love with Ashitaka, and the two of them put their lives on the line to bring peace and stop man and beast alike from being torn to pieces.Technically, this is an environmental movie, but it's not preachy or one-sided or simplistic or even biased in favor of nature.
The film was fantastic it was like an Adventure set in The Late Muromachi Period also it Follows The Young Emishi Warrior Ashitaka on His Quest to be healed of the Demon that Attack also the film dives into themes such as Nature vs Nuture as well as Industrilzation vs Spiritual akin to Avatar also the characters were so compelling The film was brilliant amazing Musical Score by Joe Hisaishi(Porco Rosso) also Amazing Direction by Hayao Miyazaki(Castle In The Sky) This Film rocks Emotion and The Best Of The Anime Genre and Studio Ghibli 10/10.
Strong characters and dialogue.(all languages voiced excellently, by the way)And an intelligent, emotional story.(yet confusing for some)All together make in my opinion one of the greatest animated films of all time.
It's an important lesson and Princess Mononoke gives us this lesson in a movie with absolutely stunning musical accompaniment, some of the best animation I have ever had the pleasure of seeing, and great voice acting from people you might not recognize right off the bat.I'd recommend to absolutely everyone to see this movie at least once.
Because the film is just that good.Princess Mononoke renews my hope for life every time I see it.
Consequently, nature vs humanity is a strong theme throughout Princess Mononoke, meaning that this is an animated movie with a definite message.
Most of the humans, after all, are from a mining village who rape the earth, while the sympathetic people are Ashitaka, a boy who fights to bring peaceful co-existence between the opposing forces and Princess Mononoke who actively sides with the animal world and lives amongst them.
"Princess Mononoke" is amazing animated film.
Yes, i call it a film, because the story, the characters are so good, that barely can find in movies, not to mention animation.
I mean it's not scary or disgusting it has a gripping effect.The story of love and hate, war and peace, nature and darkness...I saw Spirited Away and Howl's Moving Castle before and I gotta say this is more realistic than both of them.It is true that tribes of intelligent boars,Kodamas(spirits) in the Deer God's forest, apes, and wolves, along with San (the mononoke princess of the title) who was raised by the wolves looks so mythical but one can evaluate the movie as an environment flick rendered in Japanase mythology.It can be viewed by anyone no matter how old one is!.
This movie which is one of Miyazaki's longest and most challenging anime film he's ever done.
Princess Mononoke is the best Studio Ghibli animation I've seen, it's an epic masterpiece that everyone should watch.
Many people seem to have a hard time with the animation style but if you can look past it for 20 minutes you may find a film you'd love..
Now, to the story.Although set in medieval Japan, "Princess Mononoke" ventures between the realms of history and fantasy, in a universe where the spirits of a God-like Nature govern the lives of (precisely) all living creatures: animals, plants and even men, they all coexisted in harmony until the age of deforestation.
To put it simply, "Princess Mononoke" is a great animated film with a great story, can you ask for more?.
The story is so superb and touching, as is every Miyazaki tale in fact, that they all seem so perfect and surreal and you just wish you could jump into the film and live out the experiences with the characters because of how amazing they appear to be.Princess Mononoke gives off unimaginable sensations from tranquility to fear, happiness to pain and I even felt lust for Ashitaka, oh yes I did, haha.
He creates such imaginative and beautiful pieces of work that are bound to please anyone with the right mind for it and Princess Mononoke along with several others from this cinema god are animation and movie milestones that are forces to be reckoned with by any other film creators.
However, despite all this, I just felt very little connection to PRINCESS MONONOKE as the story didn't interest me very much and lacked the charm of other Miyazaki films.
Princess Mononoke is a brilliant movie with a fantastic story,nothing like any movie I've seen before,the animation of the movie is also brilliant and is still today considered one of Hayao Miyazaki's (the Walt Disney of Japan) finest work.I don't know if there is an English version of this movie,but the one I was watching was only subtitled,at first I was considering changing the channel because I didn't think id be interested,but it started off so promising,and I decided the subtitles isn't a very big deal.A hunter is bitten by a demon and is now cursed.He must leave his village and find a cure,and he ends up getting involved in a war between the demons and the gods..
I am truly fond of Miyazakis creation and Princess Mononoke is by far his greatest film.The "ground-breaking motion picture", as it is described in the trailer, is about a young prince, Ashitaka, finding cure to a deadly curse put on him by a giant demon boar.
Somehow i feel that Mononoke has such a great story and that Mr Miyazaki has come up with something absolutely extraordinary.The animation itself is beyond doubt, exceptionally amazing.
The soundtrack too, is great and flows with haunting beauty.I truly believe that Princess Mononoke is the best animated movie of all time, it is just so good.
While fantasy is a genre with limitless potential, there's still nothing like one of Miyazaki's animated fairy tales and "Princess Mononoke" is one his finest.The story follows a young warrior named Ashitaka who gets bitten and cursed by some sort of forest demon.
Don't misunderstood me, "Akira" is a excellent movie, is just that "Mononoke Hime" is a completely different anime, and the style, story and characters made by Miyazaki are quite different of the ones created by Otomo.
Princess Mononoke loves nature and animals, but hates people.
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tt0085750
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Jaws 3-D
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The oldest son from the first two Jaws films, Michael Brody (played by Dennis Quaid) now works for SeaWorld in Florida, which is preparing for the launch of its new "Undersea Kingdom," a set of tunnels where people can "view the wonders of the deep without ever getting wet." The film opens with a great white following a team of waterskiers, among them Kelly (Lea Thompson). Their boat stalls, but then its driver gets it going again before anyone is attacked.Michael Brody is the chief engineer, and lives with his girlfriend, Katherine Morgan (Bess Armstrong), who is senior biologist at the park. Katherine and her assistants, Dan and Liz, wonder why the dolphins are acting so afraid of leaving their pen. As Sean (John Putch), Michael's brother, arrives to visit, he reveals a deep fear about the water caused by the events depicted in Jaws 2. Kelly, after meeting Michael, Sean, and Katherine in a bar, tries to dispel the phobia by playing in the water (mostly) naked at nighttime.Meanwhile, Shelby Overman (Harry Grant), one of the mechanics, dives into the water at dusk to repair the gates. He is attacked by a shark and killed, only leaving a severed arm. They are informed of his disappearance by Charlene, a woman with whom Overman is living. She is quite irate at his failing to return, and fears the worst. The next day, Michael and Katherine go down in a submarine to check the tunnels and find Overman's severed arm. They decide to go into a piece of scenery, the Spanish galleon, although encouraged by Katherine's two dolphins to stay away. They continue the search, leaving the submarine, only to be assaulted by a great white. The dolphins, having sensed trouble from the start and visibly beseeching Katherine to stay in the sub, respond to Katherine's waving hands. They heroically rescue Mike and Katherine by allowing them to ride them back to the safety of their dolphin pen.This information is at first disbelieved by park owner Calvin Bouchard (Louis Gossett, Jr.) , but is quite exciting to his friend, the hunter Phillip FitzRoyce (Simon MacCorkindale). Katherine protests FitzRoyce's intent to kill the creature, so capturing it is the decided course. The baby great white is captured and nursed to partial health by Katherine and Liz. Calvin orders it exhibited as being the first Great White in captivity, but it dies within minutes.Meanwhile, Kelly forces Sean to join her on the bumper boats. But, at the underwater tunnel, a girl is terrified when she sees a hideous corpse, later revealed to be Overman, bob up to a window. Katherine reveals that the bites came from a shark with a mouth a yard across, which is initially ridiculed by FitzRoyce, saying "That would indicate a shark of some 35 ft. in length", which is too big for a normal great white. That means that the shark's mother has also breached the gates of the park, but she can't convince Calvin of this fact until the shark herself shows up at the window of their underwater cafe. The shark exacts her revenge, first by causing a leak that nearly drowns everyone in the underwater tunnel, then turns her attention to everyone on the beach. She fails to capture the waterskiers, but capsizes Sean and Kelly's bumper boat, and Kelly gets a laceration from the shark's coarse skin.FitzRoyce leads the shark into the filtration pipes where the water from the ocean is brought into the lagoon, hoping to trap her inside. However, he drifts right into her mouth after his lifeline rope snapped. He prepares a grenade, but he is crushed to death before he can use it.Unaware of this, Michael has gone down to repair the underwater tunnel so the technicians can restore air pressure and drain the water, with Katherine to watch his back. He welds the repair piece, but, with no pressure in the pipe to restrain her, the shark breaks free of the filtration pipe and attacks Katherine again, but as usual, she is protected by her dolphins. They return to the control room with Calvin and the technicians. But, the shark smashes through the acrylic glass, flooding the room. As everyone tries to escape, Mike notices FitzRoyce's body still inside the shark's mouth, clutching the grenade. Mike uses a pole to pull the grenade's pin, and it explodes, blowing the shark to pieces.Katherine and Mike float up to the surface, explaining that Calvin managed to rescue the female technician, though the shark attacked the male technician and dropped him. Katherine is terrified for her dolphins, until they triumphantly show up in a splash, performing the tricks they refused to do since the movie's beginning.
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prank
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tt0070074
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Frankenstein: The True Story
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Victor Frankenstein (Leonard Whiting) is a newly trained doctor, and engaged to Elizabeth Fanshawe (Nicola Pagett). After Victor's younger brother, William accidentally drowns, Victor renounces his belief in God and declares that he would join forces with the devil if he could learn how to restore his brother to life.
Shortly afterward, Victor leaves the Fanshawe estate in order to engage in further medical training. He meets a scientist named Henry Clerval (David McCallum), who Victor later learns has discovered how to preserve dead matter and restore it to life. As Victor becomes fascinated by Clerval's experiments, Clerval reveals his ultimate plan: to create a new race of physically perfect beings by using corpses and solar energy to reanimate them. Clerval is unable to finish building the apparatus necessary to accomplish this on his own due to a worsening heart condition, but he persuades Frankenstein to help and the lab is soon completed.
Soon news reaches the pair that seven peasant laborers have been killed in a local mining accident. After their burial the doctors quickly dig up the bodies and through surgical alteration stitch together pieces from them, producing a physically perfect dead body. The night before the culmination of their work, Clerval is shocked to discover that a reanimated arm set aside weeks earlier has deteriorated, becoming unsightly and deformed. Horrified and overcome, Clerval suffers a heart attack and, unable to get to his medication in time, dies without completing the record of his discovery in the journal.
The next morning, Victor finds Clerval's body and misreads the incomplete journal entry ("The process is r--") as meaning "the process is ready to begin" rather than the intended meaning of "the process is reversing itself". Since neither of them wanted the perfect body to have the brain of a peasant, Victor transplants Clerval's brain into their creation and he is able to complete the experiment.
Victor soon introduces his creation into high-class London society, passing him off during an opera event as a friend from a far-off country with little grasp of English. Shortly thereafter, Victor discovers the still-living but now repulsive arm in Clerval's laboratory cabinet and realizes that a flaw in the system has caused the reanimation process to reverse itself. He destroys the deformed arm, but soon finds that the same reversal process is also beginning to break down the creature's tissues. Victor desperately searches for a way to correct the problem, but soon realizes that the degeneration is irreversible. The creature (Michael Sarrazin), unaware of his degenerating appearance, does not understand Victor's increasing coldness towards him. After Victor's landlady, Mrs. Blair (Agnes Moorehead), dies from shock soon after seeing the creature, Victor is retreats with him back to the laboratory. He contemplates destroying the sleeping creature with a decanter of strong acid but cannot bring himself to do it. The creature becomes distraught after discovering his deformed appearance and unsuccessfully attempts to commit suicide by stabbing himself in the chest with one of Victor's surgical knives. He then flees the laboratory and jumps into the sea from the White Cliffs of Dover. Victor assumes the creature is dead and realizes that perhaps it is for the best.
The creature has washed up on the beach, still alive and unharmed. He wanders into the countryside, where he befriends an elderly blind peasant (Ralph Richardson). The blind man is eager to introduce his new friend to his granddaughter Agatha (Jane Seymour) and her boyfriend Felix (Dallas Adams), but the creature remains elusive. He observes the family from afar and falls in love with Agatha. When Agatha and Felix return home unexpectedly one morning, they encounter the creature and react in horror. Felix is killed by the monster and Agatha, fleeing in terror, is struck by a carriage and is also killed.
The creature takes Agatha's body back to the laboratory, intent on asking his creator to restore her to life. He arrives to find that Victor has long since left and that the laboratory is now occupied by Dr. Polidori (James Mason), the crippled former mentor of Clerval. Polidori is aware of the creature's origins and devises a plot to use him to force Frankenstein to help him create another creature. In the meantime, Victor has abandoned his experiments and is celebrating his marriage to Elizabeth. He is confronted by Polidori, who blackmails him into returning to the laboratory to assist him with his procedure.
Polidori reveals that it was he who perfected the preservation and reanimation of dead flesh, only to have his secrets stolen by Clerval. He rejects Clerval's use of solar power in favor of his own chemical reanimation process. Victor attaches Agatha's head to a new body and they bring to life a beautiful female creature whom Polidori names Prima. Victor, believing that his association with Polidori and the creature is over, leaves for his honeymoon with Elizabeth.
While Victor and Elizabeth are away, Polidori returns and persuades Elizabeth's family to take Prima in as a houseguest; when the couple return, Victor is forced to accept the situation. It becomes evident that Prima is evil, and Elizabeth begs Victor to send her away. At the laboratory, Victor confronts Polidori, who agrees to leave with Prima as soon as she has become an established member of society. Before they leave the laboratory, Polidori attempts to destroy the creature by having two of his chinese assistants push him into a vat of acid as he sleeps, but Victor stops them by waking the creature. The enraged creature throws one of the assistants into the acid bath as all of the others make their escape. Polidori locks the creature in the laboratory and sets the building on fire, resulting in a series of huge explosions as the flammable chemicals in the lab ignite.
A few days later, a lavish ball is held at the Fanshawe mansion to present Prima to the social elite of the area. Prima delights the guests, and a beaming Polidori reveals his ultimate plan to use her as a courtesan to gain international political influence. Suddenly, the badly burned creature bursts into the ballroom and after wreaking havoc among the attendees confronts Prima, who in a hissing fury attacks him. He rips off her neckband, revealing the scar where her head was attached to her body. In the chaos that follows, the creature rips her head off and throws it at Polidori's feet as the surviving guests flee in terror. Weeping and on his knees in the middle of the ballroom, Victor asks the creature why he has done this. The creature gently responds before making his exit into the night.
The next morning, Victor and Elizabeth are questioned by the local constable regarding the events of the previous evening. They learn that Dr. Polidori has suffered a nervous breakdown and admitted to reanimating Prima from a corpse. Victor attempts to assume guilt and also admits to fashioning the creature from pieces of dead bodies, but Elizabeth manages to convince the constable that her husband is deluded and the police soon leave. Elizabeth persuades Victor to leave England with her and travel to America in order to begin a new life.
After setting sail, Victor and Elizabeth are dismayed to discover that Polidori is also on board the ship. Polidori then tries to convince Victor to resume the experiments once the ship reaches its intended destination, the United States. Unbeknownst to all, the creature has stowed away and soon emerges from a lifeboat, looking for Victor. Elizabeth sees the creature hiding in Polidori's cabin and locks the two of them together in the room. Because of Polidori's previous use of hypnosis, Clerval's mind has resurfaced in the creature, and he is determined to have his revenge on Polidori. Victor unlocks the door and as the ship's captain and crew become involved, the conflict moves to the upper deck. The creature yards Polidori to the top of a mast of the ship, Polidori is struck by lightning and killed. Victor, in attempting to climb the mast in order to reason with the creature is knocked unconscious and falls to the deck. The crew members flee in a lifeboat and the creature takes Victor below deck to care for him.
The creature lashes the wheel of the ship on a heading straight for the North Pole. In Victor's cabin, Elizabeth cruelly repudiates the creature, who (his mind now that of Clerval) subsequently strangles her. As Victor remains unconscious below deck, the creature mans the ship's helm, maintaining its course to the north. When Victor awakens, he finds the frozen body of Elizabeth on deck and the ship locked in ice. He follows the creature to an ice cave, where he confesses that the entire tragedy was caused by his rejection of the helpless, deteriorating creature. He also knows that, upon his death, the creature will be utterly alone, cursed with an "iron body" that will keep him alive against his will. As Victor begs the creature's forgiveness, the sound of his shouts sets off an ice avalanche. As tons of ice begin to fall upon them both, the creature (in Clerval's voice) forgives his creator, who laughs joyfully as he realizes that their ordeal is at an end.
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violence, romantic, cruelty, murder, gothic
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train
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wikipedia
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The all-star British/American cast and the production design gave it the old-time feel of early films from both the Universal and Hammer Studios genres, yet the sharp writing by Don Bachardy and Christopher Isherwood lent an almost Merchant-Ivory sense of credibility that most films of this kind can't even hope to pull off.Even more surprising that the director, Jack Smight, was better known for his work on television series and disaster films than on something as well-crafted as this.And the performances...In a cast of well-seasoned veterans, it's almost impossible to cite stand-out favorites, but if I had to, Michael Sarrazin's Creature is one of the most outstanding to be introduced out of the many versions, and definitely the most multi-layered and sympathetic, (which would not be equalled until twenty-years on, by Clancy Brown in the less-superior THE BRIDE.) Worth equal praise is the rivalry between David McCallum, Leonard Whiting and the always-dependable James Mason as the brilliantly twisted Dr. Polidori (affectionately known now and forever as "Polly-dolly.")And what review would be complete without mentioning Jane Seymour as Prima.
I won't spoil the shock and surprise involved with her character and Sarrazin's, but needless to say that was ONE scene that made quite an impression on my young mind, (and for those who remember, you know EXACTLY which part I'm referring to!) It was quite an introduction to a lovely young ingenue, who would become even more memorable to American audiences less than a year later with her big screen debut, as Bond girl Solitaire in Roger Moore's initial 007 outing, LIVE AND LET DIE.It may not exist in its original form, as previous reviewers have pointed out, but one can only hope for a newly restored and uncut DVD version of this classic TV gem.
A two part television movie which claimed to tell, for the first time anywhere, the genuinely faithful tale of the man who made a creature, exactly as its writer, teenaged Mary Shelley, first concocted it.
Well, it may be helpful going in to be forewarned that this isn't really the "true story," but it comes close and what matters most is that it's a good film, albeit one that's three hours long.In this version, young Victor Frankenstein (Leonard Whiting) is a medical student thirsting for knowledge, which he gets from the wildly eccentric Dr. Henry Clerval (David McCallum).
In a short period of time, the once-handsome creature begins to show signs of his skin rotting and upon witnessing this, Frankenstein suddenly loses all interest in his creation and abandons him.
He meets up with a nasty and cunning former associate of Clerval, the elder Dr. Polidori (James Mason), who blackmails Frankenstein into constructing a female named Prima (played by Jane Seymour).This is a lush and well-crafted Victorian period piece, and the story of unrequited love between the creature and his creator is at the core of it.
In addition to Michael Sarrazin's sympathetic work as the creature, David McCallum's obsessive Clerval and James Mason's unscrupulous Polidori (presumably the Ernest Thesiger character in this one) are the best performances.
Hopefully, the full version will one day make it onto DVD (the way it took quite a while for the original SALEMS LOT two-part TV movie to get released on tape and dvd, when it also was only available as a 2-hour abridgement).
An interesting twist is the subplot of Prima, the second creature, created by Dr. Polidori (Victor's nemesis) with the assistance of Victor...I first saw this movie on television when I was about 9 or 10, I seem to remember it being shown in two parts, the second part beginning with Polidori's attempt to bring Prima into elite society, followed with the downfall of Victor, the monster and Polidori.
Psycho-Sexual, Homo-Erotic, And Unexpectedly Subversive For It's Era. Every film version of FRANKENSTEIN has taken tremendous liberties with Mary Shelly's celebrated 1818 novel, and although it retains the core idea of the book this one is no exception.
Instead of the inevitable "mad doctor" typical of films, Victor Frankestein is a remarkably handsome young man in the form of actor Leonard Whiting, a performer best known as Romeo in the famous 1968 ROMEO AND JULIET.
He is seduced into the experiment by the equally handsome but distinctly odd Henry Clerval (David McCallum)--and not only do the two actors play the relationship in a disquietingly touchy-feely way, Clerval takes exception to Victor's fiancée Elizabeth (Nicola Pagett) and she returns the favor, demanding that Victor choose between them.Lest any one miss the implications, the creature is played by none other than Michael Sarrazin, and while many men may be described as handsome, Sarrazin is among the few who can be justly described as beautiful.
Dr. Frankenstein takes him to his own apartment, where he educates this child-like innocent and very generously allows the creature to sleep in his own bed.But, as in all FRANKENSTEIN movies, the experiment goes awry, and when it does the same disconcerting homo-erotic overtones take yet another turn.
At the same time, Frankenstein is approached by the mysterious Dr. Polidori (the legendary James Mason), an oily scientist with a flair for hypnosis who claims to know what went wrong.Polidori insists that they abandon the creature and create a new one: a woman, and when this new creation emerges from an entirely different process she too is remarkably beautiful; indeed, she is none other than Jane Seymour.
But whereas the original creature was a gentle creature who only learned violence from Frankenstein's hateful rejection, this new entity is strangely icy, almost snake-like from the very beginning--and the male creature, now both vicious and wildly jealous, will exact a horrific toll upon all concerned.It is worth pointing out that the script for this version of FRANKENSTEIN was co-authored by Christopher Isherwood (1904-1986), one of the few openly gay writers of his era.
But the real knock-out performances here are by Sarrazin and Seymour, who truly blow the lid off our ideas of what a FRANKENSTEIN movie should be--and when they square off the result is unsettling in a truly unexpected way.
In terms of the DVD itself, the film quality is considerably better than the rare late-night showings I've occasionally seen on television, but I would not describe it as pristine, and I found I frequently had to bump up the volume on the soundtrack.If you are looking for something with which to scare yourself silly, you might want to give this version FRANKENSTEIN a miss; although it has a few visceral moments, the jolts involved are largely psycho-sexual.
I must add my own two-cents worth to those others who regard Frankenstein: The True Story as the most satisfying film version of of Mary Shelly's 1818 classic.
A brilliant young man, who had already published several medical books, he tragically took his own life at age 21 -- according to some, because of his unrequited love for Mary Shelly!True Story owes little to previous movie versions, neither the mossy old 1930's and 'forties Universal Frankenstein series or Hammer's 1950's/'60's revivals, but is a completely fresh approach.
Here it is used brilliantly by director of photography Arthur Ibbetson and director Jack Smight.Frankenstein: The True Story is expertly acted by Mason, Leonard Whiting (Victor), Nicole Padget (Elizabeth), Michael Sarrizan (Creature), Jane Seymour (female creature) and the rest of a fine cast.
-- Those who are interested in learning more about that early 19th century femme fa-tale and the origin of her famous monster story would do well to read Miranda Seymour's superbly researched, highly readable biography of Mary Shelly (Grove Press, NY, 2000)..
Christopher Isherwood is a highly respected writer, but someone should have stopped him from this flaccid reverie only partially based on Mary Shelley's story.During the course of the 3-hour version of this TV movie, you can catch the author making heavy-handed references to "Pygmalion," "Dr. Jekyll and Mr. Hyde," "The Hands of Orlac," "Tales of Hoffmann," and "Fu Manchu" among others.
Agnes Moorehead is over the top, Michael Wilding produces his dazed smile and little more, Margaret Leighton is actively embarrassing, Sir John Gielgud perfunctory and Sir Ralph Richardson's blind hermit is perhaps the worst performance of his film career.I suppose it's not possible to stage the love triangle of Victor Frankenstein, the girl he wants to marry and the male monster he creates without raising an eyebrow from time to time, but this retelling of the tale strongly evokes the sexual ambiguities of Isherwood's "Cabaret." The monster is played not by a hulk but by a hunk, a soulful young stud who loves Mozart opera.
The famous Karloff/Whale version remains the first among equals, and the Oscarsson/Floyd "Terror of Frankenstein" conveys the book the best among the color versions.Unfortunately, Mel Brooks actually gets closer to Mary Shelley's vision than this film does.
James Mason and Leonard Whiting did superb jobs in portraying their parts and this story of Frankenstein.
Left to his own designs the creature truly becomes a monster over time from rejection by human beings and his creator.This film is not about the power of the soul at all.
The reverse of its Frankenstein monster, who begins beautiful, but becomes ugly after "the process reverses itself," this two-part television movie, "Frankenstein: The True Story," begins rather clumsily and suffers from the TV standards of its age, but grows more interesting and becomes better by the end.
Although it doesn't fully lock in particularly well on any one theme or reworking of Mary Shelley's "Frankenstein," a few intriguing concepts, re-imaginings and borrowings from other horror films bounce around throughout, that the creature that is the movie ultimately has some life to it.It begins like a bad recap to a prior TV episode, as well as announcing its first of many departures from the book, with Victor Frankenstein narrating the apparently-past scene of the death of his younger brother, William.
The other doctor is John Polidori, the name of the author of "The Vampyre" and one of the guests at Lord Byron's villa near Lake Geneva where Mary conceived the Frankenstein story, but in this movie, he's a deformed practitioner of hypnosis and a cross between Dr. Pretorius, of "Bride of Frankenstein" (1935), and Dr. Fu Manchu.Meanwhile, Frankenstein's creature is an Adonis, at first, but transforms into a dark and slightly-Neanderthal-looking version of Mr. Hyde, but he remains clearly human in appearance, which makes the adverse reactions of the blind man's fellow cabin dwellers to his hideousness rather unbelievable.
The monster's "bride," however, is a more perfect specimen (even more so than in the 1935 film) and, in keeping with the story's overall misogyny, an insensitive and catty schemer, who draws the ire of Victor's wife, Elizabeth.As aforementioned, Elizabeth is a distasteful character this outing, Bible thumping and becoming hysterical at the sight of anything reanimated, including a ridiculous scene involving a butterfly brought back to life.
standard for the creature in dozens of films thereafter.In Frankenstein: The True Story we get a different slant on the creation.
Dr. Victor Frankenstein is taken on as a protege by Dr. David McCallum who is experimenting with the origin of life and reviving the dead.
Let's start with the title: FRANKENSTEIN THE TRUE STORY would imply that it is the most faithfull version of Mary Shellys book.
"Frankenstein - The True Story" starts with the redoubtable James Mason introducing himself and explaining that what we are about to see is all from the imagination of 19 year old Mary Shelley.
This film is a hybrid of the novel, the 1930's movies and the 1950's Hammer version, all mixed up by Christopher Isherwood of "Cabaret" and "A Single Man".
And while the film is not particularly gory or scary, there are some genuinely unsettling moments - like the insinuation that the monster's soul is an amalgam of all the dead that went into making him.There's a terrific cast including James Mason as the malevolent Dr. Polidori (and no-one seems quite so delighted with themselves when being evil as good old JM).
In lieu of this, the novel I think begs to be adapted to the cinema because its premise is so strong and the drama alone between Victor Frankenstein and his tragic creation effects a lot of dynamism.
If you want a version of Frankenstein that actually follows Mary Shelley's novel check out the version produced by Hallmark and released to DVD by Lion's Gate starring Luke Goss as the creature.
By all accounts, this movie is a faithful reproduction of Mary Shelley's novel, but like with faithful adaptations of Shakespeare's plays for example, it just made me want to sleep.
I had remembered seeing a Frankenstein movie with James Mason in it.
I loved the entire movie and my favorite scene is near the very end when the creature (Michael Sarrazin) says: "Bravo Victor".
However, having watched it myself, I found no complaints with the former and, being a first viewing, I had no opinion about the latter - to be honest, Frank's description of The Creature ripping out Prima's head from her body had fired up my imagination all these many years, and found the scene as is in the film something of a let-down, but I couldn't verily say if it was trimmed or not; likewise, I felt that the opening sequence (the drowning of Frankenstein's younger brother) was too abrupt, i.e. without having taken the time to create a genuine rapport between the two (which would have made Victor's subsequent obsession with bringing the dead back to life that much more purposeful!)...but, again, I don't know if it has always been this way or if it originally ran longer!!
Obviously, I've watched countless adaptations of the Mary Shelley classic along the years - and it's always interesting to see the way in which the original text is 're-invented' by the various writers and film-makers; this epic, star-studded production is certainly among the most intelligent, literate renditions (co-scripted by Christopher Isherwood) although, to be honest, I found it most compelling during the first hour or so; maybe that's because I was used to seeing a hulking, misunderstood creature rather than the dapper and relatively inconspicuous one depicted here!
Michael Sarrazin, as I said before, makes for a rather unalarming creature - though his subsequent physical and mental deterioration provides some undeniably effective moments (such as in the afore-mentioned scene with Prima, the unsuccessful attempt by Polidori and Frankenstein to destroy him, and the doomed sea voyage at the finale); that said, it appears that the conception itself of The Creature has problems: at first, MacCallum's Henry Clerval complains that he has been saddled with a peasant's brain for his creation and, yet when Frankenstein eventually substitutes it with that of Clerval himself, Sarrazin still emerges an illiterate - until the very end when he unaccountably starts reasoning the way Clerval would have and is even able to guide the ship to the Arctic (it somehow doesn't feel right that Prima receives schooling whereas The Creature does not, or rather learns precious little from his various misadventures, such as the encounter with the blind hermit or his sojourn with Polidori - when both these incidents, as depicted in BRIDE OF FRANKENSTEIN [1935], had proved crucial to The Creature's formation of character)!
One of the most satisfying aspects to the film is the unusually strong participation of the female leads, both of whom add effortless grace to the proceedings but also deliver fine performances: Nicola Pagett is certainly the most significant Elizabeth I have seen, while Jane Seymour appears in a 'dual' role as the blind hermit's grand-daughter and the mischievous, sexy Prima (The Creature's female counterpart whom Dr. Polidori proposes to integrate into affluent London society, for his own sinister ends, with disastrous consequences).
In the prologue, the script has James Mason, the actor, come out and show us Mary Shelley's grave and explain the origin of the story.
If Frankenstein's monster was flawed in that it aged too quickly, Polidori's creature (whom Polidori names "Prima") turns out to be thoroughly cuckoo.
Elizabeth, now Frankenstein's bride, begins to get jealous -- and so does the original CREATURE, who wrenches off Seymour's head.
My advice is skip this and go right to the film.As for the title, it implies that this is closer to Mary Shelley's original story and in most ways it is closer than other versions---in particular, the famous 1931 version.
Frankenstein's acting like a jerk is excellent--and more in keeping with the novel--something often forgotten in other versions of the story.
This portion of the film is as far removed from the original story as you can get and the film only gets back to the original story after the whole "Dr. Polidori" segment is complete.It turns out that Mason was an evil mad scientist (unlike Frankenstein who was just a misguided and irresponsible mad scientist), as he decided to use Sarrazin for his own end--to force Frankenstein to help him make another, and hopefully better, creation using the body of Seymour (among others).
Now, following an attempt by Polidori and Frankenstein to murder the creature, it's no wonder that Sarrazin's character goes insane and starts to do bad things!!
Unfortunately, it also was NOT the "true story" it purported itself to be, as at times it bore little semblance to Shelley's novel.Interestingly, 1973 was a banner year for made for TV Frankenstein films (in addition to the freaky Andy Warhol version).
I hope to find the full version of this film so that I can watch it again for the first time in 30 years.
When Clerval (David McCallum) and Victor Frankenstein (Leonard Whiting) construct their body from the best of the remains of seven dead men, they agree that they need the 'perfect' brain to place in their creation.
I have to agree with others, this idea is just the opposite of what the story is about: The Creature/Monster is LIVING so it all of his tissues, which means he his flesh will not rot away.The movie is an okay, drawn out version that is barely satisfactory in the end.
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tt0165854
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The Limey
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Wilson (Terence Stamp) snarls to a black screen "Tell me. Tell me. Tell me about Jenny." cuing the Who's song "The Seeker to play as we get our first look at Wilson, an aged but determined looking man, who makes his way from the airport to a hotel room. He looks at a newspaper clipping about a woman's death and at a California address for an "Ed Roel" written on an envelope. He quickly finds Ed Roel (Luis Guzman)We then see Wilson flashing between a car, an airplane, and his room, thinking about a little girl. We resume the scene meeting Ed Roel, and Wilson introduces himself reminding Ed that he had written to Wilson about his daughter. Ed realizes who Wilson is and invites him into the house. Ed makes some food, but Wilson isn't interested in small talk. He asks Ed, "Who done it then, snuffed her?" Ed tells him he never said anyone "snuffed her." just sent the newspaper clipping. He tells Wilson that there was an investigation into the accident and his daughter's neck was broken on impact "so she wouldn't have felt the effects of the fire." Ed drives Wilson around and rationalizes that an accident could happen to anybody. Wilson replies, "No. Not my girl. Self control she had. It was a point of pride." Wilson pushes Ed for information on where Jenny bought her "grass or whatever." Ed claims he doesn't know anything about that, and Wilson mentions his tattoos. Ed explains that he did five years in prison, but he's done with that. Wilson surprises him by saying "I just got out meself, didn't I." Wilson changes the conversation, asking "Terry Valentine, this bloke she was bunked up with, what's he got to say for himself?" Ed has no idea about Terry Valentine.We see Wilson buying a pistol from a couple of kids, the scene flashing back to previous scenes of the hotel, the airplane, driving, and talking at Ed's house. Ed recalls driving Jenny downtown to look for Terry Valentine. He assumed she was looking to catch him with another girl, but was surprised she didn't want to check hotels, but asked him to bring her to "some bad place." where there was shipping going on and men unloading trucks. Valentine wasn't there but Ed says "Jenny stood right in front of those guys, eyeballing them, checking them out. She made me feel like she was covering my ass." We see Wilson alone, finding the place Ed referred to. Wilson cuts through the wire fence (remarkably easily) enter the property, and walks into the building asking the first man he sees at a desk if he knows Terry Valentine. When the man doesn't tell him anything, Wilson starts beating the man, before several more men show up to pull him away. The man at the desk wants to know who Wilson is, and when he mentions Jennifer Wilson, one of the other men asks if she was the girl that came down there one time. The man admits that Terry Valentine is a personal friend, and says he doesn't discuss his friends with anybody. He tells Wilson that Jennifer had come by asking who he was and how he knew Terry and the nature of their business. He then whispers to Wilson what he would've liked to do to Jenny, Wilson can't contain himself and strikes the man in the groin, prompting quick retaliation as the other men ensure Wilson can't respond. They escort Wilson out of the office, taking turns kicking him and throwing him into things on the way out. They throw him onto the pavement and tell him if he comes back they'll kill him. Wilson gets up and pulls a gun tucked in the back of his pants. He walks right back into the building and there is yelling and several shots. One of the men runs away and Wilson yells after him "You tell him. You tell him I'm coming. Tell him I'm fucking coming!"At a huge Mansion overlooking the hills and ocean. Terry Valentine (Peter Fonda), the owner, watches a 20-ish girl swimming and talks about her name, Adhara (Amelia Heinle) remembering that he had suggested using a constellation to her parents before they named her. He asks if she needs anything. She asks why he keeps "the scary man" in his house, to which he says "Gordon? He's been with me for years. He's not as tough as he looks."Jim Avery (Barry Newman) watches from overheard and yells to Terry that he has news. He tells Terry "Our friends downtown, someone took them out." They wonder if it was a gang killing but Avery says it was a lone gunman. They mention Jenny.Ed tells Wilson that Terry Valentine was a "money guy." and that Jenny had been with him for five years. He remarks that Jenny had introduced him to Terry, but Terry "didn't even see him." and that they lived in different social circles, and that he'd met Jenny in his acting class.Wilson finds Elaine (Lesley Ann Warren) a friend of Jenny's, who tells him "She was twenty one when she came to me, straight from leaving you." Elaine helped Jenny get rid of her English accent. She knows Wilson had been in jail and tells him Valentine is a rock concert promoter.Ed goes along as Wilson scopes out Terry's place with binoculars. They realize Terry's having a party when they see a lot of valets. The two go over to pretend being guests Wilson tells him "I'm gonna have a butcher's round the house." Ed seems concerned not realizing this is rhyming slang. He asks "Who you gonna butcher?" Wilson says "Butcher's hook, look." and then heads upstairs to look around. He sees a picture in the hall and remembers Jenny as a little girl. Terry joins the party and talks with guests as Wilson checks out his bedroom, hiding when Adhara has to get out of the master bathroom tub to get the phone. Wilson goes downstairs and finds Ed standing by the pool. Wilson realizes the pool is built to extend out into the air with a long drop outside the railing. He imagines shooting Terry at several different ranges, nearly walking right up to him before Ed pulls him back outside. Terry notices the way Wilson looked at him and Avery sends a man out to remove Wilson, who has sent Ed to grab the car. Wilson tosses the security man over the railing catching the party's attention. Everyone rushes to look over the side. Avery attempts to grab Ed who is waiting with the car, but Wilson throws him out of the way and they drive off. Ed tells Wilson he thought he was going to cap the guy, but Wilson insists that "he's gotta know why." Avery follows them, hitting their car and then firing a shotgun at them. Wilson forces Ed to hit Reverse and nearly hits Avery, knocking his car down a ravine.Avery returns to the house and meets with Terry, and scolds him for talking to the police without him. Terry told made up a story that a longtime employee with drug problems flipped out and committed suicide. Avery reveals that Jenny's father just got out of prison for armed robbery "again." which gets Terry flustered. Terry insists that he can't take care of Wilson using his own security as it could be connected to him. Avery assures him that he has "other resources."We then find some guys arguing over a break at a pool hall. One of the guys, Stacy (Nicky Katt) beats another guy with a cue as Avery walks in and calls him over. Avery asks "How would you like to kill someone for me." Stacy says "Ok." Stacy is upset that he's supposed to find actually Wilson, telling Avery. "I just do it. I don't organize it." Stacy tells a dimwitted friend he's getting paid $5000.00 for the hit. Stacy and his friend find Elaine at a film shoot and Wilson shows up to see her. They follow them to a hotel garage and just before Stacy moves in for the hit he is stopped by men in suits, who tells Wilson to go with them. They bring Wilson and Elaine to another location. Left alone for a moment, Wilson shows a DEA badge he pickpocketed and tells Elaine that he watched Jenny grow up "in increments." He remembers Jenny used to threaten him, "If you're naughty, Dad, I'll put the law on you. I promise. He recalls her in flashback as a little girl picking up the phone threatening to "shop him." Elaine says "She never would have turned you in, not in a million years."The lead DEA agent meets with him and Wilson tells him he doesn't care what Valentine's mixed up in. He then tells him a story about him wanting revenge on a prison guard then easing off when he had a chance. Wilson tells him that they're likely after the same thing for different reasons. He tells the agent he's not after money, but something else. The DEA man tells his own story of rich men getting involved in drug trade, they suspect heroin dealers are using Valentine to launder the money. The agent then "accidentally" drops a file, showing a Big Sur address for Valentine and releases Wilson.Terry Valentine is driving with Adhara to the other house. She realizes that the black SUV behind them has been following them and Terry says "I sure hope so." as Avery and two heavies are following. Ed, Elaine and Wilson drive to the other house as well. Back at the pool hall Stacy grumbles that he knows Avery is up at Big Sur, he wants to go there and the big stash of money or drugs.At the ocean side house Adhara complains that Terry hasn't told her anything about the situation. He tells her that she wouldn't know anything about having enemies. Elaine tells Wilson that Jenny "lived" at the beach and loved the ocean, causing him to remember her at the beach as a girl. He remarks "She was from an island."The security watches all around the property as Avery and Terry watch TV, Adhara showers upstairs. Everyone pays attention when a car alarm goes off and some guards go check for it. When it shuts off, Terry realizes that a guard who was on the porch is missing. We see Wilson tying the man up, gagged in the yard. Avery gets Adhara and moves everybody to the living room hiding behind the couch. Avery shoots at a figure in the window, and going to check he finds it was Stacy. Avery is then shot by Stacy's friend, who also shoots another guard before The wounded Avery shoots him while lying on the ground. Wilson then grabs Terry as he's going for the door and fights with him in the house. Adhara stabs Wilson with a skewer but is knocked out, Valentine escapes and grabs Avery's gun, leaving the injured man without a word. Wilson is slowed but follows Terry down the stairs to the rocky beach. Terry shoots at Wilson but misses. He then twists his ankle and falls and Wilson catches him. We hear Wilson snarl the lines from the opening. Tell me about Jenny. Tell me about Jenny!Terry admits Jenny found about his drug deal and had threatened to turn him in, the confrontation turned violent and Jenny was killed. Avery and his henchmen had helped cover it up with the fake car accident. Wilson leaves Valentine alone.Wilson is on the plane again. He chats with the woman in the next seat about his trip, and remembers singing a song that goes "Freedom is a word I rarely use without thinking of the time when I was loved, "Jenny's mother in the background telling him the song was good.
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comedy, suspenseful, neo noir, murder, mystery, dramatic, violence, flashback, revenge, storytelling
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train
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imdb
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Terence Stamp was especially good in this film, and Luis Guzman provided one of the best screen roles by a Mexican-American.
In `The Limey', Terrence Stamp plays Wilson, a career criminal who, upon being released from prison in England, finds out that his estranged daughter has died (or perhaps been murdered) in Los Angeles.
How this performance went ignored is beyond me but maybe that punishment is fitting for the career criminal he plays.He is Wilson who after finishing a nine-year sentence "at her Majesty's leisure" goes to L.A. to discover how his daugher, Jenny, met her end while he was in the big house and to avenge her death.
Peter Fonda plays her former lover, a wicked, soulless record producer who was big in the sixties and both actors trade on the ghosts of their cinematic pasts to striking effect; particularly Stamp, as footage from his 1967 film, Poor Cow (directed by Ken Loach), is repurposed and edited into the film's ever-shifting timescape.
In Soderbergh's hands it shows that he is first and foremost a storyteller instead of a shallow egotist and it plays like a grand, cinematic homage to his star.)Soderbergh shuffles time and Wilson's life like a deck of cards yet always keeps the story moving forward--the editing by Sarah Flak is a marvel.
Like his co-star Fonda, who also spent many years in the wilderness, Stamp's performance in The Limey stands as a long-promised return to form, which he'd been hinting at for years.There's great support from Luis Guzman, Lesley Ann Warren (as an L.A. acting coach, who suggests in her few short scenes with Stamp a potentially epic romance), Barry Newman as Fonda's henchman and the startlingly fresh Amelia Henle who shows that, yes, there is an art to playing "the girlfriend." (Joe Dallesandro is in there somewhere as well in some capacity but is completely unrecognisable.) If the slight bit in the middle lacks the polish of the beginning and the end (it appears a large subplot about two hitmen must've been jettisoned in the editing room), the dialogue still crackles throughout, with Stamp--as a one-man amalgam of London's east end--throwing off Cockney rhyming slang ("China" "plates" thus "mates") and reminding us of what made London swing in the '60's.
For my money his strongest achievements to date have been his overlooked noir-ish 'Underneath', and this, his involving revenge drama 'The Limey'.Terrence Stamp, a fine actor who has appeared in more than his fair share of bad movies, really takes this role and runs with it.
Both actors are supported by an impressive array of old and new faces - including a surprisingly effective Lesley Anne Warren (her best since 'Cop'), the always watchable Luis Guzman ('Boogie Nights', 'Carlito's Way', etc.), blasts from the pasts Barry Newman (cult classic 'Vanishing Point') and Joe Dallessandro (former Warhol superstar), and future star in the making Nicky Katt ('Strange Days', 'SubUrbia').Soderbergh cleverly uses footage from Ken Loach's kitchen sink drama 'Poor Cow' for flashbacks, and plays upon Stamp and Fonda's 60s screen personas, but the film is no exercise in mere nostalgia.
Peter Fonda, as the suave record producer Terry Valentine, is the perfect impersonation of a hippie growing old disgracefully and on Big Sur backdrop, reminds me of one of the Beach Boys (Brian Wilson possibly...who probably was a good mate of his in the good old days anyway) "the 60s were just like a dream with its own language and locations which didn't really exist, and then you woke up...
And finally, if you like thrillers like myself, this movie is that rare thing, an intelligent sophisticated one, which keeps you on the edge of your seat for a couple of hours, without feeling, like unfortunately happens with a lot of similar productions, that when the credits start to roll, you have been through 120 minutes of disposable entertainment...
This one is about a British criminal (Stamp) getting out of jail, finding out that something bad had happened to his daughter in Los Angeles, and going for the man (Peter Fonda) he feels is responsible for that.There is a bit too much flashback in here, so you have to be prepared to put up with that.
The Movie "Traffic" and "Out of Sight" Were Supposed to Be. Like its title and leading man (Terrance Stamp), "The Limey" surprises by what it is NOT.
However, director Steven Soderbergh ("Traffic," "Out of Sight," "Erin Brockavich"),skillfully intercuts scenes of past, present and future, nonsync dialogue, music, peripheral action and plotting to create an efficient, consistently surprising and highly effective movie.
Whatever the case may be director Steven Soderbergh, of the very sexy and stylish but much more superior "Out of Sight" with George Clooney and Jennifer Lopez, knows who to handle the crime drama/thriller with panache and style like no one else.Dave Wilson (the very good Terrence Stamp), a smart, intense criminal just released from prison heads to LA from London to look into the somewhat mysterious death of his daughter, who he barely knew.
He believes she died at the hands of her boyfriend, legendary and majorly rich record producer Terry Valentine (Peter Fonda) and will not stop until he tracks him down for answers.The plot here of avenging father seems pretty much lame and not that interesting or complicated at all, but maybe that is the point, not everything in life is extraordinary, in fact much of life is standard, simple and uneventful.
As the one hitman hired by Valentine's head security Avery (Barry Newman) says, "I embrace my lifestyle".While the acting is top notch, especially Stamp, Fonda and Newman, the real star of the film is director, Soderbergh and especially cinematographer Ed Lachman.
Instead Lachman has this scene in the far background while the main shot is of Valentine having a good time at his party feeling totally safe and relaxed in his multi-million dollar home.So the bottom-line, is "The Limey" a great film, I don't think so.
Valentine's right hand man Jim Avery (Barry Newman) hires Stacy (Nicky Katt) to kill Wilson.Soderbergh is trying his disjointed editing style and a bit of shaky camera work.
A year after Steven Soderbergh's The Limey was released, Stephen Kay unleashed upon us their remake of 1971 British thriller Get Carter; a film about a low level hoodlum travelling a relatively long distance to look into the death of a family member, before indeed uncovering sordid plots and such they always suspected were there.
But where The Limey's catalyst is the suspicious death of one of its anti-heroic lead's family on account of a driving accident, it does so well with the material anyway that it gets away with it – telling an engaging tale with a dynamic visual approach.The film is about a titular "limey" (American slang for an Englishman) in the sunny city of Los Angeles, a man omnipresent on account of doing some of his own investigations into a little driving incident wherein his daughter died.
Rough and often emotionless, although not without a degree of kindness revealed through the way he reminisces and speaks enthusiastically about his past and things such as the music he likes, there is something appealing about watching a tale about this carefree Londoner, who knows what it's like to kill, maim, thieve and serve time, plopped into a contemporary California dominated by the beating sun; houses up in the bluffs and punk African American hit men.Soderbergh doesn't hang around, he drops us headfirst into L.A. and Wilsons's universe.
Wilson is, by comparison, much more aggressive and hard bodied; a man not afraid of violence nor probably much into talking about the esoteric qualities of naming kids after star signs.The editing in the film is of particular interest, a film unfolded using stock footage from an old Ken Loach film doubling up as flashbacks of Stamp's character's past; an array of filters and the sort of manipulation of time that sees Wilson recount the same story twice to two different people whilst only ever presenting to us one instance of him telling it.
Aided by a couple of her friends, Wilson's trail leads to the last guy Jenny was dating, oily record producer Terry Valentine (Fonda), a guy with more than record producing on his CV.Steven Soderbergh picks up on a common film noir theme, that of a man seeking revenge for the death of a friend or loved one, and cloaks it in visual and aural artistry.
The director also splices in scenes from Wilson's memory banks to marry up the emotional discord, while also deftly using scenes from Stamp's performance in 1967 film Poor Cow (Ken Loach) to show the youthful Wilson from happier times.If this all sounds like style over substance?
Stamp, in full cockney spouting mode is having a great time, he has Wilson as a feral man of vengeance, but with a knowing sense of parody, he also exudes a sorrowful guilt at his inadequacies as a father.
One of the great scenes in the film sees Wilson launch into a cockney monologue as a stony faced DEA Agent (Bill Duke looking hard as always) listens without understanding a thing he says!
In a scene where Terence Stamp (as Wilson, the Limey) takes revenge on some big bruisers who worked him over, he kills two, one escapes.
Anyway, what really makes the movie are two fine performances, by Stamp and Peter Fonda, who is appropriately slick and genuinely charming as the record company exec.
As I sit here with my cigarette, just finished watching this god-awful flick, I dip into my cherrios and wonder why on earth would an English actor like Terence Stamp would sign off on movie like this?
Quite simply the worst film I have ever seen.This film has made it my ambition to make a documentary called Tell them I'm Coming (the tag line of The Limey) where I recruit some real East End cockney geezers/gangsters, travel to LA and beat Steven Soderberg to death for making such a horrendously awful film.This film left me feeling violated.
especially the exerts that are taken from an early Terence Stamp film in some crazy attempt to add idiotic sympathy into the turgid mess.Another annoyance is the way every scene is cut up into shots from different angles and even locations.
(Directors or film theorists may well have their own name for it; I wouldn't know.) It's a neat idea, and I'm surprised I've never seen it used in a film older than "True Lies" - it's certainly been used many times since, although never to better effect.Steven Soderbergh uses a fantasy flash forward in "The Limey", and it manages to be an outrageous cheat, and to fall flat, at the same time.
A bit too formulaic, and some scenes are washed out.Terence Stamp was great, and it was cool to see the 60's film clips.Luis Guzman was stellar.Leslie Ann Warren ( who I'm no fan of,) did good work here.Peter Fonda was spot-on as always..
This throwback in style is more than appropriate because Soderbergh's film is drenched in a '60's sensibility, from the use of many of the stars of the period in both major and minor roles to the actual employment of scenes from 1967's "Poor Cow" to function as memories for the main character played by the star of both films, Terrance Stamp.All the above elements make "The Limey" a quite unusual and, perhaps, even unique film of sorts.
Thus, despite Stamp's marvelous performance and the impressive style of much of the film, "The Limey" doesn't add up to much in the long run..
Watching this film i feel like apologising to our American friends across the water for one of the worst acting performances i have seen by a British actor for a very long time.
This time, I found the acting excellent across the board, the script far more interesting than I remembered, photography highly effective and economical, action sequences quite riveting, and director Steven Soderbergh to be in inspired form, even in his judicious use of flashbacks.Do not take me wrong, THE LIMEY is not a masterpiece - and never purports to be anything even close.
Like the scene where the one guy is talking to trash about all the actors and extras as he watches the movie set.But the scene with the DEA agent at the end accidentally slipping the file to Wilson was an interesting scene.
it is impossible to follow and terrance stamp makes william shatner appear to have an understated acting style......again this premise was excellent and could have been a great movie without the way it was shot--i cant describe the method--like stamp was having flashbacks--it was really annoying...and why stamp in a lead role?
There is nothing worse than a cockney in American films, especially the way that the actor, in this case Terence Stamp, is forced to speak more slowly and clearly than he usually would.
Terence Stamp is excellent and a case of choosing an artist rather than a movie star to play a character..
Terence Stamp is excellent and a case of choosing an artist rather than a movie star to play a character..
Stamp is a born and bred Londoner and his accent is exactly spot on for the age and place of that character (I should know, my Mum is a Cockney!) This film demands the viewer to think and watch and ponder the complexities of time, memory,perception and character.
The Limey or Wilson, played by Stamp, has good reason: his daughter Jenny got in the deadly web of a snobby and wealthy rock and roll music producer (I liked Fonda in this role), when he himself was still doing time in a British prison.
With a little help from one of his daughter's admirers, grill chef Ed Roal (Guzman) he begins his quest for revenge.This is Soderbergh's first film since Out Of Sight, another slick heist caper flick, and he uses some of the tricks he pulled there - mixed up time line, flashbacks, flash forwards and jump cuts enough to fill the enitre Royal Albert Hall.
As those who have seen Schizopolis or Sex, Lies will verify, linguistics and specific inter-dialogues between individuals seems to be something which he is interested in, the way people understand and response to certain words, phrases, sentences, etc.Stamp's use of slang was very deliberate, highlighting at all times when he is using this very different mode of English, yet still characters don't relate to him.I need to see it again, but this was just a quick comment anyways.So on the whole, great.
The film is about an English Gangster going to america to get revenge and in the process he kills loads of americans, sounds good.But then we see Terence Stamp(An Exellent Actor) produce one of his most bizarre performances ever.I couldnt work out whether or not this was his best performance or his worst.Through a lot of the movie he does fine except maybe whenever he speaks in an Cockney accent that an american could have done better.Then we have the scene where he cant even say his own name " Whats your name" " My noaaames Wilsorrrrnnn" What the hell was the scene all about anyway.Then after his has killed the Americans at the start " Tell em im coming, Tell em im caoerrmmmhing" What the Hell was he thinking when he did those scenes!?But dispite Stamps Erratic performance this fim was still good, but it couldhave been so much better.I would have liked to have seen Michael Caine doing the killing next time though..
Cross-breeding the British gangster movie with revenge movies like Payback, Soderbergh put together a smart, almost intellectual movie with Terence Stamp as a newly-released con out to investigate, but not necessarily avenge, his daughter's mysterious death in L.A.Because he chose the route of a revenge or discovery plot with the gangster theme more as a background, Soderbergh used frequent intercutting across time to enforce the intentional, single-minded nature of Wilson's quest.
One very good touch is the use of extracts from the film "Poor Cow" which are used to show Stamp's memories of years gone.Wilson is played by Terrance Stamp and he perhaps makes him too Cockney for his own good - at first this grates because he sounds a little like Dick Van Dyke.
Terence Stamp shines as "The Limey," an epithet never uttered in Steven Soderbergh's movie, though it gleefully compares American and Cockney criminal slang to comic effect (I guess drug dealers in California don't watch PBS's gritty Brit mysteries to learn this stuff) with wonderful dialog (and warning--quite a bit of violence).Soderbergh continues to have fun with the film noir genre as he did in "Out of Sight," with flash backs and flash forwards and memories and coulda-woulda-shoulda's--here bleaching it all in the CA sun and having the femme fatale barely hinted at.Many other senior actors could have their careers revived with Soderbergh's technique of interweaving an old movie from their physically gorgeous prime, here a Ken Loach movie that looks practically like a home movie.
The plot is simple, yet the script is so well-written that it makes an extremely compelling story, together with top-notch acting by Terrence Stamp and Peter Fonda and masterful direction by Soderbergh.
So it was extremely rewarding for me to see Stamp take command on the screen.Peter Fonda is a good actor who often finds himself in movies that don't deserve him.
In the end, do yourself a favor and go spend the time to understand and hopefully enjoy films like 'The Limey'..
Well, it's got Terence Stamp in it, and he's usually good, and it's directed by Steven Soderbergh, and that's great because I thoroughly enjoyed "Out Of Sight".
Steven Soderbergh's triumph of a film, "The Limey," stars Terrence Stamp as a Brit convict out to revenge his daughter's mysterious death.
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tt0031851
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The Return of Doctor X
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Nervy "New York Morning-Dispatch" reporter Walter 'Wichita' Garrett [Wayne Morris]
has just scored an interview with prominent stage star Angela Merrova [Lya Lys], who
has invited him to her apartment in the Park Vista Hotel. When Walt gets
there, he finds to his horror that Miss Merrova has been murdered. Someone
has stabbed her right under the heart and left her body lying on her
bedroom floor. With a scoop like this, Walt calls in the story to his
newspaper even before he calls the police. Before Detective Lieutenant Roy
Kincaid [Charles Wilson] arrives on the scene, the Morning-Dispatch has headlined the
murder in their extra edition. But, when Kincaid arrives at Miss Merrova's
apartment, the body has disappeared. The next day Merrova shows up at the
newspaper with the announcement that she's suing them for $100,000 for the
damage to her reputation due to false reports of her death. Not to mention
that the Park Vista Hotel also intends to sue for defamation to their
reputation. To top it all off, Walt is called on the carpet by his angry
boss and finds himself out of a job.Trying to find answers to how a person can be stabbed to death and
then show up alive, Walt pays a visit to his friend, Doctor Mike Rhodes [Dennis Morgan], a
surgeon at Jules Memorial Hospital. When Walt explains how he found
Merrova with a stab wound just under her heart, Mike admits that it's
unlikely she could survive. If the wound itself didn't kill her, she would
quickly bleed to death. "That's it!" Walt exclaims, suddenly realizing
that Merrova's corpse was dead white, as if all the blood had been drained
from her body, but where was the blood? Extreme pallor couldn't set in
that quickly, says Mike. Walt remembers that when he saw Merrova that
morning in the boss's office, she was as pale then as when he saw her as a
corpse.Mike offers to speak to Doctor Flegg [John Litel], the hospital's reknown
hematologist, In the meantime, however, Mike has problems of his own.
Stanley Rodgers [John Ridgely], the professional blood donor for Doctor Flegg's 10 AM
surgery has not shown up. Nurse Joan Vance [Rosemary Lane] has telephoned him and found
that he overslept but would be right over. Time passes, however, and
Rodgers still doesn't show. Mike doesn't know it, but Rodgers is never
going to show...he's dead. Dr Flegg has arrived, and the surgery is ready
to go. With no Rodgers, however, there is no blood donor. Furthermore,
Rodgers has Type I blood; only one in 700 people have that blood type.
Fortunately, nurse Joan is Type I and offers to step in for Rodgers.The surgery goes well. When Mike checks on Joan's condition, she is
still feeling a bit weak, so Mike asks her for a date tomorrow night. Mike
is suddenly called by the police and asked to come immediately to 438 Gore
Street. Since Walt is standing next to him and overhears everything, he
tags along. When they get there, they find Stanley Rodgers has been
stabbed near the heart and all the blood drained from his body...same as
Angela Merrova. Furthermore, the wound is so clean and precise that it
doesn't look like a stab wound at all; in fact, it looks like it was made
with a surgical instrument. Oddly enough, the coroner has identified blood
stains on the carpet as being from Group IV, which is impossible, as
Rodgers was definitely Group I. Thinking the coroner might have made a
mistake, Mike takes a sample of the blood to re-analyze.Back in the laboratory, Mike learns that the blood sample is
definitely NOT from Rodgers...nor from any human. In fact, Mike's opinion
is that it isn't even from an animal. Tired out from the day's activities,
Mike says goodnight to Walt and heads home to sleep. First, however, he
decides to take the blood sample over to Dr. Flegg's house, not knowing
that Walt is tailing him. As Walt peeks in through an open window, Mike
waits for Flegg in his laboratory. where he is joined by a strange looking
man with a pasty complexion and a skunklike stripe of white hair down the
center of his head. The man introduces himself as Flegg's assistant,
Doctor Marshall Quesne [Humphrey Bogart]. As Quesne is just about to talk with Mike about
the study of blood composition, Flegg returns. Obeying Mike's request to
take a look at the blood sample, Flegg pronounces it Type IV human blood
showing "the usual chemical changes accompanying post-mortem coagulation."
Mike wonders whether the blood has an artificial quality. Quesne, who has
been listening to the conversation, suddenly breaks a glass beaker that
he's been holding. Reiterating once again that the blood sample is Type
IV, Flegg shows Mike the door.Just as Walt is about to leave his perch at the window, a taxi drives
up and Angela Merrova gets out. Wondering why Merrova would be visiting
Flegg, Walt continues to peek in the window. He watches as Merrova enters
Flegg's examination room and promptly faints. When she comes to, she
complains of feeling cold, faint, and being unable to catch her breath.
"You're a failure," Quesne challenges Flegg. Flegg orders him out, then
procedures to hook up Merrova for a blood transfusion.The next day, Walt drops in on Mike and tells him what he saw through
the window. Walt is certain that he's seen Quesne somewhere, but he can't
remember where. At that moment, Flegg walks into Mike's office and asks to
speak to him alone. After Walt has left, Flegg asks Mike to forget
everyone he met and everything he saw last night at Flegg's house. He also
asks for the name and address of the nurse that provided the Type I blood
for yesterday's transfusion. When Flegg has exited, Walt returns. He tells
Mike about seeing Angela Merrova last night at Flegg's house and watching
him give her a blood transfusion. Mike suggests that they have a talk with
Merrova and plan to meet at her apartment that night at 9 PM. Remembering
his date with Joan, Mike agrees to bring her along; they can go to Club El
Ray afterwards.When they arrive that evening at Merrova's suite, they find her
languished on her settee, awaiting Dr Flegg. When she orders them out but
collapses in her chaise, Mike assumes his role as doctor, finding her
hands as cold as ice. He instructs Walt to pour her a shot of whiskey. The
whiskey seems to revive her, and she responds to Mike and Walt's
questions. She admits to being of Type I blood. She also tells them what
happened the morning she was murdered. After speaking on the telephone
with Walt, she became aware of someone in her room. Then a hand went over
her mouth, and she felt a sharp pain in her chest. After that, she lost
consciousness and has no recollection of what happened to her until the
next morning when she awoke in her own bedroom. She agrees to meet Walt
tomorrow morning at 10 AM and talk more about it then. Just then, Dr
Quesne, acting in Flegg's stead, enters the room.While on the way to drop Mike and Joan at the El Ray, Walt makes a
quick stop at his boss's house to tell him about Merrova's admission that
she was stabbed and to let him know that she plans to visit the paper in
the morning and tell them all about it. Excited at having his newspaper
exhonerated, the boss telephones the paper and orders them to hold the
presses for a news bulletin. He is surprised to find that a news flash has
just been issued...Merrova is dead, this time for sure. In fact, she's on
her way to Bixby's Undertaking Parlor, screams the boss as he tosses Walt
out the front door.Not willing to believe that Merrova is truly dead without seeing her
body, Walt and Mike head over to the undertaker. While Walt keeps the
undertaker busy, Mike examines Merrova. She's dead all right, he tells
Walt after they've left the parlor. Apparently, she died of natural
causes, and it was Flegg who called the undertaker to pick up the body.
Being as how it's after 1 AM by now and Joan is still sitting in the car,
they all head over to Gus's for hamburgers.The next morning Angela Merrova's death is in all the papers. Walt
goes over to the newspaper office and gets his buddy Pinky [Hunz Hall] to give him
access to the clippings files. After searching everything from A-W, Walt
starts in on X, and there it is! Marshall Quesne is Dr. Maurice J. "X"
Xavier, a prominent surgeon who was given the death penalty for his
experiments in which he allowed a baby to starve to death. According to
the newspaper clippings, Dr X was electrocuted two years earlier. Just to
be sure that the execution actually took place, Walt contacts the warden
who assures him that Dr X was indeed electrocuted, Dr Flegg claimed the
body, and Dr X now lies buried in Greenlawn Cemetery. Walt and Mike head
over to the Cemetery where, with the help of the cemetery caretaker, they
find Xavier's grave and dig it up. The coffin is empty.Walt is convinced that Flegg is guilty, but Mike isn't; they agree to
give Flegg a chance to explain. Flegg obliges, admitting that Quesne and
Xavier are the same person and that he has found a way to bring a dead man
back to life. He demonstrates the procedure on a dead rabbit. First, it is
necessary to prepare the rabbit by electrocuting him and decoagulating the
blood, something that the electric chair had already done for Dr X when he
came dead to Flegg. Next, he moves the rabbit over to another table where
he begins to transfuse ordinary rabbit blood into the rabbit. Then he adds
his special formula--"a compound ester in which essential blood salts have
been precipitated." After charging it electrically, he injects it into the
transfusion tubing. Within a few moments, the rabbit has been revived.
Mike and Walt are understandably astounded.This is essentially the same thing that was done to Dr X following
his death, explains Flegg. Although Dr X was a convicted murderer, he was
also a medical genius, and Flegg admits that he needed Dr X's help for
further research. However, after returning a person to life, there is the
further problem of sustaining it. A second project Flegg has been working
on is to create synthetic blood. That's the blood I found in Merrova's
body and in Rodger's apartment, exclaims Mike. The problem, Flegg
explains, is that the synthetic blood fails to recreate itself, which
means that Quesne stays alive by killing for human blood. And the blood he
needs is Type I. "May God forgive me," Flegg hangs his head. "I've created
a monster."No one has noticed that Dr. X has been listening at the window. When
Mike and Walt leave Flegg's house but are stopped outside by Lt Kincaid,
Quesne shoots Flegg and steals his list of Type I blood donors. Just
before he dies, Flegg tells Mike and Walt that Quesne has taken the list.
Knowing that Joan's name is on that list, Mike, Walt, and Kincaid go
looking for her, leaving Kincaid's assistant to care for Flegg.Unfortunately for Joan, Dr X is faster. Quesne tracks her down and
convinces her that he's been sent by Mike to take her to Flegg's home.
Joan goes willingly into a cab with him, until she realizes that they
aren't headed towards Flegg's house. Meanwhile, Mike and Walt have
discovered that Quesne went off in a cab with Joan and was overheard
telling the cabby to take them to Jersey. Walt remembers one of the
newspaper clippings that mentioned an abandoned duck club just outside of
Newark, the place where Dr X starved that baby. Walt, Mike, and Kincaid
head for Jersey.As Dr X prepares to exsanguinate Joan, Mike, Walt, and the cops
arrive. As Dr X comes at Joan with a scalpel, she screams, and the police
open fire. Dr X tries to escape via the roof, but he is shot down by the
police. As he lay dying, Dr X tells Walt to tell Dr Rhodes that they'll
have to postpone their talk on blood composition.Epilogue: Walt has been reinstated at the Morning-Dispatch, and his
heroic efforts have been rewarded by the mayor and district attorney. The
boss [Joseph Crehan] is now begging Walt to stay with the newspaper, but Walt has decided
to return to Wichita and refuses to sign a contract...until the pretty new
secretary brings it into the office. [Original synopsis by bj_kuehl]
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murder
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train
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imdb
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In "The Return of Doctor X," with his chalky makeup and streaked hair, Bogart resembles a punk rocker before his time.The film is not bad entertainment.
After digging up Quesne's body and in a hurry to leave, morris tells the caretaker to "put it back," then rushes off.The acting is top notch with the best performance coming from John Litel, closely matched by Bogart's left-field mad dead doctor.
Others in the cast (Wayne Morris, Rosemary Lane and Dennis Morgan) were fine, but Bogie is the only reason to see this movie.
The Mysterious Bogie Man. THE RETURN OF DOCTOR X (Warner Brothers, 1939) directed by Vincent Sherman, is in retrospect, not a sequel to the 1932 early two-strip Technicolor mystery, DOCTOR X (First National) that featured Lionel Atwill and Fay Wray, but actually a Grade Z programmer surprisingly headed by a very interesting cast of non-horror actors.
The scientist in question is not Doctor X, but on a Doctor Francis Flegg (John Litel) whose profession is on blood experiments.Plot: Walter Barnett (Wayne Morris), a hapless reporter from Wichita, Kansas, working for the Morning Dispatch in New York City, arranges for an interview with European actress, Angela Merrova (Lya Lys), currently staying at the Park Vista Hotel.
He discovers through old newspaper clippings that Flegg's assistant bears some connection to the recently executed Doctor X.Featured in the supporting cast are: Rosemary Lane (Joan Vance, the student nurse); Huntz Hall (Pinky, the newspaper copy boy); Charles C.
Olin Howland playing the morgue attendant is very amusing with his "dead-on" sense of humor.Zombie-like creatures, including Bogart (billed as Marshall Quesne, but who refers himself to the name that sounds more like "Kane," sporting glasses and a streak of white hair down his head) and Lya Lys, in desperate need for specific rare blood types in order to stay alive and roaming the city, makes THE RETURN OF DOCTOR X quite interesting in plot though sometimes unbearable with its over abundance of "comedy relief" by Wayne Morris.
Finally Wayne Morris, who is the real star of the film, plays the wise guy reporter investigating the strange happenings.
Reporter Wayne Morris and doctor Dennis Morgan team up to investigate some murders and a possible connection to people with a rare blood type.
In-name-only sequel to Doctor X that is best known today as Humphrey Bogart's only horror or science fiction film.
He actually seems to be the movie's villain for most of the running time before Bogie's Dr. X takes over.Overall, an enjoyable B horror film that should please fans of the genre.
Supposedly, Boris Karloff was slated to play the title role, but was not available.I have to admit I was very impressed with the films art direction (credited to Esdras Hartley.) The laboratory of Dr. Flegg consists of a maze of glass tubes dripping a dark fluid in beakers, and has the look of a giant circulatory system, reflecting the films emphasis on blood.Hollywood legend has it that Bogart was having trouble with WB brass at the time with the type roles they were giving him.
Rosemary Lane and Dennis Morgan (and Morris) give good performances, but other actors (Fay Wray and Joel McCrae and Lee Tracy come to mind) would have vitalized the roles.
With a plastic-looking face and some weird hair coloring, you want to laugh out loud when you first see him.Wayne Morris and Dennis Morgan are the real stars of the film.
They are in almost every scene, with Morris as reporter "Walter 'Wichita' Garrett" and Morgan as "Dr. Mike Rhodes." John Litel plays a Dr. Frankenstein-type character in "Dr. Flegg," a key member of this cast.This movie is almost all talk until the 59-minute mark when "Dr. X" makes a run for it and gets involved in gunfire.
There was other films called "The Strange Case of Dr. RX (Universal 1942) They knew that Humphrey Bogart was a great star in "Dead End" 1937, so they hired Bogart, who was willing to play any character he was offered at the time, when money was very hard to come by as an actor just starting out in films.
Not that Hard considering it is not really a Return or Sequel, the Dated Comedy elements Threaten to Sink the Thing from the start, and this Short LIttle B-Picture was not really Warner Brothers Forte.It's a genuine Horror Film nonetheless with enough Lurid and Scary elements to Sustain the Shortcomings.
John Litel as the Serious Scientist trying to Find a Cure for Diseased Blood and Lya Lys as an Actress falling Victim to the Madness shines in few Brief Scenes.Can be Appreciated Out of Context for Humphrey Bogart's Iconic Career and the Comedy inclusions Ignored, This is a Pretty Good Entry in Thirties Horror..
i am a huge fan of b movies,especially when they have good actors in them.i am also a fan of the old warner brothers gangster movies with James Cagney,Humphrey Bogart,and George Raft.well return of Dr x is the only horror film that Humphrey Bogart ever made.there's a rumor that he was being punished by warner brothers to do this movie.that might be.but i think it was one of his better movies,Bogart plays a zombie like creature named Dr Kane who must kill to get blood,now it sounds like a vampire.well Kane was brought back to life by another Dr after he was executed in the electric chair for being a child murderer.sort of like an early version of Freddy Krueger.the title is very misleading,it is not a sequel to 1932s Dr x.the early two tone color horror starring;Lionel Atwill,and Fay Wray.it is a very interesting rare gem of a b movie that could've starred Boris Karloff who I'm sure was intended for the role.but to see Humphrey Bogart as a zombie vampire walking dead guy its unusual to say the least.i was impressed with return of Dr x..
Of course, the real reason to watch this film is that the ashen-faced assistant is played by Humphrey Bogart in one of the many roles he was ordered into by Jack Warner while he watched James Cagney get meatier showcases.
There is also the fact that the Spirit's big secret is that he has fought a villain who looks a lot like Humphrey Bogart's creepy scientist in this film and been granted a kind of immortality or invulnerability (I'll have to double-check my facts eventually) in the process.
Humphrey Bogart, in his days as a minor star at Warner Brothers, hadn't yet found his niche and the studio put him in either gangster films (which he grew to hate after having done so many) or experimented in some of the strangest casting decisions in history such as SWING YOUR LADY (where he was a wrestling promoter in the Ozarks), The Oklahoma Kid (now playing an old west bandit) and this film (where he plays a DEAD maniacal doctor doing experiments to keep himself alive).
However, I found Bogart's interpretation genuinely menacing and certainly a convincing exercise in the macabre.An essential ingredient of the classic Hollywood horror movie, a pseudo medical discussion of science versus morality, complete with biblical references and quotations (the evil Cain commits murder; "the life is in the blood") receives a standard workout here.
A hotshot reporter (Wayne Morris) and a young doctor (Dennis Morgan) team up to investigate a series of grisly murders and a mysterious sample of synthetic blood.This film has become somewhat notorious for being one of Humphrey Bogart's earliest roles, and one that he spent his life trying to ignore.
Yes, his face looks like someone plastered it with cottage cheese, his hair looks like he got it done at the Bride of Frankenstein Salon and the role would have been far better suited for Boris Karloff (who'd already played a similar part for Warners in a much better film, "The Walking Dead," three years earlier), but Bogart acquits himself well like the true professional he was and makes us believe in the character's suffering as well as his unscrupulousness.
It's not much of a role, but Bogart plays it well enough to prove his readiness for bigger and better things and director Vincent Sherman, though hamstrung by a script that gives him too few opportunities for Gothic atmosphere (only the cemetery sequence even LOOKS like a horror film), also shows his capability for the more important films he got later.
I even like the rather clever concept of the plot (though the blending of the Dracula and Frankenstein myths had been done better in Majestic's "The Vampire Bat" six years earlier) and the good-heartedness of the overall attempt by a Warners "B" team to graft a few sci-fi monster elements onto one of their typical newspaper comedies and call it a horror movie..
It is not a sequel of "Doctor X" (1932), with Lionel Atwill as the mad scientist, but a complete different story about resurrection of the dead using artificial blood, and Bogie, as a thinking zombie-like killer looks creepy and macabre.
However, at least he is making an effort in being a bit different in his performance and he is the best known actor by far in "The Return of Doctor X." Wayne Morris and Dennis Morgan join forces in order to determine what the mysterious Doctor Xavier has been up to, regarding some of his patients at the local hospital.
Legendary actor Humphrey Bogart is probably one of the most important figures in the history of American cinema, thanks to his unforgettable performances during the 1940s and 1950s in classics like "Casablanca" (1942), "The Maltese Falcon" (1941) and "The African Queen" (1951), movies that took him to the level of superstar as well as transforming him into an icon of the Film Noir genre of those years.
As another of Warner Brothers' stock actors, Bogart had to play whatever the studio wanted him to play, and it was in this way when one of the most interesting oddities in Bogart career happened: he was hired to play a villain in a horror movie, "The Return of Doctor X", a b-movie slated as a sequel to 1932 hit "Doctor X".In this movie, Wayne Morris plays Walter "Wichita" Garrett, a young reporter recently arrived to New York, who is of course looking for the big note that will make him a regular in the newspaper where he works.
Together, Rhodes and Garrett will discover the terrible secret behind Merrova's apparent resurrection and the identity of the man behind it.While it was presented as a sequel, "The Return of Doctor X" is a completely different story that has absolutely nothing to do with the firs movie, as it is in fact, based on William J.
Of course, this is not a masterpiece and Sherman basically makes his movie a tale of murder and mystery by the book; however, it is notable how entertaining the final result is, specially considering the really flawed script he had to work with.As written above, the acting is very good for a b-movie of its time, with Wayne Morris delivering a very effective performance as "Wichita" Garrett.
This quirky, wicked and bizarre character manage to become very real thanks to Bogart's professional acting.Sadly, this is not one of the best examples of this style of horror movies, and not because the mystery is easy to figure out (a common trait in films like this), but because the plot's beginning is so poorly constructed that it requires a bit more than the usual amount of suspension of disbelief to accept the event that starts the film (the disappearance of the corpse being unnoticed is a major plot hole).
Of course, the main attraction of "The Return of Doctor X" is still to see Humphrey Bogart in a rare role as a horror movie villain, however, and despite the many problems with the script, I think that the film has more to its favor than just an against type performance by Bogie.
He's brought back to life another doctor played by Humphrey Bogart who was also doing some experiments along the same lines.Litel's created some synthetic blood, but it just ain't as good as the real item and Bogey's on a never ending quest for folks with compatible blood like Lys and nurse Rosemary Lane who Morgan's been seeing.
The film certainly did need a classic horror actor like Lugosi or Karloff to give it some life, them not their blood.
The lead went to Warners ever present wise cracking reporter.A prominent actress, Angela Merrova (Lya Lys) is found murdered in her apartment by reporter Walter "Wichita" Barnett (Wayne Morris) with her body drained of blood.
The first, played by John Litel, is researching a synthetic blood that could potentially save lives, the other is his assistant, played by Humphry Bogart(who notoriously hated this film!) who is creepy, with white-streaked hair and pale face.
Newspaper reporter Walter Burnett(played by Wayne Morris) is investigating a series of murders where the victims were drained of blood...Could either of the doctors be responsible, or could it be someone/something else?
Walt, trying desperately to vindicate himself and save his career, does a lot of sleuthing with a friend of his, a young doctor named Michael Rhodes (Dennis Morgan).Co-star Humphrey Bogart was none too happy to be doing this feature, believing his role was more for the likes of Karloff and Lugosi.
Trying to perfect a permanent and lasting synthetic blood is something that the brilliant Dr. Flegg can't seem to come up with.This has a blood-thirsty Dr. X to go out hunting for people with his blood-type to keep himself from drying up and dying.The film "The Return of Dr.X" has wisecracking reporter Walter Garrett, Wayne Morris, come across this amazing secret when an actress, with the same blood-type of Dr.X, that he's supposed to interview Angela Merrova, Lay Lys, is found murdered in her hotel room.
Later with the help of his doctor friend Mike Rhodes, Dennis Morgan, they find another person with the same blood-type, called group #1 in the movie, professional blood donor Stanley Rodgers, John Ridgely, not only murdered but completely drained of his blood.
Kidnapping nurse Joan Vance, Rosemary Lane, who has blood group #1 Dr. X takes off in a taxi to his old hideout, a duck pub, in Jersey.Then he's then tracked down by Garrett, Joan's boyfriend, and the police and then gunned down in a wild shoot-out.Humphrey Bogart in the most unusual role of his career as the zombie-like Dr.X who's as white as a sheet with a punk, or skunk, like hair-style is undoubtedly the star of the movie and really the only reason to watch it.
If you're a Humphrey Bogart fan, you must see this quirky film in which Bogey portrays a vampire like, pasty faced doctor brought back from the dead, who now maintains his quest to stay alive by murdering victims whose rare blood type matches his own.
Adding to Bogey's ghastly appearance is a strange skunk like white stripe down the middle of his hair."The Return of Dr. X" is a blend of horror, sci-fi and campy humor, as investigative reporter Walt "Wichita" Garrett (Wayne Morris) teams up with Dr. Mike Rhodes (Dennis Morgan), to try to unravel the mysterious deaths of two victims who have been stabbed with surgical precision, and whose blood has been drained from their bodies.
Soon X eyes a nurse (Rosemary Lane, getting second billing surprisingly, although her part is quite small) Morgan fancies as her blood is also a rare type quite desired.Complete with a rabbit's revival thanks to Litel, Morris given access to view the body of a male blood donor when Morgan is called by police to a crime scene, Morgan and Morris digging up (with a graveyard caretaker's permission) the casket of Xavier to see him not there, Morris getting chance after chance to resurrect his career when most would be on a bus back home to the small town a failure, Bogart looking like a zombie walking around with a scowl (probably intentionally ill with being stuck in this), Morgan quite patient with his persistent buddy reporter always looking for help, and the idea that Morris is always hanging around in the right places to get the goods with Morgan, quite the intellectual and agreeable doctor always level-headed despite the crazy he finds himself involved in, how could this film *not* be of interest to B-movie lovers?
It's a great curiosity because there is definitely something very interesting about seeing the ironically cast Bogart as a vampirish doctor.In the film there is a scene where our newspaper hero pieces together the macabre happenings using articles with Bogie's picture next to them.
The exotic European actress Angela Merrova is played by Lya Lys, who previously had been known for her role in Bunuel's L'Age D'Or. This is no classic, but is still worth seeing for the unexpected appearance of Humphrey Bogart in his only horror movie..
Understandably confused, and out of a job as a result of this mix-up, Garrett consults his doctor buddy Michael Rhodes (fresh-faced Dennis Morgan), and the two go on to confer with Rhodes' hospital mentor, Dr. Francis Flegg (John Litel, who had previously appeared with Bogart in "Marked Woman," "Black Legion," "The Amazing Dr. Clitterhouse" AND "You Can't Get Away With Murder").
And before long, Quesne/Xavier has lured pretty nurse Joan Vance (Rosemary Lane, who had appeared with Bogart in "The Oklahoma Kid" some nine months earlier) into his clutches, to be his next life-sustaining "blood donor"...."The Return of Doctor X," as has been noted elsewhere, has absolutely no relation to "Doctor X," which film had been released seven years previous.
As for Bogart, he is truly creepy and effective here, in his one and only sci-fi/horror film; not exactly a vampire, but rather the resuscitated dead, slaying those who might provide him with his very rare blood type.
THE RETURN OF DOCTOR X has it all: humor, Horror, and Humphrey- Bogart, that is, as a pale, bloodless Vampire in search of you-know-what.
As colorless as Humphrey Bogart's skin in this D grade Warner Brothers' horror film.
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Ghost Rider
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The movie opens with the voice of the Caretaker (Sam Elliot) relating the legend of the Ghost Rider - a damned soul condemned to walk the earth and obey the Devil's orders. A Ghost Rider had been sent to collect a parchment known as the Contract of San Venganza, which holds the power of 1000 evil souls. The Ghost Rider knew that this Contract was pure evil, so he betrayed his heritage and outran the Devil himself.The action changes to a carnival, where the father-son stunt duo of Barton Blaze (Brett Cullen) and his son Johnny (Matt Long) are performing on ramps for the crowd. After the show, Barton chastises Johnny for showing off and being extra reckless in an attempt to impress his girlfriend Roxanne Simpson (Raquel Alessi).Later that day, Roxanne and Johnny meet under a tree, and Roxanne tells Johnny that her father is sending her away. Johnny decides to pack up and they will run away together. They share a kiss before departing.Johnny goes back to his house to find his father asleep, holding a piece of paper. It is a report from a doctor, and the news is not good- he's been diagnosed with terminal cancer. Crushed, Johnny goes out to work on his motorcycle, when he is approached by Mephistopheles (Peter Fonda) who asks if Johnny will perhaps one day ride for him. Mephistopheles mentions Barton's illness, and offers to help. Johnny asks what he could give in return, and Mephistopheles says "Your soul." Johnny, thinking the man crazy or sarcastic, responds "OK." Mephistopheles offers Johnny a contract, and Johnny cuts himself when opening it. Mephistopheles accepts this blood drop as an appropriate signature.Johnny wakes up in bed with Barton energetic and cheerful. Barton confesses to Johnny that he had been sick, but now feels "heathly as a horse." Johnny is stunned. Barton attempts a new stunt at the show the next day (jumping through a ring of fire), but he comes up short and crashes. Johnny tearfully watches his father die while Mephistopheles laughs ominously.Johnny sees Roxanne at the hilltop tree, but does not join her and rides off into the distance. Mephistopheles approaches Johnny, promising that one day he will come for Johnny's services when needed.We fast-forward to 10 years later. Johnny (now played by Nicolas Cage) is the most famous daredevil in the world. He is attempting a new stunt at a sold-out stadium, jumping over a row of parked semi rigs. Johnny clears the targets on the field, but comes up short on the landing, wrecking his bike and sending him crashing into a wall. Johnny's pit crew, led by his best friend Mack (Donal Logue) rush to his side and find Johnny dazed but uninjured. The crowd roars with cheers as Johnny gets back up.Later, as Johnny and his crew are on the road, Mack is perplexed, believing that there is no way Johnny should have survived that crash. Mack suggests that maybe Johnny has a guardian angel, and Johnny mildly suggests that "Maybe it's something else" as he looks out the window, and momentarily sees his face turn into a skeleton with a flash of lightning. Mack and the crew watch a TV advertisement for Johnny's next stunt, taking place in his old hometown. Johnny will be attempting to clear an entire football field (300 Feet), jumping over 50 cars in the process.Meanwhile, another strange figure in black, Blackheart, (Wes Bentley) arrives at a Hell's Angels club out in the desert. He proceeds to kill nearly all of the members with a single touch.Mack and Johnny arrive at Johnny's apartment, where Mack tries to talk Johnny out of doing this new stunt because it seems too risky. Mack is worried because Johnny is becoming increasingly reckless while delving into strange interests (Johnny's apartment has a lot of strange books about the occult). Johnny responds that he is merely looking for "a sign and a second chance."Back at the Hell's Angels bar, Blackheart is approached by 3 elemental spirits; Gressil (earth), Wallow (water) and Abigor (wind) and recruits their help in finding the Contract of San Venganza. The spirits agree even though they are afraid of Mephistopheles (a name that angers Blackheart).Johnny is getting ready for his new stunt when he is approached by a reporter for an interview. To his shock, it is his old girlfriend Roxanne (now played by Eva Mendes). Johnny is so stunned by her arrival that he cannot answer any of her interview questions. Roxanne breaks off the interview and leaves before Johnny begins his jump.Mack joins Johnny on the ramp, feeling relieved now that Johnny has agreed to take the cars out of the jump. Johnny then reveals that he thought of something else to put in, and the stadium roof opens to allow six Blackhawk helicopters to descend in. Mack is angry about this change and demands to know what prompted such an idea. Johnny explains that his father Barton thought it would be cool.Johnny sets up his bike, though his mind is obviously still focused on Roxanne. Without warning, he throttles up and heads down the ramp. After a few tense seconds, Johnny makes it across with a perfect landing. Johnny waves to the crowd and then speeds off.Roxanne and her news van are riding down the expressway when they are confronted by Johnny. Johnny pulls a few stunts to get the van to stop so he can talk to Roxanne. Roxanne relents, telling Johnny to meet her in the restaurant of her hotel later that evening. A group of motorists angry at the stop of traffic storm over to see what is happening, but when they find out that Johnny Blaze is on the freeway they swarm around asking for autographs.Blackheart and his gang confront Mephistopheles, the man in black who made the contract with Johnny. Mephistopheles warns them about trying to take the contract of San Venganza, and threatens them with the Ghost Rider. Blackheart is unafraid. It is revealed through this conversation that Blackheart is Mephistopheles' son.Johnny is preparing for his date with Roxanne when he notices his hands glowing bright red. He washes them only to observe steam rising off his palms. Johnny goes out into the alley to find a brand-new motorcycle revved up and waiting for him. Mephistopheles appears, revealing that he has decided to invoke Johnny's services. Mephistopheles explains that he has been keeping Johnny alive all this time so that this day could come. Mephistopheles compels Johnny to get on the new bike and sends him off after Blackheart, offering to return Johnny's soul if he is successful.Johnny's new bike sets off at such a speed that it burns a trail of fire and destruction through the town.Blackheart and his gang arrive at a train yard where they are confronted by the night watchman. Blackheart is curious, stating that this land was once a cemetery. The watchman explains that the graves were moved by St. Michael's Church, and Blackheart kills him.Johnny arrives and dismounts the bike, thrashing in pain. Fire erupts from his feet and hands, as Johnny roars with a mixture of pain and evil desire. Finally his head bursts into flame, revealing a skeletal skull. Johnny Blaze has become the new Ghost Rider.Blackheart confronts the Ghost Rider and sends in his elementals to fight. Ghost Rider grabs some chains off a nearby wall to use as weapons but ist stopped when Gressil drives a truck into the building. Ghost Rider erupts from behind the truck, lighting one of his chains on fire and ensnaring Gressil. Gressil screams in pain as he is turned to stone and dissolves.Ghost Rider whistles and his motorcycle appears. He touches the gas cap and the motorcycle transforms into a firey skull-and-chain entity, much like the Ghost Rider himself. He rides through town and spots a young woman being mugged. He grabs the mugger (who stabs him, but the knife merely melts off in Ghost Rider's body). Ghost Rider commands the mugger to "Look into my eyes." The mugger screams in horror as his memories of past crimes come back to haunt him. When this torture is finished, Ghost Rider tosses the mugger aside.Ghost Rider ends his drive through town on the outskirts, obviously growing weaker by the oncoming morning. He arrives in a cemetary and slowly but painfully changes back into Johnny Blaze. Johnny collapses at the headstone of his father, Barton.Roxanne, angry at Johnny for standing her up, reports on the chaos in town. The police find a license plate during the investigation that belongs to one of Johnny Blaze's bikes.Johnny is found by the Caretaker, who offers help. Johnny is skeptical at first, but relents. The Caretaker explains that the Ghost Rider is essentially "the Devil's bounty hunter," who must hunt down anyone escaping from hell. Furthermore, the Ghost Rider only appears at night or in the presence of evil. Johnny remembers what he did to the mugger, and the caretaker explains that that was the Ghost Rider's greatest weapon - the Penance Stare. It makes anyone who feels it experience the pain of every sin they have caused.The Caretaker explains the story of the last Ghost Rider, and the town of San Venganza's souls. He also reveals that the spirits following Blackheart are The Hidden- fallen angels cast out of Heaven. Johnny leaves to take care of some business, which the Caretaker advises against (Blackheart and The Hidden cannot come onto sacred ground such as the cemetery, so Johnny would be safer staying there).Johnny looks at the devastation caused by last night's events. He meets Roxanne, who is very mad at him. Johnny goes back to his apartment and does some research about "fire elements," and is able to display a minor degree of control over his new powers. Roxanne arrives and asks him what has been going on with Johnny. Johnny decides to be honest with her, but Roxanne does not accept his story (selling the soul to the devil and becoming a bounty hunter), thinking he is either lying to keep her away or has gone insane.Johnny walks outside and the police arrest him, thinking him responsible for the previous night's murders. Johnny denies any involvement, and the police throw him in a holding cell. The inmates recognize Johnny, and decide to attack him out of revenge for never seeing him fail in his stunt shows. One young inmate stands up for Johnny but he is knocked aside. The remaining inmates jump on Johnny, who effortlessly transforms into Ghost Rider and defeats them all.Ghost Rider steals the lead thug's jacket and gloves, making small spikes emerge from the metal detailing. Ghost Rider proceeds to burn through the cell bars and leaves. He hesitates for a minute in confronting the young inmate who stood up for him, then proclaims the young man to be "Innocent" and walks off.Blackheart is seen at St. Michael's Church, asking the minister about the Contract of San Venganza. The minister denies any knowledge, so Blackheart kills him. Upon learning that Ghost Rider is active again, Blackheart sends Abigor to deal with him.Ghost Rider reclaims his motorcycle and escapes from police custody. The cops quickly give pursuit, eventually trapping him in a dead-end alley. Ghost Rider merely tilts his motorcycle and proceeds to ride straight up the building! Roxanne, in a building across the block, is packing to leave when she looks out and sees the strange display.Ghost Rider confronts Abigor on the rooftop, but they are ambushed by a police helicopter. Ghost Rider uses his chains to throw the copter away from the roof so they do not interfere. Ghost Rider then attempts to catch Abigor just like he did with Gressil, but Abigor uses his wind powers to escape. This gives Ghost Rider an idea: he ignites a chain and spins it, causing a cyclone that pulls in Abigor. After a few minutes of resistance, the Wind Spirit is destroyed.The police attempt to apprehend Ghost Rider as he comes down from the roof. Ghost Rider attempts to resist, until he spots Roxanne in the crowd. The flames on Ghost Rider's head grow fainter as he approaches Roxanne. The police see this as an advantage and open fire with their weapons. Ghost Rider conjures a wall of flame and escapes, retreating to the cemetery.The Caretaker finishes the story of the Contract of San Venganza by telling Johnny about the previous Ghost Rider - a former Texas Ranger named Carter Slade. Slade became corrupt and made a deal with Mephistopheles to save his life. When Carter Slade saw what was happening at San Venganza, he took the Contract and hid it. The Caretaker puts forth the theory that Carter was buried with it.Roxanne returns to Johnny's apartment where she meets Mack. Mack talks bout how Johnny has had weird interests recently and Roxanne begins to fip through some of Johnny's books. She is now convinced that what Johnny told her was true. Blackheart suddenly appears and kills Mack.Johnny returns to find Mack dead and Blackheart holding Roxanne captive. He transforms into Ghost Rider and attempts to use the Penance Stare on Blackheart. He merely laughs, explaining that the Penance Stare will not work on him because he has no soul. Blackheat agrees to free Roxanne if Johnny brings him the Contract at the ruins of San Venganza by morning.Johnny returns to the cemetery, vowing to dig up the entire place if need be. The Caretaker shatters his shovel, revealing a rolled-up parchment in the handle. It is the contract. Johnny decides to take it and have a final fight with Blackheart. The Caretaker relents, thinking that Johnny's circumstances make him unpredictable and he just might have an advantage.The Caretaker whistles, summoning a mysterious horse from the shadows. He climbs on and bursts into flames. The Caretaker reveals that HE is Carter Slade, the previous Ghost Rider. Both Riders head out to San Venganza.Carter escorts Johnny to San Venganza, but then collapses. Carter explains that the trip has exhausted the last of his Ghost Rider powers. Carter gives Johnny a shotgun and then rides off into the sunset, ready to face eternity for his actions.Johnny is riding into San Venganza when he is ambushed by Wallow, the last surviving Hidden. Wallow pulls Johnny underwater, trying to drown him. Johnny counters by transforming into Ghost Rider and superheating the water, evaporating Wallow.Blackheart appears with Roxanne in custody. He lets Roxanne go as Johnny hands over the contract. Before Blackheart can take the Contract, Johnny transforms into Ghost Rider and attacks. Blackheart manages to fight off Ghost Rider's attacks and reads the Contract, commanding the spirits within the town to join with him. The spirits emerge and unite with Blackheart, who then proclaims "My name is Legion; for we are many."Roxanne attacks Legion with Carter Slade's shotgun. It wounds him but does little to slow his advance. Johnny catches the shotgun and infuses it with his Ghost Rider powers, turning it into a hell-fire weapon. The blast disintegrates Legion, but he effortlessly begins to reform.Johnny realizes that Legion now has all thousand souls from San Venganza trapped within him, and has made himself vulnerable to Ghost Rider's greatest weapon. He transforms into Ghost Rider one last time and traps Legion long enough to use the Penance Stare. Legion screams in agony as the sins of one thousand souls pass through his body. Legion reverts to Blackheart and dies, the Penance Stare having succeeded once again.Mephistopheles arrives and congratulates Johnny on his success. He offers to take back the Ghost Rider powers, but Johnny refuses. He decides to keep the powers and use them against Mephistopheles' evil. He is angry but he cannot take back the power by force, and vows to make Johnny pay.Johnny and Roxanne share an emotional farewell as Johnny vows to head out and go wherever the road takes him.
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paranormal, psychedelic, flashback
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train
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imdb
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tt0068230
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Asylum
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The young Dr. Martin goes to a job interview at a psychiatric hospital. Thinking he would meet Dr. Star, he instead meets with his assistant Dr. Rutherford. Dr. Martin is confused until he finds out that Dr. Star can not interview him because he has just gone insane! Dr. Star is now a patient instead of the director.
Dr. Rutherford wants Dr. Martin to interview several patients as a test of his competence for the position. Rutherford is behaving oddly but Dr. Martin complies with the test. The first patient is Bonnie and her tale in this anthology is called "Frozen Fear". Bonnie is having an affair with a married man named Walter. His wife, Ruth is aware but is not letting him go. So, Walter takes her to the basement and kills her with his ax and freezes her as he wishes her to rest in pieces. Then he calls Bonnie to tell her that the deed is done. They are going to take a plane and then they decide to take Ruth's frozen pieces along to dispose of them. Oh but there is a problem. Ruth's pieces escape and she gets her revenge by choking Walter to death and her head and other parts send Bonnie over the edge and into the Asylum in a very creepy sequence. Of course Ruth made sure that Bonnie was framed and left scarred forever.
The next patient is named Bruno and his tale is the "Weird Taylor" and he tells it to Dr. Martin as he is sewing a garment. Bruno is in danger of being evicted and losing his tailoring business. As his and his wife's fear and stress mount, a stranger (Peter Cushing) arrives, offering a large sum for an unusual job. Bruno works on the suit of strange material, and then delivers it at midnight as instructed to. He travels to the large mansion to find that his customer is broke so they must wait for his son to return for the tailor to be paid. Then Bruno learns that the stranger's son is a corpse and the two begin to fight. Peter Cushing drew a gun and of course was killed, like he is in all of his movies. Bruno returned home after taking a rare book as payment. Bruno's wife puts the suit on a mannequin. When the couple fights over the murder of the stranger, the mannequin comes to life and settles the score. Next the Dr. visits with Barbara and she her story, " Lucy comes to stay". Barbara's brother George, and his assistant Miss Higgins bring her home from the mental hospital and are quite controlling. Then Miss Higgins' mother is ill so she and George leave to see her. Barbara stays home and that is when Lucy appears. The beautiful Lucy greets Barbara and shares her plan. Lucy is adventurous and mischievous and proves that as she cuts the phone lines and manipulates Barbara. Much to Barbara's shocking dismay, Lucy did not just use the shears to cut the lines, but she buried them into George's chest. And Miss Higgins who has just returned, is next. Who was Lucy? Was she a ghost, a villain , or a second personality? You must watch to unravel this one.
The last patient is a man that calls himself Baron. He tells the tale of "The Deadly Mannequins".
Baron claims to be a Dr. and tells Martin that Rutherford is a liar.Dr. Martin has seen enough and is disgusted with how the hospital is run and how no attempts to bring the patients back is made. As Martin lectures Rutherford, Baron and Dr. Star, unleash a surprising but deadly force to destroy Rutherford. Which Dr. or Drs. meet their doom? The answer is hidden in the absolutely chilling and outstanding conclusion brought to you by Dr. Star! Of course, now Star is ready for his next interviewee.
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cult
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train
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imdb
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Dr. Martin speaks to four different patients in an attempt to discover who used to be the psychiatrist and each patient relates to him their own particular terrifying story.Robert Bloch, the man responsible for writing the novel of one of horrors greatest movies, Psycho (1960), writes for us four intriguing and pleasurable short horror pieces bound together wonderfully in the confines of an asylum.
A wonderful performance from Barbara Parkins of Valley of the Dolls (1967) fame in the role of Bonnie caps the segment exquisitely and the climatic scene back in the asylum following the story give the segment an overall horrific nature.This segment is followed by The Weird Taylor which stars Peter Cushing as a devastated father who turns to the occult to resurrect his deceased son.
Although, unlike the other Amicus anthologies, the linking story is much more prominent and as such acts as a fourth.The movie starts with Robert Powell as a young doctor driving to an Dunsmoor Asylum, an asylum for the incurable insane.
But Barry Morse should be given recognition for giving the performance of his career as the somewhat nervous tailor trying hard to get the suit finished in time.The third story sees Charlotte Rampling returning home after a stay in a mental hospital.
Short, but effective and creepy with a terrific ending even if we are required to suspend disbelief quite a bit in a few scenes."The Weird Tailor": a tailor desperate for money agrees to, at the request of an unusual elderly customer (played by Peter Cushing), to make a special suit out of a very strange type of fabric.
It's helped considerably by having Robert Bloch adapt his own stories, Roy Ward Baker ('The Vampire Lovers', 'Dr Jekyll and Sister Hyde') as the director, and it features a first rate cast including horror legends Peter Cushing, Patrick Magee, and Herbert Lom. The most effective stories for me were the two in the middle - the one with Barry Morse as a tailor with a mysterious client (Cushing), and the other with a fragile Charlotte Rampling being led astray by the sexy Britt Ekland.
Asylum is well written by Robert Bloch (who adapted his own stories) and solidly directed by Roy Ward Baker, who also did some good work for the famous `Hammer' corporation.
The success of "Asylum" is not simply due to it's terrific cast -- Peter Cushing (who appeared in nearly all of Amicus's portmanteau films), Herbert Lom, Patrick Magee, Richard Todd, Britt Ekland, Barbara Parkins, Charlotte Rampling, Sylvia Sims, Robert Powell, Barry Morse and the undersung Geoffrey Bayldon -- or its intriguing stories by American author Robert Bloch (who also scripted "Torture Garden" and "House that Dripped Blood"), but also the down-to-earth direction by Roy Ward Baker.
Baker manages to keep his, Bloch's, and his actors' tongues all out of their cheeks, and the film is all the better for it.The framing story concerns a new doctor (Powell) interviewing at a remote asylum, and being challenged by the doctor in charge (Magee, a brilliant Shakespearean actor who all too often ended up doing inferior horror films) to identify the former director of the place, who is now an inmate.
Portraying a neophyte doctor coming to an insane asylum and having to guess which patient is the former head doctor, they know how to do most things right.The vignettes show two people plotting to kill a woman who, unbeknownst to them, practiced voodoo; a tailor having to make a most unusual suit; a woman and her "friend"; and a mannequin maker.
Linking story: this was one I had for some reason missed out on a number of times on TV, and I'm certainly glad I've watched it now in this definitive DVD edition; it has perhaps the best linking narrative of the three Amicus anthologies in the set, with Moussorgsky's "Night On Bald Mountain" music (to say nothing of a remarkable sequence of shots where the protagonist, and us with him, is mesmerized by a number of disturbing illustrations that are lined up on the walls along the asylum staircase) effectively setting the scene for its rather weird psychological concept that someone can 'hide' in the person of another (actually recalling the original story that THE THING FROM ANOTHER WORLD [1951] was based on, though I wonder how intentional this was...then again, John Carpenter's 1982 version was still ten years away, so perhaps Robert Bloch thought that an idea discarded by Howard Hawks was certainly good enough for him!); anyway, the cast is pretty strong even for a mere 'device' such as this sequence appears to be (alas, the one with John Bryans and John Bennett for THE HOUSE THAT DRIPPED BLOOD [1970] doesn't quite cut it in comparison though, as in that film, the fourth story here is effectively integrated with the scene-setting narrative), led by a fresh-faced but credible Robert Powell, a surprisingly subdued Patrick Magee and the characteristically Machiavellian figure of Geoffrey Bayldon."Frozen Fear": while no one individual episode particularly stands out from the rest, all are played for what they're worth by a succession of fine performers starting with Barbara Parkins, Richard Todd and Sylvia Syms in the first story; the central idea of dismembered limbs taking a life of their own is preposterous really (though I guess it can be explained by the mystical amulet worn by the Sylvia Syms character) but quite cleverly done actually (and it's certainly not a first - or last - for Amicus themselves); it does, however, give a distinctly surrealistic flavor to the scene that kind of offsets its inherent grimness and sensationalism."The Weird Tailor": the second story is also the longest and, in a way, most effective one; Barry Morse dominates this segment as the pitiful tailor asked by the mysterious and typically fussy Peter Cushing (who gets a memorable entrance here) to make him a suit from a rare and very special fabric; the center-piece takes place in Cushing's mausoleum-like mansion, where the grief he shows over his dead son is all too real for the actor himself - having lost his beloved wife of many years only a few months before (in fact, I'm surprised Cushing accepted such a role); the final twist is quite effective, and also looks forward to the fourth episode in the film."Lucy Comes To Stay": there is some consternation regarding this segment because it is said to slow down the film (allegedly it was originally intended as the opening story but producer Milton Subotsky changed the order of the scenes in Robert Bloch's script around) but I really didn't feel that it affected the overall pace of the film in any major way; if anything, it's the most 'realistic' of the four episodes (preceding the last, and perhaps most fanciful, tale) with fine performances by all concerned but especially, of course, Charlotte Rampling and Britt Ekland - whose relationship to one another (misleadingly hinting at lesbianism throughout) is a bit too close for comfort; the final revelation is not particularly startling in this case, but subtly handled nonetheless."Mannikins Of Horror": its 'soul transference' concept tying up to a degree with the main idea of the film, this bizarre installment is taken as far as it can go without crossing the boundary into the ridiculous; the robots on display here are clumsy, unattractive machines but their 'supernatural' connotations (echoes also of the superb "Sweets To The Sweet" story from THE HOUSE THAT DRIPPED BLOOD) certainly make for an effectively nasty climax, and Herbert Lom is persuasive in his small but incredible role; as in THE BEAST MUST DIE (1974), by the end we have to guess the true identity of one of the characters we got to meet during the course of the film - this one is not too difficult perhaps, but the sudden burst of violence that it produces (not to mention an ironic conclusion) gives the whole an unsettling power that is hard to shake off!
Martin will be given a tour of 'upstairs' by Reynolds, the asylum orderly, and be taken round each case in order to see if he can identify which one really is Starr.This leads to compendium style stories as we look back into the past of each patient - which one of these stories is actually true?It must be said the whole cast appear to be having a whole heck of a lot of fun, and star turns from the likes of Patrick Magee, Peter Cushing, Brit Ekland and Charlotte Rampling ensure there's a quality behind the lunacies.Daft in places?
Other stories have Charlotte Rampling and Britt Ekland as murderous alter-ego's; Peter Cushing making a small guest appearance in a story concerning bringing the dead back to life with a special set of clothes; and Herbert Lom as the mad creator of small living voodoo dolls.
The first story is about a wife's dismembered corpse getting revenge on her cheating husband and his lover; the second has Peter Cushing commissioning a down-and-out tailor to create a special suit; the third (and by far least impressive) has two unbalanced females conspiring against their captors; and the fourth is, well...have you seen the Twilight Zone episode entitled "The Invaders"?
He hears stories about 1) the revenge of a murdered wife, 2) a tailor who makes a suit with some highly unusual qualities, 3) a woman who questions her sanity when it appears that her brother is conspiring against her, and 4) a man who builds tiny toy robots with lifelike human heads.With direction from Roy Ward Baker and with stories adapted from the work of Robert Bloch ("Psycho"), how can you go wrong?
Even taking its tendency towards predictability into account, it's highly enjoyable stuff.The young Dr. Martin (Robert Powell) is interviewing for the top job at a mental asylum; the man who seems to be in charge, Dr. Rutherford (Patrick Magee), tells him that if he can answer a riddle, he will get the job.
Bruno desperately needs a paying customer like Mr. Smith in order to pay his rent, but he'll find that there are worse things than losing one's place of business, as the job of manufacturing a suit from the strange material provided by Smith has macabre consequences.The story of Barbara (Charlotte Rampling) is related in "Lucy Comes to Stay".
Barbara has gotten out of a mental hospital, and must take the bad with the good as her reckless "friend" Lucy (Britt Ekland) does what she feels is best for Barbara.Finally, we and Dr. Martin are introduced to Herbert Lom's Dr. Byron in "Mannikins of Horror".
Dr. Byron has created some intriguing little robotic figurines, one in his own likeness, that supposedly contain organic matter inside.The last story is brief as Dr. Martin (incorrectly) then thinks he's figured everything out, and has it out with Dr. Rutherford, disgusted by his methods, only to have everything go bad quite quickly.The resolution is delicious (with our antagonist breaking the fourth wall before the end credits begin rolling), and a peerless cast makes the most of the material, written by Robert Bloch of "Psycho" fame.
I saw several films that contain several short stories in themselves.Films like FOUR ROOMS,NEW YORK STORIES were directed by a number of directors.Woody Allen's EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX * BUT WERE AFRAID TO ASK was a one director film.All of these films disappointed me and I therefore have a slight problem with this kind of movie.Only THE HOUSE THAT DRIPPED BLOOD was good,but still not a classic.ASYLUM is a film that also contains several short stories that all have different actors.The only enjoyable story is the second one with the English horror master Peter Cushing,he saves this film from total destruction.The rest of the stories are so far fetched that it becomes hilarious.
Besides Peter Cushing the other good performance comes from Patrick Magee(A CLOCKWORK ORANGE)as the head of the asylum.The opening and end credits score was quite brilliant but I'm not sure that it is an original composition,I've heard it somewhere before but I don't know where.For good English horror don't watch this movie,there are several numerous better examples like the brilliant horror classic DRACULA of 1958.
ASYLUM: Director: Roy Ward Baker (Amicus Productions)This timeless quartet of torrid tales comes from the pen of the master-of-macabre, Robert Bloch, each superbly told by the inmates of an English mental institution for the criminally insane.
Although it's not in the same league as "The Vault of Horror", this gem of a movie still presents some enjoyable stories with Robert Powell as a young psychiatrist who must interview four patients inside the asylum in order to find out which one is Dr. Starr, in order to get the job on offer..
Really it's not the tailor that is so weird - it's more the man that ordered the suit that is odd (played wonderfully by Peter Cushing).The third story, "Lucy Comes to Stay", is about a woman who thinks her brother is plotting against her and wonders if she's gone insane.
Roy Ward Baker directed this horror anthology set in a mental asylum, as a new doctor is introduced to the back stories of four inmates: 'Frozen Fear' - A man is terrorized by his murdered wife.
"Asylum" features some very effective direction from Roy Ward Baker, a playful and quite ingenious script from Robert "Psycho" Bloch, an excellent score by Douglas Gamley, and a sicko surprise ending that I doubt anyone will see coming.
The house of Amicus productions brings to us a horror anthology directed by Roy Ward Baker and written by "Psycho" scribe Robert Bloch.
Not a bad trick since she was dismembered!.'The Weird Taylor' has Peter Cushing as a grieving father who will do anything to bring his deceased son back to life.'Lucy Comes to Stay' features Charlotte Rampling and Britt Eckland in a murderous spin on the "imaginary friend" angle.'Manikins of Horror' is the last story which stars Herbert Lom as a maker of little robotic dolls that have worryingly realistic faces.All of which leads us to the finale where we get a nice and rewarding twist.
Robert Bloch, who has written the script to Alfred Hitchcock´s all time-classic "Psycho" strikes again: casted with excellent actors as well as the who-is-who of the British horror film featuring Peter Cushing, Herbert Lom, Britt Ekland, Patrick Magee, Charlotte Rampling, Barry Morse, Barbara Parkins, Robert Powell and Sylvia Syms.
A marvellous cast is assembled for one of the last Amicus anthology films (Vault of Horror and Tales that Witness Madness followed a year later).Nevertheless, despite the macabre framework story in the asylum, which is underpinned by suitably sombre contributions from Patrick Magee (possibly his best performance in a horror film!) and Robert Powell, the stories are basically ordinary.The plot, which revolves around a young psychiatrist's puzzle to determine the identity of the Asylum's Director Dr. B.
However, Barbara has a friend named Lucy (Britt Ekland) who, as it turns out, isn't a very nice person................Finally Max introduces Martin to Byron (Herbert Lom) who, like the others, has a story to tell.
This was probably the very first old fashioned horror tale in these anthologies that actually gave me the willies, very creepy.Second patient who is an ex-tailor, tells us of a mysterious man (the mighty Cushing) who orders a fine suit to be made out of a special material.
A well made but somewhat dislikable "Amicus" anthology of Robert Bloch horror stories made to cash in on the success of "Tales From The Crypt".Dr Martin (Robert Powell) arrives at the Dunsmoor Lunatic asylum for a job interview, where Dr Rutherford (Patrick Magee) gives him the task of identifying which of the patients is the former head doctor gone mad.
unfortunately, the creepy wheelchair bound CURRENT head Doctor; Rutherford(Patrick Magee)tells him that Starr has gone insane and is now one of the patients; and that the only way to get the job is to identify the Doctor.So our hero and the deceptively benign orderly; Max(Geoffrey Bayldon) begin interviewing four patients with the the same first letter in their names; Bonnie, Bruno, Barbara and Dr. Byron(Herbert Lom) after hearing the first three's stories involving living severed limbs, magic jackets and an imaginary friend; Martin discovers that the seemingly complacent(at first) Dr. Byron is about to turn his visit to the asylum into a REAL horror story...Although it drags a bit and the twist-ending is so random and messed up(it makes NO sense in the context of ANYTHING) and the stories are all fairly average(each involves somenthing that shouldn't come to life doing just that either literally or figuratively)the film is quite enjoyable, and it's worth seeing for the guest-appearance's by Peter Cushing, Britt Ekland etc.
'Asylum' is an anthology film from the Amicus Company, based on stories by Robert Bloch.
From there, this becomes an anthology like horror film where each of the mental patients stories are told.
During a job interview for the position of senior houseman at an insane asylum, Dr. Martin (Robert Powell) is set an unusual test by Dr. Rutherford (Patrick Magee): after talking to four of the institution's incurably insane patients (played by Barbara Parkins, Barry Morse, Charlotte Rampling and Herbert Lom), he must try and identify which of them was once the asylum's director, Dr. Star.It's got a cool setting, a great cast, and a decent enough director in Roy Ward Baker, but the success of any anthology horror film ultimately lies in the strength of its tales, and this collection of the macabre from Psycho scribe Robert Bloch just isn't quite up to scratch.The first tale, 'Frozen Fear', as recounted by pretty patient Bonnie (Parkins), is probably the best of the bunch and sees her adulterous lover Walter (Richard Todd) turning to murder to escape his marriage, chopping up his wife and storing the pieces in a chest freezer; she doesn't stay dead for long, however, her assorted body parts crawling out to seek revenge.
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tt0084726
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Star Trek: The Wrath of Khan
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A female Vulcan sits in the command chair on the bridge of the U.S.S. Enterprise. While the senior crew and some cadets work at their consoles, the officer, Saavik (Kirstie Alley), makes a log entry, then orders Commander Sulu (George Takei) to project a course to avoid entering the Neutral Zone at the Klingon frontier.Suddenly, Uhura (Nichelle Nichols) receives a distress call from the Kobayashi Maru, a ship that has struck a "gravitic" mine near Altair VI, inside the Neutral Zone. Despite warnings from both Sulu and Spock (Leonard Nimoy), Saavik orders the ship to enter the Zone in order to beam the survivors aboard. Upon entering the Zone, the Enterprise is confronted with three Klingon battle cruisers, which open fire. The Enterprise is heavily damaged; many of the bridge officers are killed. Saavik has no alternative but to order the surviving crew to abandon ship.The filtered voice of Admiral Kirk (William Shatner) is suddenly heard. The bridge viewscreen slides aside, revealing a lighted room beyond. The Kobayashi Maru was a Starfleet Academy test, one Saavik does not believe to have been a fair test of her abilities. Kirk explains that the no-win scenario is a situation every commander may face, and that how one faces death is equally important as how one faces life. Saavik seems ruffled at the advice, but Kirk offers that now she has "something new to think about." As he leaves, McCoy asks Kirk why the Enterprise will not receive an experienced crew. Kirk replies that space exploration should be left to younger crews, a remark that puzzles Uhura.Outside the simulator room, Spock awaits Kirk's opinion of the cadets' performance. Kirk notes that the trainees wreaked havoc with the simulator room and Spock alike. Spock recalls Kirk's own Kobayashi Maru, noting that Kirk himself took the test three times and that his final solution was "unique." Kirk then thanks Spock for his birthday present, an antique copy of Charles Dicken's "A Tale of Two Cities." Spock then leaves to catch a shuttlecraft to board the Enterprise and await Kirk's arrival--he will later inspect the ship.Kirk then retreats to his apartment, to be greeted by Dr. Leonard McCoy (DeForest Kelley), who presents him with two gifts; a bottle of finely-aged Romulan ale and a pair of antique eyeglasses. Noticing Kirk is going through a mid-life crisis, he questions whether Kirk really wants to carry on the duties of an admiral, or to be "galaxy hopping" in a starship. McCoy urges Kirk to get back his starship command, and the two share a drink sitting by the fireplace.Meanwhile, Commander Chekov (Walter Koenig) is on board the U.S.S. Reliant, which is orbiting the planet Ceti Alpha VI. The crew is searching for a lifeless planet to satisfy the requirements of a test site for the "Project Genesis" experiment, a terraforming program proposed to the Federation by a group of scientists. Although Ceti Alpha VI should be incapable of supporting life, Chekov detects a minor energy reading on a scanning device. Chekov and Captain Terrell (Paul Winfield) beam down to the surface to investigate. Upon arrival, they fight their way through a blinding sandstorm until they discover and enter what appears to be a crashed derelict vessel.They soon discover that the derelict is actually cargo containers assembled together from the S.S. Botany Bay, a ship Chekov remembers all too well. Panicking, he rushes a confused Terrell toward the exit, only to find that a group of strangely-dressed people are waiting outside. Chekov and Terrell are taken prisoner, and their captor reveals himself as Khan Noonien Singh (Ricardo Montalban). He identifies the rest of his group as the remaining survivors of his crew. Khan reveals that 15 years earlier, Captain Kirk exiled Khan and his followers to Ceti Alpha V after the genetically-engineered supermen nearly captured the Enterprise (a reference to the Star Trek episode 'Space Seed'). Khan says that six months after they were marooned, Ceti Alpha VI exploded, destroying Ceti Alpha V's ecosystem and shifting its orbit and position in space. The crew of the Reliant thought they were orbiting Ceti Alpha VI, when in reality they were orbiting Ceti Alpha V instead.Khan blames Kirk for the death of his wife (presumably Lt. Marla McGivers, an Enterprise crewmember who joined Khan in exile) and plans to avenge her. In order to find out why the two are there, Khan forces juvenile Ceti eels (unpleasant-looking creatures) into their ears. Once inside their victims, Khan explains, the eels wrap themselves around the cerebral cortex of the brain, rendering the victim subservient to any command and to interrogation. Khan explains further: As the eels grow and mature inside the brain, the victim is slowly driven insane, followed later by death. Using Chekov and Terrell as his servant, Khan and his henchmen to seize control of the Reliant and escape Ceti Alpha V.Under the command of now-Captain Spock, the Enterprise is being used to train Starfleet Academy cadets, and Kirk, McCoy, Uhura, and Sulu come aboard to assist in a short training cruise. Kirk is inspecting the trainee crew, who are learning the ropes on Enterprise. Later, Kirk receives a distress call from Regula I, a research station that is the Project Genesis base. Kirk orders the call to be patched through to his quarters, a communication he is nervous about since he and the head of the Genesis project, Dr Carol Marcus, (Bibi Besch), were romantically involved in the past, a relationship that went sour and resulted in the birth of their son, David who works with his mother on Regula.A furious Carol asks him why he is taking the Genesis Project away from her. Kirk is confused and incredulously denies having any involvement with it. The transmission becomes garbled and communication is soon lost: Khan is luring Kirk to Regula I by having a now-brainwashed Chekov inform Carol that Kirk had ordered them to take possession of the Genesis Device. The Reliant will be coming to the station in three days to take the Genesis equipment. Carol contacted Kirk to confirm the order, but the signal is jammed by Khan, with only bits and pieces of the message going through. Kirk, after consulting with Starfleet Command, assumes command and orders Enterprise to set a course for Regula I.While en route, Kirk asks Spock and McCoy to join him in familiarizing himself with the Genesis project. A video, hosted by Carol Marcus explains that the project involves the sophisticated terraforming of dead planets, making them habitable. Because the video was produced a year before, Kirk assumes they've reached "Stage Two" of the project. McCoy asks what the result of using such a device on a living world would be and Spock concludes it would destroy any existing life. McCoy sees the project as a dangerous venture that could be turned into a deadly weapon and is angry at Spock's logical attitude about the dangers. Just at that moment, Saavik calls them over the intercom and tells them that they've made contact with Reliant.The Enterprise approaches Reliant. Despite being unable to contact Reliant, Kirk is unconcerned at first and is reluctant to raise shields as, Saavik reminds him, regulations prescribe. He orders a yellow alert. The Reliant raises its shields, powers up its weapons, and opens fire. The Enterprise is caught off-guard and is badly damaged. Having been on board the Enterprise once before, Khan knows exactly where its weak points are, disabling the Enterprises' main energizers and warp core, leaving only auxiliary power on the ship, and mortally injuring several cadets, including Midshipman 1st Class Peter Preston (Ike Eisenmann), Scotty's (James Doohan) nephew. Engines are down, shields inoperative, and there is only enough power for a few short phaser shots, which isn't enough against Reliant's shields.Khan hails Kirk, who is shocked to see Khan in command of the Reliant. Khan arrogantly announces his plans to destroy the Enterprise, to which Kirk pleads with Khan to take him as prisoner and spare his crew. Khan agrees, but also demands all information on the Genesis Device. Kirk pretends to comply, but he actually has Spock transmit a signal using Reliant's prefix code that causes Reliant to lower her shields. Despite Khan's intelligence he is still very inexperienced with a starship. When he realizes what Kirk is doing he is unable to immediately locate the controls to override the command lowering the shields. With the few shots auxiliary power can give him, Kirk is able to fire at the Reliant, damaging photon control and the warp drive. Khan is reluctant to withdraw, but his followers remind him that Enterprise, with its disabled power systems, can't escape. Both ships limp away for repairs and the match ends in a stalemate. Sulu congratulates Kirk on his victory, however Kirk admits that he'd misjudged the situation and encourages Saavik to quote Starfleet regulations whenever applicable.Kirk surveys the wounded in sickbay and attends to Peter Preston on his deathbed. With impulse power restored, the Enterprise arrives at Regula I. Kirk assembles a landing party, and Saavik reminds him of General Order 15 barring him from beaming into a dangerous situation without armed escort. They find the station abandoned and several of the station's scientists murdered, and discover Chekov and Terrell, semi-conscious and abandoned inside a storage container. Terrell and Chekov, still quite dazed, relate their experiences with Khan and tell Kirk that Khan is quite insane. When asked where the crew of the Reliant are, Terrell says they were marooned by Khan on Ceti Alpha V. They find that the station's records of the Genesis Device have been erased by the Regula staff. Exploring the station leads them to a transporter that has recently been activated. Checking the coordinates, Kirk realizes they beamed into the Regula asteroid nearby, assuming they'd gone to where Phase II of the Genesis experiments were conducted. Kirk asks for a damage report from the Enterprise. Knowing that Khan is listening to their communications, Spock exaggerates and reports that "by the book, hours would seem like days" and that transporters will be available in two days, hinting to Kirk that they can be beamed back in about two hours.Using the transporter coordinates, they beam down to the asteroid and materialize inside a chamber. The Genesis Device is there, but before Kirk can move, he is attacked by his and Carol's son, David Marcus (Merritt Butrick), who accuses Kirk of trying to steal Genesis. Carol tries to defuse the situation, but before she can elaborate, the team is threatened by Chekov and Terrell. Terrell and Chekov reveal they are still under Khan's control and Terrell is ordered by Khan to kill Kirk. Terrell, however, resists Khan and the eel causes him extreme pain. To escape it he turns his phaser on himself and is vaporized. Chekov collapses and the Ceti eel slurps out of his ear and is promptly destroyed by Kirk. The Genesis Device is suddenly beamed away. Kirk grabs Terrell's wrist communicator and taunts Khan, telling Khan that he'll have to come down to the planetoid if he wishes to kill Kirk. Khan, shocked to find Kirk alive and well, vows to leave him marooned on Regula for eternity. Khan cuts off communication with his enemy.Kirk avoids Carol and David's questions about Khan by asking for food. Carol and David show Kirk, McCoy and Saavik the Genesis cave, which was created by a smaller Genesis Device: deep within Regula a stable ecosystem now exists, having been created in one day. Before Kirk and Carol join them, the two talk briefly about their past relationship and reach a moment of reconciliation.In the cave, Saavik asks Kirk, who is casually eating an apple, about his performance on the Kobayashi Maru scenario. McCoy tells her that Kirk is the only one to beat the no-win scenario. However, Kirk admits he reprogrammed the simulation. David chuckles and says he cheated, and Kirk qualifies that he "changed the conditions of the test" also citing that he'd received praise for "original thinking" and that he does not believe in the "no-win" scenario of the Kobayashi Maru test. Kirk then promptly contacts Enterprise and Spock says they should prepare for transport. Kirk smiles at a dumbfounded Saavik and asserts that he doesn't like to lose. Saavik questions what happened throughout the transport and Kirk reminds her of Regulation 46A: Spock had modified his report (hours instead of days) to deceive Khan because their adversary may have been monitoring Enterprise's transmissions.Unfortunately, the Enterprise cannot defend itself against Reliant. Spock suggests the Enterprise set course for the nearby Mutara Nebula, where ionized gases will disrupt the sensors and shields of both vessels, essentially rendering them blind and evening the odds. Khan orders Reliant to pursue, but his crew is reluctant, as they know the shielding and sensor systems will be rendered useless. Khan's second-in-command, Joachim, slows the ship.Back on the Enterprise, Spock notes that Reliant is reducing speed and seems to be backing away from the pursuit. To ensure that Khan will follow him, Kirk has Uhura contact Reliant and proceeds to taunt his nemesis, saying "We tried it once your way, Khan. Are you game for a rematch? Khan ... I'm laughing at the superior intellect." Enraged by the mockery, Khan acts irrationally and orders full impulse power and despite Joachim's protests, recklessly launches into the pursuit again. The Battle of the Mutara Nebula ensues. Both ships are quite hampered by the conditions whereas in open space Enterprise would have been the more vulnerable vessel.A game of cat-and-mouse follows. Computer targeting does not function, so both crews must rely on manual firing commands based on their view of the opposing ships on the visual display, which is mostly static. Sulu, being more experienced, is able to make better guesses and inflict slight damage but both vessels largely miss each other.As they maneuver half-blind around the nebula, suddenly the static on the Enterprise screen clears enough to reveal that the ships are about to collide. They veer apart and narrowly miss colliding, and at such point-blank range even manual firing is sufficient for each vessel to inflict key hits on the other. The Reliant manages to destroy the port torpedo launcher of the Enterprise, which then returns fire and damages the Reliant's bridge, causing an explosion that kills several of the ship's bridge crew including Joachim, whom Khan vows to avenge.Kirk is nevertheless able to ambush the Reliant because of his superior starship combat experience. When Spock suggests that Khan is inexperienced and is using a strategy based on two-dimensional thinking, Kirk orders the Enterprise to drop below Reliant. Reliant glides past above Enterprise. A shaken, but physically recovered Chekov enters the bridge and offers his assistance. Kirk asks him to go to the weapons station. Khan isn't prepared for Enterprise to descend before he passes overhead and then ascend directly behind him. Reliant is hit with several phaser blasts, and a torpedo breaks off its port nacelle. Reliant is crippled and drifts away, trailing plasma. Most of Khan's crew is killed in the process, and Khan himself is left crippled and barely alive by the explosions on the bridge.In a final attempt to kill Kirk, the mortally wounded Khan activates the Genesis Device, knowing that the blast wave from it will destroy the Enterprise and its crew. The Enterprise's warp drive is off-line from the earlier battle, and she cannot escape the large explosion that the device will trigger. Spock exits the bridge and decides to sacrifice his life by entering the radiation-filled engine room and fixing the broken warp drive, while Kirk orders a withdrawal at "best possible speed."On Reliant's bridge, Khan, watching the Enterprise retreat and believing that the ship cannot escape the blast, quotes from the book Moby Dick: "From hell's heart, I stab at thee. For hate's sake I spit my last breath at thee." Khan then apparently drops dead. Spock arrives in engineering, only to be stopped by Dr. McCoy from entering a lethally irradiated compartment that is part of the warp drive system. After initially appearing to comply with McCoy, an apologetic Spock nerve-pinches McCoy, and mind melds with the doctor, saying simply "Remember..." He then dons work gloves, enters the chamber, and begins to repair the main reactor. Moments later, McCoy regains consciousness and he and Scotty plead in vain to Spock to stop what he is doing.Spock is successful and the warp engines come on line just in time, and Enterprise streaks away just as the Genesis Device, and the Reliant, explodes. The Mutara Nebula condenses around the explosion, creating a new planet. Kirk contacts engineering to congratulate Scotty, but he is unconscious due to the radiation he'd been exposed to. McCoy gravely replies that Kirk needs to come down; Kirk notices the empty chair at the science station. A look of complete horror fills Kirk's face as he rushes down to Engineering to find Spock, dying. Kirk calls out for Spock and follows as the Vulcan staggers to the side of the transparent radiation barrier, finally resting against it.Spock attempts with difficulty to explain to Kirk his reasoning: "Do not grieve, Admiral. It is logical. The needs of the many outweigh ..." to which Kirk finishes, "the needs of the few," and Spock nods. "Or the one ..." Spock states that he himself never took the Kobayashi Maru simulation "until now," and asked Kirk, "What do you think of my solution?"Kirk, stricken with grief, can't reply. "I have been and always shall be your friend. Live long and prosper." He holds out his hand, in the traditional Vulcan salute, and Kirk presses his hand up to the glass as well, watching as Spock slumps to the floor, and dies. It takes all of his resolve to keep his composure as he sees his closest friend die in front of him.Spock's funeral is held later, on the torpedo deck. Kirk says a few words in Spock's honor, concluding with a befitting statement: "Of all the souls I have encountered in my travels, his was the most... human." While Scotty plays "Amazing Grace" on the bagpipes, Spock's body is launched in a torpedo casing into the atmosphere of the newborn Genesis Planet.Later, trying to relax in his quarters, Kirk tries to read his copy of A Tale of Two Cities. He sees that the glasses given to him by McCoy are broken. David visits him and the two reconcile, accepting that they are father and son. Kirk is humbled, especially when David mentions that Kirk had faced death before but never the death of a close and trusted friend like Spock.On the bridge, the crew and Carol Marcus look at the new world formed by the Genesis Wave. McCoy expresses the feelings of Kirk by saying "He's not really gone as long as we find a way to remember him." The Enterprise sets it's course for Earth, with a stop at Ceti Alpha V to pick up Reliant's crew.The shot dissolves to various scenes of the ecosystem of the Genesis planet, finally arriving at Spock's photon tube. In voiceover, we hear Spock's voice reciting the Star Trek motto.
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brainwashing, revenge, murder, violence, stupid
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That was the best thing about the series - that it touched on topics that were (pardon the expression) universal, no matter the species.Everyone is uniformly fine right down the line, especially Montalban's Khan (returned from the "Space Seed" episode of the original series); all hatred, vengeance and single-minded of desire to see his enemy laid out before him.
More action packed and interesting than the original Star Trek movie, it brings the TV show cast onto the big screen by meeting a villain from the TV show (Khan), obsessively portrayed by Ricardo Montalban.
Star Trek II: The Wrath of Khan is a classic action film.
There have been many Star Trek films but The Wrath of Khan is still the best.
Done in true Star Trek tradition, unlike the disappointing special-effects-fest of the first Motion Picture, this film will go on to be one of the all time greats of sci-fi..
Shatner turns in his best Trek performance since "The City on the Edge of Forever".The special effects are good, but don't overshadow the story like they did in the first movie.
The directing is also very good, great use of focusing techniques, close up's, action sequences well done, the usual high standard that comes from a proficient director like Nicholas Meyer.The lighting, exterior and interior shots, were well done.Its a pity that they haven't made a remastered tape, as the movie picture quality has degraded through the years.William Shatner's acting was extremely real, moving, believable.
Among with the other main cast, and unlike the previous movie, this movie brought together that atmosphere that existed in the Original Star trek series.The dramatic plot that happens towards the end of the movie is indeed, one of the best scenes you will ever see in motion picture history.
However, his crisis couldn't have come at a worse time; as it has come on the eve of the testing for a new creation, known as 'Genesis', and not only that but a man named Khan has just been found on a planet that Kirk exiled him on, and he doesn't just want to give Kirk a friendly hug.The acting in the film isn't great, actually, it's about the standard that you would expect from a TV show (which is no coincidence, I'm sure).
There's more than enough for the casual movie fan to enjoy about it, it's an entertaining romp and overall I give this Star Trek film a 'G' for 'good' rating..
Even if you're not a fan of Star Trek or Sci-fi in general, I still think you'll like this movie, thanks to an excellent performance by Ricardo Montalban as Khan Noonian Singh.
I've heard that "The Wrath of Khan" is MUCH better than any of the other Star Trek movies, so I guess I won't be seeing them, or maybe I will, to see how bad they really are......anyway, if you like sci-fi, space, comedy, and a little bit of tragedy (actually, the saddest part was when Khan died--where is the Star Trek gang gonna get all their good villains now??) then you should definitely see this movie.
Star Trek II The Wrath of Khan, in my estimation, is everything the first one should have been, and then some!Captain Kirk, now an admiral, is experiencing some sort of mid life crisis.
Star Trek II The Wrath of Khan is a wonderful complement to the original TV series and stands on its own as a very good space adventure film.
With both the television episode Space Seed and the film the Wrath of Khan it could well be argued that Ricardo Montalban got his career role, maybe he's known for playing Khan better because of Trek fans than for being the inscrutable Mr. Roarke on Fantasy Island.
While The Motion Picture (TMP) had bleak and dull lighting, costumes (bad costumes even for Star Trek) This starts off with Spock's Iconic ear, and we see a well done scene (The reason I knew what was going on is because I read Leonard Nimoy's biography, where he talks about the movie) Then we have Khan, the best Star Trek villain ever!
Few would disagree that Wrath of Khan is the best Star Trek movie to date.
When I finally saw it again when I was a teenager, I realized that I actually liked the film a lot
and that its violence was actually pretty mild compared to most movies.As written and directed by Nicholas Meyer (the "screenplay by Jack Sowards" credit is a misnomer), the film goes like this: Jim Kirk is now a desk-bound admiral suffering a mid-life crisis while the Enterprise is now being turned over to a team of cadets.
Much to Kirk's surprise, Khan is waiting for him, and a series of harrowing encounters ensues, resulting in the controversial death of Spock.The plot is pretty simple, but this works to the film's advantage.
His complaints had more to do with Meyer and Bennett being allowed to bring a fresh voice to the series than anything that was actually in the film.It took a while for me to wake up, but now I can see STAR TREK II: THE WRATH OF KHAN for what it really is: a well-crafted adventure story and a worthy entry in the STAR TREK mythos..
It's easy to see why this movie succeeded after the failure of the first Star Trek film: "The Wrath of Khan" aims very low, so it can't miss.
After a rocky start with an admirably cerebral but ultimately dull first big screen outing, the Star Trek series bounced back with this excellent, rip-roaring adventure classic, generally considered the best in the franchise.Filled with memorable moments, vivid performances, awe-inspiring spectacle and a much-improved score, it's more-or-less a perfect entertainment.
And all this for a staggering one-third of the cost of its predecessor.The jury's still out on the legitimacy of Ricardo Montalban's chest but his wonderfully hammy performance as Khan gives us one of the great modern sci-fi villains, countered by William Shatner's heroic, sly Kirk who - along with everyone else on the crew - seems to have been upping their Personality Plus supplements since the last film.It's this twinkle in the eyes of the entire cast and a strong sense of wry humour that makes the film such terrific, old-fashioned fun.
Again, this film shows true depth to the characters some have grown up on, and in addition, especially to the late Ricardo Montalban as Khan, who sincerely broadcasted the basic emotion of blind revenge, always failing to see the big picture while trying to take down what they mistakenly thought would make them whole.
One, because it was a very good movie (especially for its time) and two, the anticipation Trek fans had for a new, quality Trek adventure (after the uninspired first film, but long before TNG and the rest) was nearly palpable.
This is probably the best of the Star Trek movies because it follows most closely the original concept of the television series.
For Kahn, "revenge is a dish best served up cold!" Even when the end is obvious, you come away remembering Kahn's final lines as the Genesis Wave builds up for total destruction of the Star Ship Reliant, "No Kirk, the game's not over.
Ricardo Montalban is delectable in his role as the villain, and is a perfect counterpoint to Kirk as an adversary.This movie, more than any other "Star Trek" movie, inspired a multitude of parodies, which ranged from making fun of Montalban's accent to Shatner's over-the-top scream when Kirk is trapped inside of a planet: "KKKHHHAAANNN!" To be fair, it's not as over-the-top as Daniel Day-Lewis screaming "DRAINAGE!" in "There Will Be Blood," but watching Mr. Shatner's face scrunch in mock-anger is still a classic scene of cinematic melodrama.Fans of science fiction will enjoy "The Wrath of Khan." It's more intelligent than the "Star Wars" movies, and the action is more subdued, but the cast's acting and the plot are still engaging and entertaining..
Paramount revised the formula and found a recipe for part II that would define Star Trek feature films for decades to follow.The Wrath of Khan, commonly thought of as the best of the feature Treks, focuses on what made the series work: strong interpersonal dynamics between the 3 leads and a spirit of adventure.
It also adheres more strongly to Hollywood formula with a strong antagonist, this time one bent on vengeance, something the reboots have unimaginatively avoided to stray one iota from.What makes this a great film rather than just a cool treat to Trekkies is the ways in which it turns its would-be flaws into assets: got an aging star too old for action-schlock?
Yes, we relish the excitement that comes with great battles in space, but we do it as humans, not machines.But, a movie is only as good as the villain, and Ricardo Montalban as Khan gives us a great one.
Coming after the classic Trek episode Space Seed, this film brings back Khan Noonien Singh as the story's nemesis, and the whole thing becomes a rocketing thrill ride from then on.
Feel the Wrath Grip You. Unlike most viewers of this movie, I have watched "Space Seed," the "Star Trek" episode which introduces the character Khan.
Whatever the reason, this is hands down the best Star Trek film, and a sequel to one of the series' best episodes 'Space Seed.' It features a larger-than-life merry villain, a not overacting Shatner, and Nimoy and Kelley doing their best acting since the series.The plot of the film involves Khan who has escaped planet exile and stolen a Starship to gain revenge on a now desk bound and bored Admiral Kirk.
With the Enterprise heavily damaged and Kirk in battle, it's down to Spock to save the day by making the ultimate sacrifice.The plot is edge-of-your-seat stuff and the film can be watched loads of times without someone getting bored.
It had all the elements that made The Motion Picture feel less like Star Trek and more like just another Sci Fi movie: McCoy and Spock bantering back and forth as they echoed what was going on in Kirk's head, action and plenty of it, and most of all a conflict that was more than a "space-happy robot".
`The Wrath of Kahn' revisits a storyline that was started in the original 1960s television series (in the first season episode `Space Seed'), where the leader of a genetic super race of humans led by Khan (Ricardo Montalban) escapes from the dying world where he was left by James T.
Use the main guest star from the TV series (Ricardo Montalban) and have him reprise his role as Khan Noonian Singh, the late 20th century warlord who was cryogenically frozen and then "rescued" by Captain Kirk and ultimately stranded on Ceti Alpha V after trying to seize control of the Enterprise.
Here we see Khan taking his revenge on Kirk for the events of 15 years before.The cast in general is excellent in this one, although - and I find this typical of the movies - both DeForest Kelley (Dr. McCoy) and James Doohan (Scotty) seem to have some trouble reprising their roles.
There are some interesting new characters (Saavik, played by a very young Kirstie Alley) and the Drs. Marcus (Bibi Besch as Carol and Merritt Butrick as David - adding some new context to Kirk's life as his ex-lover and son, respectively.) It's a tense movie filled with all the fun stuff that we expect from Star Trek, and a very good climax with the appropriate open-endedness setting us up for the inevitable sequel.It isn't without its problems, mind you.
Chekhov wasn't part of the crew in Season 1 when "Space Seed" aired (or at least Walter Koenig wasn't part of the cast.) William Shatner (as expected) goes a bit over the top at times (his anguished cry of "KHAAAAANNNNNNNN!" while shaking with fury comes to mind.) It seems strange to me that no one would have checked on Khan after his stranding on Ceti Alpha V, that no one seemed to know that Ceti Alpha IV had exploded (when the Reliant came within scanning distance of the system shouldn't someone have said "uh, Captain Terrell, there's one less planet here than there should be) and that it didn't even seem to have occurred to Chekhov (who apparently and inexplicably knew Khan so well) that this was the system where Khan had been stranded.Still, it's a fun movie that made Star Trek worth watching again.7/10.
The first Star Trek film was for the most part a total snoozefest, a movie that would spend a good ten minutes showing us and the crew of the Enterprise looking at the Enterprise.
And what better place to start than one of the best in the series: STAR TREK II: THE WRATH OF KHAN?
While I loved the new STAR TREK for the typical summer-movie dosage of action, humor and thrills, I also liked how it had time to introduce (or is that reintroduce?) the characters and work on some intriguing plot lines.
STAR TREK: THE WRATH OF KHAN may not be big on spectacular explosions and more elaborate space battles, but its an absolutely rousing space opera with an interesting plot, some intriguing ideas and strong character development.
Since STAR TREK was more of a thinking person sci-fi movie, WRATH OF KHAN is more space opera than it is a sci-fi action movie.
A true character story, "Khan" is one of the old Star Trek films that fans (Trekkies aside) of the future will test out and discover that the vintage stuff wasn't so weird after all..
All in all a great sci-fi film and one of the best Star trek movies...
The plot revolves around the return of Khan (Ricardo Montalban), a genetically engineered psychopath who once tormented Kirk in the original series episode "Space Seed" and is now back for one purpose: revenge.
This is a brilliant film that has everything; action, suspense, great characters, good story and best of all Kirk and Kahn!
Ricardo Montalban is excellent as the vengeful Kahn who want's nothing more in the universe to kill his "old friend" Kirk who he blames for ruining his life and indirectly killing his wife.William Shatner plays a less confident, reflective, vulnerable Kirk who must not only deal with his arch Nemesis baying for his blood but a son who would be "Happy to help" Kahn kill him.The rest of the Star-Trek crew is solid and give excellent support, especially Leonard Nimoy as Spock.Most impressive here is the film - great pacing, music, classic lines and brilliant and imaginative special effects considering that this film had one of the smallest ever budgets for Star-Trek motion picture.Much credit goes to the director Nicholas Meyer who balances everything just right and racks up the suspense and tension brilliantly when needed.
It has all the ingredients you need in this type of film, strong characters, action, adventure, technology and most importantly a sense of wonder.I think the main reason why I love this film but am not into Star Trek as a whole is that in this episode Kirk and the others become real people with real struggles rather than the archetypes they were in the series.
Montablans acting is superb, assisted by a well written, directed and acted script and lots of special effects with real explosions none of your CGI rubbish here!Of the original crew films, only Star Trek VI comes close to this beauty.
William Shatner probably turned in his finest performance as Kirk in this film, without the over-the-top histrionics that were seen in Star Trek III..
Kirk's dealing with the aging process, his family and, ultimately, his brotherhood with Spock makes this film a very special entry in the Star Trek series..
"Star Trek II: The Wrath of Khan" is the film the first one should have been.
Decent acting from the Star Trek crew, a great story-line, excellent special effects (especially during the space battles), and an impacting ending.
Star Trek: The Wrath of Khan provided that boost, and more.Fifteen years (movie time) after Admiral Kirk's encounter with V'Ger, the Enterprise is a decomissioned training vessel under the command of Captain Spock.
He was all set to finish making Star Trek films, but after this scene/movie, he found a way to "come back" and continue his role as everyone's favorite Vulcan..
Star Trek II is simply one of the best sci-fi films of all time.
The Wrath of Khan is easily the best Star Trek film.
Of course in the end Kirk could never be anything less than the ultimate hero, but some of the things that come to light in this film give it a much more human feel.The acting ability in Wrath of Khan is what Star Trek is.
This is the best of the bunch of the Star Trek movies.You don't have to be a fan of the original series to get a kick out of this one.
After the demise of the original "Star Trek" TV series, it took ten years for the first movie to come out.
However, three years after that disappointment, the second movie in the series, "Star Trek: The Wrath of Khan", made it into theatres, and fortunately, it proved to be much better!
Even the mambo-jumbo of this is not only fun,but absolutely hilarious especially with Shatner doing what he does best--over the top acting.But what makes this movie more intriguing and fun not to mention exciting to watch is Kirk's old nemesis-Khan as played by the classiest of comic strip villains by Ricardo Montalban(who was also played the same character in the television version "Space Seed" from the Star Trek series)who makes this movie jumped to life.
This is actually a sequel to the original series episode "Space Seed," featuring the return of Khan, Kirk's best villain.
Without a doubt the best of the Original Casts Star Trek Films.
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tt0045826
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Glen or Glenda
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Glen or Glenda tells two stories. One is about Glen (Edward D. Wood Jr.), who secretly dresses as a woman but is afraid to tell his fiancée. The other is about Alan ('Tommy' Haynes), a pseudohermaphrodite who undergoes a painful operation to become a woman.Both stories are told by Dr. Alton (Timothy Farrell). There's a second narrator, called the Scientist (Bela Lugosi), whose commentary on the action contains more philosophical pronouncements than facts. The movie will also have flashbacks-within-flashbacks and a strange dream sequence.The introductory title card reads: "In the making of this film, which deals with a strange and curious subject, no punches have been pulled--no easy way out has been taken. Many of the smaller parts are portrayed by persons who actually are, in real life, the character [sic] they portray on the screen. This is a picture of stark realism---taking no sides---but giving you the facts---All the facts---as they are today....You are society---JUDGE YE NOT....."When the first scene opens, we see the Scientist sitting in a large chair with some kind of netting over it. He is shot from the shoulders up as he looks down. The shadow of the camera falls on the right side (his right) of the chair. Behind him, and above his head, we see three shelves. The top shelf has two skulls on either end and a lion's head in the middle. The second has a shrunken head on the left side (his left). Sticking out from the back of the chair is a long, cylindrical object with a round head.The camera pulls back. The shadow of the camera disappears from the chair and from the wall behind the Scientist. We see more of the room. On the Scientist's left is a skeleton hanging from the ceiling. On his right is a figure, also hanging from the ceiling, that looks like a native African in a loin cloth. We hear the sound of a violent wind.The Scientist is reading a large book. He closes it and looks up at us. He speaks: "Man's constant probing of things unknown, drawing from the endless reaches of time, brings to light many startling things. Startling? Because they seem new? Sudden! But most are not new. The signs of the ages!"A shot of the sky as lightning tears through it. We dissolve to the Scientist mixing chemicals in test tubes. He pours the results into a beaker and is happy with the result. "A life has begun!" he declares. He laughs.A busy city street. Via a trick shot we the Scientist on the top half of the screen as he looks down. "People!" he spits. "All going somewhere! All with their own thoughts! Their own ideas! All with their own personalities! One is wrong because he does right. One is right because he does wrong. Pull the string! Dance to that which one is created for!" He looks ready to pounce, but then laughs and then sighs ironically."A new day is begun," he continues. We hear the sound of a baby. "A new life is begun." A shot of an ambulance and the wail of its siren cut him off; but he reappears, superimposed on the screen. "A life is ended."We meet a corpse lying on a daybed. The corpse is of a man wearing women's clothing. Insp. Warren (Lyle Talbot), who is investigating this case, quickly sees this is a case of suicide. A note left near the body confirms it.This note, read aloud in a voice-over, says, "The records will tell the story. I was put in jail recently. Why? Because I, a man, was caught on the street wearing women's clothing. This was my fourth arrest for the same act. In life, I must continue wearing them. Therefore, it would only be a matter of time until my next arrest. This is the only way. Let my body rest in death forever in the things I cannot wear in life."Later, Insp. Warren seeks to know more about transvestites and transsexuals. He goes to a psychiatrist, Dr. Alton, for the facts.By this time the story has hit the papers. "Let us get our stories straight," says Dr. Alton. "You're referring to the suicide of the transvestite?"Warren replies, "If that's the word you men of medical science use for a man who wears woman's clothing, yes.""Yes, in cold, technical language, that's the word, as unfriendly and as vicious as it may sound. However, in actuality it's not an unfriendly word. Nor is it vicious when you know the people to whom it pertains."Insp. Warren brings up the case of a man's recent sex change, which Dr. Alton was involved in. "[Will an] operation do these people any good?""Some cases yes, some no. [...] You can only fully understand the sex change by taking two entirely different cases, two men with exactly the same background from childhood to manhood and onto their own decisions and destinations."Insp. Warren says, "I'd like to hear the story to the fullest."Dr. Alton rejoins, while turning to us in close-up, "Only the infinity of the depths of a man's mind can really tell the story."The picture goes blurry. We cut to flashes of lightning and sounds of thunder. Presently we're looking down at the Scientist who squints at us and says, "Dr. Alton, a young man though he is, speaks the words of the all-wise." He goes on to say, "No one can really tell the story. [Presumably he means the story of Glen/Glenda.] Mistakes are made. But there is no mistaking the thoughts in a man's mind. The story is begun!"Now we see Glen, dressed as Glenda, walking down the street. He's wearing a skirt and an angora sweater, while looking into a shop window. Dr. Alton (not the Scientist) says in a voice-over, "One might say, 'There but for the grace of God go I.'"We see a newspaper with the headline, "WORLD SHOCKED BY SEX CHANGE." "Why," asks Dr. Alton, "is the world shocked by this headline?""Airplanes!" we hear an old woman say in a voice-over, as we watch a plane dropping cargo. "Humph! Why, it's against the Creator's will. If the Creator wanted us to fly, he'd have given us wings."Dr. Alton says, "But we fly. Maybe some of you may still remember an even sillier remark.""Automobiles!" says an old man in a voice-over, as we see a field worker in a sombrero. "Bah! They scare the hosses [sic]! If the creator hadda meant for us to roam around the countryside, we'da been born with wheels!""Silly?" Dr. Alton chides. "Certainly. We were not born with wings. We were not born with wheels. But in modern [sic] world of today, it's an accepted fact that we must have them. So we have corrected that which nature has not given us. Strangely enough, nature has given us all these things. We just had to learn how to put nature's elements together for our use, that's all. Yet the world is shocked by a sex change!"We see Glen (as Glenda) at home. "Give this man satin undies, a dress, a sweater and a skirt," Alton continues, "or even the lounging outfit he has on, and he's the happiest individual in the world. He can work better, think better. He can play better. And he can be more of a credit to his community and his government because he is happy. These things are his comfort."But why the wig and makeup?" Alton continues. "He dares to enter the street dressed in the clothes he so much desires to wear, but only if he really appears female: the long hair, the makeup, the clothing, the actual contours of a girl."Do transvestites want to change their bodies? "Many of them simply want to change the clothing they wear to that [which] is worn by the opposite sex."We meet Barbara (Dolores Fuller), Glen's fiancée. She and Glen seem happy together, but Glenda casts a shadow over his mind. Barbara is blissfully ignorant, but she does notice that Glen needs his nails trimmed. They're almost as long and as pretty as hers.Dr. Alton continues his lecture: "Modern man is a hardworking human. Throughout the day his mind and his muscles are busy at building the modern world and its business administration. His clothing is rough, coarse, starched, according to the specifications of his accepted job."At home," he continues, "what does modern man have to look forward to for his body comfort? The things provided for his home, a wool or flannel robe, his feet encased in the same thick, tight-fitting leather that his shoes are made of. These are the things provided for his home comfort."Dr. Alton has an explanation for baldness: "Men wear hats, which cut off the blood flow to their heads." His statistic? "Seven out of ten men wear hats. ... Seven out of ten men are bald."Just for comparison, let's go native. Back to the animal instinct." We see African natives, beating drums and dancing. Surrounding them are skulls affixed to posts. The men have fancy masks. The women are unadorned."There in the lesser civilized part of the world, it's the male who adorns himself with the fancy objects, such as paints, frills and masks. The true instinct. The animal instinct. Bird and animal life. Is it not so that it's the male who is the fancy one? Could it be that the male was meant to attract the attention of the female?"What's so wrong about that?" he asks as a male carries off a female. "Where is the animal instinct in modern civilization? Female has the fluff and the finery, as specified by those who design and sell."Little Miss Female," says Dr. Alton, "you should feel quite proud of the situation. You of course realize that it's predominantly men who design your clothes, your jewelry, your makeup, your hair styling, your perfume. But life, even though its changes are slow, moves on. There's no law against wearing such apparel on the street, as long as it can be distinguished that man is man and woman is woman."But if man dresses as woman? We ridicule him, says Dr. Alton. We see a woman reading the newspaper with the ubiquitous headline, "WORLD SHOCKED BY SEX CHANGE." The paper is covering her face. When she sets it down, it turns out "she" is a man (Conrad Brooks) wearing a dress, earrings and a long, thick beard."You're doing it now," he says. "Laughing. Yet, it's not a situation to be laughed at."Dr. Alton turns back to Glen. Young Glen wore his sister's dress to a Halloween party and won first prize. "Then one day," says Dr. Alton, as we see Glen lounging in his sister's clothes, "it wasn't Halloween any longer."Glen is a transvestite, but he is not a homosexual," he continues. "Transvestism is the term given by medical science to those persons who desperately wish to wear the clothing of the opposite sex, yet whose sex life in all instances remains quite normal."Barbara starts to realize that something is wrong. She asks Glen, with more irony than she knows, if the trouble is ... another woman?We abruptly cut to a shot of stampeding buffalo. Then we dissolve to the Scientist crying, "Pull the string! Pull the string! A mistake is made. The story must be told!" (The meaning of this brief scene is open to interpretation.)Glen goes to his friend Johnny (Charles Crafts) for advice. Johnny is also a transvestite, whose wife divorced him when she found him wearing her clothes. Johnny advises Glen to tell Barbara about "Glenda."Dr. Alton explains that Glen should have seen a competent psychiatrist. He notes that some transvestites take their secrets to the grave. We proceed to a flashback-within-a-flashback in which Dr. Alton rhetorically asks "Glenda" if she remembers the time, a year before, when Glen and Barbara had accepted each other. We see Glen and Barbara accepting each other.We return from the flashback-within-a-flashback to the flashback. Glenda rushes into her house and then collapses as we hear a thunderclap. We dissolve into the Scientist delivering a cryptic warning: ""Bevare! Bevare! Bevare of the big green dragon that sits on your doorstep. He eats little boys! Puppy dog tails and big, fat snails! Bevare! Take care! Bevare!"Next is a dream sequence.We see shots of Glen (dressed as Glenda) alternating with those of Barbara. Glenda's hand gestures indicate that she wants Barbara to draw nearer. Barbara is in mental agony, which she indicates by holding her head in her hands and then dropping to the floor and slapping it with her palms. Glenda leaves the frame and the picture goes black.An effect, that's partly an iris out and partly a wipe, reveals Barbara struggling underneath something that looks like a tree. Glenda tries to pull it off her, but then she disappears, leaving Barbara to struggle alone. Glen appears and manages to pull off the tree and save her.We dissolve to a preacher. Barbara and Glen enter from behind the camera, facing the preacher and away from us, the audience. The preacher opens his book and then looks to his left. Satan appears. The preacher reaches toward Satan who gives him a ring. (Presumably, that is. Glen is obscuring the view.) The ceremony continues as Satan nods approvingly. Glen and Barbara kiss and walk toward the camera.We dissolve to the Scientist. "Tell me, tell me, dragon! Do you eat little boys? Puppy dog tails and big, fat snails?"We dissolve to a close-up of Glen, lit from underneath, as smoke rises from behind him. He looks up at us, shaking violently. A child's voice says, "Puppy dog tails! Puppy dog tails! Puppy dog tails! Everything nice. Everything nice. Ha, ha, ha! Puppy dog tails!"We abruptly cut to the Scientist. We alternate between shots of him, looking disgusted and outraged, shots of Glen looking frightened, and shots of women employed in various sado-masochistic activities. Both Glen and Bela seem to be reacting to the women.The vignettes: A half-dressed woman is whipped by a shirtless man. A woman stands at a pole, inviting some unseen person to come closer, as her dress nearly falls off. A woman in a flower-print dress seems bothered by it, so she rips it off. A woman performs a semi-dance routine as she slowly lifts up her dress to reveal her underwear. A woman with her mouth gagged frees another gagged woman whose hands are tied to a bamboo pole that's set across her shoulders. A woman writhes on her couch in ecstasy. A second woman sneaks up and ties her hands together and then gags her. A brunette sits at her vanity combing her hair. Later, she's nearly nude on her couch as she writhes around on it. A man with a pointed beard appears and rapes her. The vignettes end with a shot of Lugosi giving an expression of amused resignation.(Note: the sequence in italics is missing from some prints. Originally, the producer inserted this soft-core pornography into the film against the director's wishes. Ed Wood had nothing to do with it. Note also that in some prints the dream has a bit more footage than what is described here, and it runs in a slightly different order.)Then we're back to the dream sequence. We see Glen in his house, only the furniture has been turned upside down and the fireplace is tilted, giving the place an air of surreality. A sinister voice (not the Scientist's) says, "Big green dragons and big fat snails. Beware! Take care!""I'm a girl!" says the smug little child's voice. Then, "I'm not! You're a boy! A puppy dog tail! Ha! Ha! Ha!"A man with a pitying expression appears out of thin air. Glen reacts with fright. Then he sees the ghostly image of a woman looking angry. "Everything nice!" says the disembodied girl-voice. "Puppy dog tails, puppy dog tails, puppy dog tails!"A man and a woman, both looking censorious, fade into the scene, as they stand in front of a chalk board. An older woman, equally disapproving, pops in behind them.The girl repeats her nursery rhyme phrases as others, including Glen's sister, appear. They all point to him and surround him, lead on by Satan. When they disburse, we see that Glen is now Glenda again. He, as she, is now happy. The music is sweepingly romantic. Barbara walks in and gestures for Glenda to come near. She does, but then changes to Satan. Barbara reappears on a tipped-over love seat, and her outfits change supernaturally. She beckons Glenda again, and then laughs in Glenda's face. A sad Glenda's mental state is represented by the superimposed image of several hands with wiggling fingers. The various people reappear and laugh as they wiggle their fingers menacingly.Satan is pleased by all this. Then the male voice says, "Beware! Beware! Beware of the big green dragon that sits on your doorstep. He eats little boys. Puppy dog tails and big fat snails. Beware, take care! Beware." The delighted expression leaves Satan's face. The Prince of Darkness looks frightened. The dream ends with Glenda falling down and upsetting the tipped-over love seat.Glen has decided to tell Barbara of his dual personality, "to tell her of the nighties and negligees, the sweaters and skirts, the robes and dresses, the stockings and the high-heeled shoes, the wig and the makeup. All that goes to make Glen into Glenda. He tells Barbara he cannot cheat her of the knowledge that she as his fiancée should possess. All the facts. He tells her softly, hurriedly at first, then slowly as he becomes more technical. His hands move to caress the smooth material of her angora sweater, which he has so long, so desperately wanted to put on his own body. He tells of this to her, and she looks to the sweater and to his hands. Then, when it is all over, and that much of the story he knows is told, Barbara is not sure of her own thoughts."Glen appears to the Scientist, kneeling down with a silent plea. The Scientist, who has had no interaction with the other characters until now, makes a gesture of contempt that causes Glen to disappear.Barbara makes a decision. She takes off her angora sweater and hands it to Glen.Next we hear the story of Alan/Anne. Alan's parents always wanted a girl. Instead they got a pseudohermaphrodite, who was more boy than girl. Dr. Alton explains: "[A] hermaphrodite is one who has the organs of both the female and the male in plain sight. A pseudohermaphrodite is one who has one perfectly formed organ of either sex, and one imperfectly formed one that's difficult to detect."Alan's main comfort during his stay in the army was a suitcase secretly filled with women's clothes. "Wherever Alan went," says Dr. Alton, "the suitcase was sure to go."Eventually, Alan gets a sex change. "Never was there a whimper from [Alan]," says Dr. Alton of Alan's surgery and hormone shots, "because he knew that at the end of it all, he would at least be that what he had always dreamed"--a woman.The Scientist waves his hand over Alan and causes him to disappear. Then he waves his hand again and causes him to reappear as Anne.Anne does become a woman and society accepts her. But what of Glen/Glenda? Glenda, Dr. Alton explains, is a fictitious character created by Glen to take the place of the love he never received from his mother or father. Barbara "kills off" this character by becoming everything to him that Glenda was: his mother, little sister and wife."But what of the hundreds of less fortunate Glens the world over?" asks Dr. Alton.We return to the Scientist and hear the ominous rumbling of thunder. "Yes, but what of the others, the less fortunate Glens the world over?" he asks. "Snips and snails and puppy dog tails!"
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cult, psychedelic, flashback
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train
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imdb
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It's telling that the extreme-religious-conservative Medved brothers were the ones who named Ed Wood "worst director of all time." They must have thought they were really sticking it to Ed Wood for making all those subversively weird films involving crossdressing and homosexuals and society's outcasts.
If you're looking for the worst movie ever made, go watch "Armageddon" or "Crossroads." If you're looking for THE pioneering moment in GLBT film history, the greatest and most underrated American DIY avante-garde feature of its time, or an experience that just might change the way you view movies and the world at large, start right here..
While I was first watching Tim Burton's fantastic film, recreating the making of "Glen Or Glenda", I noticed that there were things in it that seemed rather familiar to me, even after 30+ years have passed, and that is what partly interested me in looking into both the book, and Ed Wood's films.
However, this is certainly not to say that the film is irrelevant to today's social standards, regulations, and expectations, on the contrary it proves to be quite pertinent to life in the 21st century.'Glen or Glenda' opens with a character simply cast as 'Scientist' (Bela Lugosi) prophetically speaking of the society in which we live and its and loathing of the seemingly abnormal or unknown.
Alton continues to tell Inspector Warren of the internal struggle within Glen: whether to tell Barbara of his secret lifestyle or to keep it to himself
or to entirely stop wearing the clothes which make him feel so much like himself?Although the subject matter, upon first glance, may seem to some a tongue in cheek jab at the transvestites and other "oddballs" of the world, it was not intended that way - nor does it come across as such after viewing the film.
Glen or Glenda proves to be entertaining and intriguing, full of obscure characters and a fresh subject matter: a film far ahead of it's time..
Plus, you get Bela Lugosi as God (he's nice and campy), several out-of-place striptease and cheesecake scenes (pretty graphic for 1953), and Dolores Fuller (Wood's real-life girlfriend) as Glen's fiancee.Too many people rated this movie with a 1.
Like in "plan nine outer space" ,Ed Wood tries to put a message across in his film.In his sci-fi flick,he made his E.T. blame the human race for their self-destruction :it was not unlike Robert Wise's "the day the earth stood still" and not more naive than the latter.The main difference lies in the fact that Wood had a shoestring budget with his cardboard flying saucers and his shower curtain in the "plane" "Glen or Glenda" is anything but stupid.Just tell me the name of a director (in the USA or elsewhere) who dared to treat such a taboo subject: the transvestites -not necessarily homosexual- and even the transsexuals.His film ,with voice over galore,although dated today of course was a plea for tolerance.The fact that Ed Wood himself used to dress himself as a woman (see Tim Burton's eponymous movie) is proof positive that he knows what he is taking about.Bela Lugosi's part,on the other hand,gets in the way.Is he a scientist?
Not only it was produced significantly before the so called "sexual revolution" of the '60s, but also certain gender issues that were carefully covered in the movie seem to be still beyond the understanding of certain narrow-minded and prejudiced people today.I recommend this movie to anyone who wants to get to know Edward Wood and his work and also to people interested in the history of approach to gender studies and the society..
Unfortunately, Wood had neither the budget nor the know how to make the film.The story opens with a prologue by Bela Lugosi that makes little sense and then moves to the discovery of a dead transvestite Glen/Glenda (Daniel Davis aka Ed Wood).
We see endless stock footage shots of anything from freeway traffic to soldiers landing on the beach, interspersed with shots of Wood walking down the same street dressed as either Glen or Glenda and looking longingly at women's clothes in a store window.
Lugosi keeps saying, bevare, bevare...take care, take care, as well as, some gibberish about snakes and snails and puppy dog's tails.The story also deals with a transvestite who has a successful sex change operation and tries to explain the difference between that person and Wood's character(s).
When describing I Changed My Sex, or Glen Or Glenda as it is better known, I must echo the thoughts of Andrew Smith, who so hit the nail on the head when he wrote "If you haven't seen any of Ed Wood's other movies, this one is a completely bewildering experience.
Had Wood been able to sit back and think about what he is trying to do for a while, there is no telling what kind of heights he could have achieved.Wood himself appears in the film as the titular character, a confused transvestite who imagines himself as a woman named Glenda.
That is how little society has learned since Ed Wood was a boy.The other significant personality in Glen Or Glenda is Bela Lugosi, whom Wood shoehorned into the film.
Breathtakingly Bad. Sitting in a big wing chair with a huge book in his lap, the one and only Bela Lugosi looks into the camera and, in a dreadful vocal delivery that sounds as if he were mocking a reading of Shakespeare, intones sloooow-ly: "Man's constant groping of things unknown, drawing from the endless reaches of time, brings to light many startling things; (snicker); startling?, because they seem new (Lugosi's eyes now bulging, with raised eyebrows, and mouth sneering, he continues) but most are not new, the signs of the ages" (cue a visual of lightening, accompanied by the sound of thunder which then continues to rumble for an astonishing 86 seconds).And so begins what is arguably the worst film ever made.
One long sequence consists of some unknown woman wriggling on a sofa, followed by a man whipping a woman in what we would today refer to as S&M.Then, at odd moments Bela reappears, for no apparent reason, and babbles more inane dialogue, like: "When he's wrong because he does right, and when he's right because he does wrong; pull the string, dance to that." Huh?About twenty percent of the film's visuals consist of stock footage, accompanied by a VO that relates to the story motif but not the visuals.
His movie idol Bela Lugosi being the narrator makes perfect sense as do the strange and dreadful supporting actors and inspired use of strange stock footage.The is expressionistic film-making on par with the best in the genre.
Ed Wood is the one true auteur of bad film directors and this is his one true good movie.Like a line in this film states: "Only the infinity of the depths of a man's mind can really tell the story.".
Wood, Jr. talked an exploitation movie producer into hiring him to direct what was initially meant to be the story of Christine Jorgenson, the first (and heavily publicized) case of surgically induced transexualism; this project was alternately to be called "The Christine Jorgenson Story," and later (after Jorgenson changed her mind), "I Changed My Sex." Of course, after Ed Wood got his hands on the basic storyline, he altered it so as to tell the story of his own transvestitism and to plead for greater tolerance and understanding; set against the staid morals of the early 1950s, Ed's pleading was actually ahead of its time.Now, in wanting to tell this story, but in being constrained by both a shoestring budget and some rather bizarrely unusual filmaking instincts, Ed's efforts went sharply astray.
Glen or Glenda is more than likely the best of the bad Edward D Wood Jr movies.
The "Beware" speech, repeated a few times, first by "Scientist" Bela Lugosi, who was put in the film just for the purpose of having a mad scientist who is, maybe, like a God or something in this world, is howlingly funny, certainly more inspired than any of the "banter" between the policeman and the psychologist.And yet...
'Glen or Glenda' is legendary Ed Wood's first feature film as director/writer/actor.
'Glen or Glenda' is incoherent mess, badly written and directed with lousy editing and awful acting mixed with stock-footage, but there is some certain charm in that movie.
I actually think it anyway - the surreal scene with a man whipping a woman, and other women dancing and in the bondage, is just magnificent.Unintentionally funny ans surreal, but deliberately enjoyable mess.P.S. And all of you who think I'm nuts (I might be), 'Glen or Glenda' is one of the favorite films of no other than legendary David Lynch..
His message is emotional at times and the film never fails to catch your attention or entertain.Certainly not Wood's best movie but one that has a more visible, deeper meaning..
It's hard to watch "Glen or Glenda" and not think about the guy who made it...his own transvestism, war history, and his ultimately dubious movie-making legacy.
OK, the dialog is strange, the acting was goofy, the various metaphors didn't make much sense...but think about it: Bela Lugosi playing a mad scientist who narrates a documentary on transvestism which eventually turns into random scenes of soft-core lesbian bondage and stock WWII footage.
As a movie very low, as entertainment at least a little higher.The movie tries to explain what a transvestite is and it does this through a scientist (Bela Lugosi) and an inspector (Lyle Talbot) who talks to a doctor (Timothy Farrell) who knows about these things.
The first and longest story is about Glen (Ed Wood himself) who is in love and about to marry Barbara (Dolores Fuller) but he has never told her he like to dress as a woman, when he is named Glenda.
We start with a decrept Bela Lugosi warning us to 'bevare of the big Green Dragon..he eats little boys!' Then we find a police officer and shrink chatting over the recent suicide of a transvestite...long-winded dialogue commences before our hero is introduced, Glen.
After all, "Glen is NOT a homosexual, he is a transvestite but he NOT a homosexual" Wood's stream of consciousness, admittedly in better form in 'Plan 9' babbles on like stream, taking in ruminations about human nature, western civilization and mental illness, at times simply illustrated by stock footage of streets and factories!
"The rest is about some schmuck who likes Angora sweaters!" The film is a sad reflection of how low Lugosi had sunk at the end and it does make you wonder how accurate was the Depp-Landau portrayal of Wood as a nice, if talentless guy who just wanted to help out his idol.
Glen and Glenda was not a huge success in the 50s causing Ed Wood to be considered one of the worst directors out there at the time, but look at this film.
There are people that deal with situations like this all the time in our modern society.This had me thinking, was this just a cheap film for Ed Wood Jr., or was it nothing short of brilliant.
While his other films, like Plan 9 From Outer Space, drag a little, this one doesn't contain a single dull moment, although it is a bit long, I'll admit.Bela Lugosi is the star.
The film was originally slated to be a biopic on Christine Jorgensen, the propriety of the first publicly known sex change operation (in this case from male to female) Wood, however, took over production and instead turned it into a film about his own transvestism.Whether you're conservative or liberal on issue of cross-dressing and trans-sexuality, Glen Or Glenda manages to do something which I've seen many sacred cows fail to do, create emotional interest in its main characters, and succeeds to raise question on what it means to be normal, with an issue which is just as relevant today as it was in 1953.The movie's production values are surprisingly good for a film of this calibre.
Even the film's acting is decent, certainly better than in the likes of Plan 9 from Outer Space.Lugosi's character is widely regarded to be a scientist representing God. At first, I didn't understand the character's role in the movie (plus the use of the stock of footage is completely random).
However, I was impressed with how his catchphrase which he utters throughout the course of the movie actually finds its way to having relevance with the plot.I'm not the type of person who over analyzes movies looking for their deeper meaning, but in Glen or Glenda it really came through quite obviously and did leave an impression on me, as well as changing my opinions on Wood as a director.
Plan 9 From Outer Space may be the most popular of Ed Wood's film, but Glen or Glenda is...
Although "Plan 9 From Outer Space" and "Bride of the Monster" weren't nearly as good, "Glen or Glenda" seemed like a mixture between '50s propaganda and your average David Lynch movie which probably was the effect intended by Ed Wood.
So given the accepted knowledge of the time, no doubt gleaned from his many visits to a psychiatrist, Wood fashioned Glen Or Glenda and gave himself the title role.The film is done documentary style as police detective Lyle Talbot investigates the suicide of a man found dead in women's clothes.
The storyline is very thin; some parts of the movie are not even related to the storyline and are inexplicable, such as the silent (with background music) scenes of one woman tying up another lying on a couch, or a guy whipping a woman lying on the same couch, or Ed Wood (as Glen/da) making a face that looks like he's being electrocuted while a little girl's voice echoes in the background "Puppy dog tails!
With Wood playing the title character in the movie Glen/Glenda.
Lugosi starts to get even more ridiculous as the movie rolls on with sayings that make no sense at all in light of the story that were seeing like "Dragon tell me, do you eat little boys and puppy dogs tails and big fat snails?".
As the movie draws to a close Dr. Alton and almost in cadence Bela Lugosi end the it saying sadly that there are other transvestites like Glen who's stories don't have that same happy ending; and just how many more are there?
The title of this tape was "I Changed My Sex, AKA Glen or Glenda".Many years later, I viewed this famously 'so-bad-it's-good' classic on public access television, when it slowly dawned upon me that i was watching the film from that silly advertisement!
Glen is NOT a homosexual.That is the most important thing about the film "Glen or Glenda?" Never mind that this film is Ed Wood's masterpiece; a loopy, nonsensical hodepodge of exploitation film narrative, stock footage, and hammy narration from Bela Lugosi.
Bela Lugosi doesn't belong in this movie and the bizarre dream sequence that Glen has is more like a stag film and has little to do with the movie.
It just goes on and on and on, yet it's incredibly short in reality.When a film has as many names as "Glen or Glenda" does you know it's going to be bad (It's also known as He or She, I Changed My Sex, I Led Two Lives, and The Transvestite).
You can tell that Wood was so serious in trying to get people to understand him and this is made even clearer by the director playing the role and Glen and Glenda.
Glen or Glenda, however, is a painful and tedious disaster and - no matter how good Wood's intentions were - it's a strong contender for the title of worst movie ever made.
The result is a bizarre piece of movie history, and the beginning of Ed Wood's (undeserved) legacy as the most terrible director ever."Glen or Glenda" is a patchwork of bad ideas.
A psychiatrist tells two stories: one of a transvestite (Glen or Glenda), the other of a pseudohermaphrodite (Alan or Anne).Ed Wood is often seen as a bad director, and this is often seen as a bad film (though not his worst).
And "Glen or Glenda," his first and most confessional film, is probably his very worst."Glen or Glenda" is a deadening cult movie about a cross-dresser named Glen (played by director/writer Ed Wood himself) who despite his love for his fiancée Barbara (Dolores Fuller), cannot seem to conquer his lust for transvestitism, in which he dresses in women's clothing and a wig and thus becomes...Glenda!
Glen/Glenda's story is narrated by a doctor and he too is talked and watched over by a mysterious character called "The Scientist" played by veteran horror star Bela Lugosi.
I just recently watched Ed Wood Jr.'s autobiographical movie Glen or Glenda for the first time after having heard so much about it for so many years.
No one will doubt, "Glen or glenda" is the worst American film ever shot...from beginning to end, it's amateur quality scenes acted by Wood himself, cutted with stock shots of a bit everything (running bulls, lightnings,...
But the subject of the movie, the so poor production and the fact that Ed Wood wanted so much to tell the world a so difficult story for that time (The main plot is a kind of documentary about transvestites) makes it a major movie in the film industry history.
The best moments of this misguided monstrosity can easily be seen in other movies (Ed Wood, It Came From Hollywood, etc.), so there is no reason to sit through Glen or Glenda unless your life is coming to an end and you want time to pass much more slowly.
Okay, Glen or Glenda is a really bad movie, Ed's penchant for wearing fuzzy angora sweaters is definitely not enough to pull this film out of the trash heap.
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tt0065466
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Beyond the Valley of the Dolls
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The film concerns three young women, Kelly McNamara (Dolly Read), Casey Anderson (Cynthia Myers), and Petronella "Pet" Danforth (Marcia McBroom), who are in a rock trio called The Kelly Affair. Harris Allsworth (David Gurian) is their manager and Kelly's boyfriend. At the beginning of the film, Kelly gets the idea to relocate to the West Coast and look up her estranged Aunt Susan. It seems that Aunt Susan (Phyllis Davis) is holding a large inheritance that would have been shared with Kelly's mother, had she been alive. Kelly feels as if a share of this money could be hers, so the foursome sets out for Hollywood.Aunt Susan welcomes Kelly and her friends, and even promises a third of the fortune to Kelly, but Susan's sleazy financial advisor Porter Hall looks down on the girls, deeming them "hippies". Meanwhile, Susan introduces The Kelly Affair to a flamboyant and well-connected rock producer named Ronnie "Z-Man" Barzell (John LaZar), who urges the girls to give an impromptu performance at one of his outrageous parties. The number goes over so well that Z-Man takes the band under his wing, changing their name to The Carrie Nations, much to the chagrin of Harris. Harris is even further demeaned when Kelly gets involved with a gigolo named Lance Rocke (Michael Blodgett), who knows about her inheritance and wants her to claim as much of it as possible so that he can bleed her financially. Harris has a fling with porn star Ashley St. Ives (Edy Williams). Casey, who clearly mistrusts men, is pursued by lesbian clothes designer Roxanne (Erica Gavin). Meanwhile, Petronella has a very sweet, proper romance with law student Emerson Thorne (Harrison Page).The Carrie Nations take off as rock stars, but their personal lives begin to unravel. Porter Hall wages war on Kelly to get her to drop her claim for her share of the inheritance, and his scheme backfires; spurred on by Lance, Kelly changes her demands to half of the fortune instead of a third. When Porter realizes that Susan intends to honor her wishes, he attempts to buy Kelly out with an offer of $50,000.Ashley dumps Harris because he doesn't respond to her charms or her voracious sex drive. She insults him by suggesting that he is really gay, which causes Harris to suffer a mild identity crisis. Harris confronts Lance at Z-Man's house, and Lance immediately assaults him in front of the whole party. Despondent, Harris takes up with Casey for the evening, and the two of them engage in a moment of lovemaking fueled by pills and alcohol. Petronella is upset by Harris' humiliation at the party, and she is comforted by heavyweight champion Randy Black (James Inglehart); unfortunately she takes him home and beds him, and their interlude is interrupted when Emerson comes home unexpectedly. Emerson is nearly killed when he confronts Black, who attempts to run him down with his car.Casey wakes up next to Harris and goes berserk, accusing Harris of raping her. Kelly dumps Lance after the incident at the party, but the damage has been done; Harris attempts suicide by leaping from the rafters of a soundstage while The Carrie Nations are filming a television appearance. The girls find out that Harris will likely be a paraplegic. A mortified Casey reveals that she is carrying his baby, but Roxanne convinces Casey to have an abortion. Casey finally gives in and becomes Roxanne's lover, seemingly finding happiness at last with her. Kelly devotes herself to caring for Harris, and Emerson forgives Petronella for her infidelity.The final act of the film takes place at Z-Man's beach house; Z-Man invites Lance, Casey, and Roxanne to a private party at his house, where he gives them superhero costumes to wear and they take large amounts of drugs. After retiring to their respective rooms, Casey and Roxanne make love while Z-Man attempts to get Lance to make out with him. When Lance rejects him, Z-Man turns violent, hogtying Lance and threatening him with a sword, calling himself "Superwoman". Ultimately, Z-Man unbuttons his shirt and reveals his shocking secret to Lance: Z-Man has real female breasts, and seems to have been a woman all the time. The revelation causes Lance to laugh in disgust, calling Z-Man "an ugly broad". Z-Man immediately decapitates Lance with his sword. Casey and Z-Man's servant witness the murder; Casey tries to hide as Z-Man chases the servant down to the beach and murders him. Z-Man rushes back up to the house and produces a gun, which he uses to murder Roxanne. Casey places a frantic phone call to Kelly and the others, but Z-Man finds her and kills her with a shot to the head. Kelly, Petronella, Emerson, and Harris arrive too late and are attacked by Z-Man. Petronella is wounded in the shoulder after Z-Man shoots her, but in the ensuing fight that follows, Z-Man is killed in self-defense with "his" own gun. As they all react in horror to what has happened, suddenly Harris regains the sensation in his formerly paralyzed legs.Afterwards, there is a brief montage discussing the fates of the various characters in the film; how their choices have led to their ruin, those who died either from said choices (Lance and Z-Man) or by the cruel twist of fate (Roxanne and Casey), and the hope of a second chance that the surviving characters have been given at the end of the film. The film concludes with a triple wedding: Aunt Susan weds a former beau of hers, while Kelly marries Harris and Petronella marries Emerson.
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pornographic, murder, cult, violence, absurd, humor, satire, comic, melodrama
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train
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imdb
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One of the all-time great cult films, BVD is an energetic, imaginative parody of Valley of the Dolls and other such dippy Hollywood melodramas.
The ending has to be seen to be believed, and even then....The acting is very good (though Dolly Read's natural British and fake American accents are openly battling throughout), with top prizes taken by John LaZar as freaked-out record mogul Z-Man and Edy Williams as voracious porno queen Ashley St. Ives.
BTVOTD is the ultimate camp film that, unlike Valley of the Dolls, is knowingly campy, deliberately absurd, never comes down to earth, and achieves a non stop contact high.
After finally having purchased Beyond the Valley of the Dolls, I can fully second the statement that Russ Meyer truly is one of a kind and certainly a director to check out entirely.
While not as sex-filled as Meyer's earlier and later works, it still works as a spoof, a drama, and an adults film.Dolly Read, Cynthia Meyers, and Marcia McBroom play Kelly, Casey, and Pet, an all-female rock group called The Kelly Affair that start out small and make it big in Hollywood as The Carrie Nations.
While some of these instances can be seen as serious drama (these girls can act, believe it or not), most of them are played to be campy, complete with cheesy soap-opera organ music in the background.BVD is filled with little surprises: FASTER PUSSYCAT's Haji makes a cameo in two scenes; women-in-prison movie regular Phyllis Davis plays nice Aunt Susan, Kelly's rich relative; Meyer regular Charles Napier plays Aunt Susan's fiancee; VIXEN!
co-stars Michael Blodgett and Harrison Page play Lance, the money-hungry hunk, and Emerson, the black law student; sex starlet Edy Williams is luscious as Ashley St. Ives, famed pornographic movie star; and recurring character Martin Bormann makes another appearance.
The Strawberry Alarm Clock appears performing "Incense and Peppermints" and a non-hit at a Hollywood party, too.While BVD is not as unintentionally hilarious as the original VALLEY OF THE DOLLS, I liked it a lot better.
Normally, people who can't act really bother me but watching all of the Playboy playmates trying to act serious while spouting out hilariously clichéd dialogue (I can only hope that Roger Ebert and Russ Meyer weren't trying to write authentic dialogue) was very funny.
"Beyond the Valley of the Dolls" is soft-core auteur Russ Meyer's drug-drenched, sex-soaked parody of "Valley of the Dolls," the film based on Jacqueline Susann's best-selling novel of the same name.
"Sex, drugs, and rock 'n' roll" is the main theme here; the secondary theme is "voluptuous, scantily-clad starlets displaying miles of cleavage." (This is, after all, a Russ Meyer film!) Those discriminating viewers seeking insightful social commentary, three-dimensional characters, and plot twists that actually make sense had better look elsewhere.
(Screw schlepping around town submitting demo tapes; this is the way to become a rock star.) Having achieved overnight fame, our busty, lusty heroines then confront the Dark Side Of Success, finding themselves quickly entangled in various soap opera-ish sub-plots.The Suff I Liked: The acting: good, not great, but great acting would only detract from a movie like this.
The plot of this movie revolves around a female rock group, that pursues their dreams of stardom in the Hollywood jungle of ambitious hopefuls.All the characters are beautiful looking, particularly the drop-dead gorgeous women in the band.
The brutal violence winds-up spoiling the fun, comic tone of this movie.For the most part, this film is an amusing send-up of The Valley Of The Dolls.
Along the way they encounter all manner of eccentric characters; plus sex, drugs and murder.Like other Meyer movies the story-line isn't the main appeal.
But with a Russ Meyer's film, it does have bad acting and a weak plot, that it appears to be a "bad" movie.
But with it's sharp dialogue, rapid editing, good cinematography, and nice shots of women's assests, a Russ Meyer film is one to watch at a party or in the theater.
With Beyond the Valley of the Dolls he and, yes folks, Roger Ebert, got in and, as Meyer described, the "lunatics took over the asylum." Which isn't to say their movie didn't make money, or end up as a big cult smash that can play any time in the country to a packed house.
It's raunchy (albeit, and maybe to somewhat disappointment, not as raunchy as some of Meyers smaller budgeted films), it's flashy, it's a rock and roll fantasy of campy and drugs and, in the end, lots of over the top violence.In fact, when 'Beyond' is at its best, it's got the stuff of classic exploitation film-making, and with a bit more finesse and class beneath its subversion.
It's strange to see how fast the movie does that, MOVE, with twice as many cuts per scene, but not with the kind of obviousness that seems to come around today (albeit, as others have said, Meyer was ahead of his time).
Comic-book like, but not quite, it's one of the things that sets him definitively when watching any of his work; there are some scenes, like the "intro" to Los Angeles, the drug scene at Z-Man's pad with the Sorcerer's Apprentice music on, and all the 'fluffy' scenes that are 100% self-conscious, work in large part to Meyer's spectacular style at the movieola.Plot?
Think Josie and the Pussycats in a fricassee of X-rated madness.Though I should say, contrary to a few critics of the film, if anything puts it into the stratosphere of being memorable so many years later- when it does, ironically, become dated- it's the climax involving Z-man (ahem, Super Woman) and Meyers's outrageous take on the Charles Manson massacre.
All in Fun. Russ Meyer's movies are strictly x-rated, but there's an innocence about them that makes them stand the test of time extremely well.
Seeing this movie (very much cut) on American Movie Classics a few years ago reminded me of just how much fun his movies are.Jeff Millar in the Houston Chronicle described watching Meyer's films as being like talking to your mom's older brother who's been in the Navy a long, long time.
Beyond the Valley of the Dolls is a cult movie, not because it is a masterpiece waiting to be discovered, and not because it is garbage pea-brains drool over because they don't quite get the real thing.It is a cult film because Meyer and Ebert, in driving the clichés of the soap-opera genre to excess, clearly revealed what it was people actually wanted from this genre (and still want), but were afraid to ask (and are still, although less so, for better or worse).
Thus this film reveals the real "shadow" unconscious of American consciousness for a generation (and beyond, apparently): Utterly banal, superficial, sentimental, and potentially given to psychotic violence.The generation this film comments on boogied to the Grateful Dead, voted for Reagan, taught their kids to go to church but smoke dope after school, believed empty daydreams promised them like Star Trek and Garrieson Keillor's Woebegone, became obsessed with Oprah Winfrey's weight and Michael Jackson's nose, and is currently enjoying acid flashbacks to Vietnam by sending their grand kids to Iraq for more oil.What Meyer and Ebert revealed - quite by accident - was that (is that) America is a land of fake 'spirituality', cheap thrills, and puking up the morning after.If you can grok this level of cultural insanity, the images of this film will continue to amuse you - and haunt you - and upset you, for many years to come.Yes, it is a hunk'o'garbage; so's George Bush, and he's in the White House - get it?.
Whether it is the music, the clever dialog or the fact that Dolly Read is as cute as a buxom button, this film stands above the other Meyer's flicks and remains one of my all time favorites.The plot is simple, cute girl (Dolly Read) packs up her band (Cynthia Myers and Marcia McBroom) and her boyfriend (David Gurian) and heads to L.A to collect a share of an inheritance from her Aunt (Phyllis Davis).
Only Casey is allowed to actually find love in Erika Gavin's Roxanne) and Drugs which captures Harris and ruins his relationship with porn star Ashley St. Ives (Edy Williams).Film critic Roger Ebert made his screen writing debut with this ultra hip, very funny script.
His great writing combined with the fast moving shooting style of Russ Meyer to create one of the most purely entertaining X rated films ever.This film unfortunately is a target for people who do not like Roger Ebert and use his involvement as an excuse to rail against him.
The film seems to exist far from reality in a cartoonish world of bright colours and psychedelic music.I know this movie is not for everyone, its X rating clearly shows that, but for daring viewers this film should provide a fun evenings viewing..
Tons of ugly Fellini-like characters, beautiful naked people and Hollywood trash are featured in 1001 little vignettes crammed into about 10 minutes of film.While it might seem hard to believe, the editing and direction still were almost infinitely better than the god-awful script.
Beyond the Valley of the Dolls is the fourth Russ Meyer film that I've seen, and it's also the odd one out.
The humour and goings on are not exactly subtle either, and like most of Russ Meyer's work - this film is great fun to watch!
They soon hit the big time, but they also discover the joys of sex and drugs and it doesn't take long for these formerly clean-cut girls to immerse themselves in a hive of sleaze as they all find themselves hooked on "uppers" and "downers" and getting in with some very strange and shady characters...When watching this film, it really is best to turn off your brain, forget what you know and just let Meyer take over!
And finally, Charles Napier - not trying to kill Rambo.This movie, written by Roger Ebert and directed by Russ Meyer, is the tale of a band (The Kelly Affair) trying to make it big.
There are drugs, sex, some really bad rock 'n' roll, and before the credits roll we're even treated to a take-off (yes, I said take-off) on the notorious Sharon Tate murder and some of the most ridiculous moralizing in celluloid history.As leader of the band, Dolly Read looks and acts like Barbie's friend Skipper after one course of hormone treatments too many.
Also, John LaZar delivers one of the best performances I've ever seen as "ZMan." The band sequences (the miming of Marcia McBroom on the drums is priceless) are campy but great, and the music definitely adds to the movie's surreal quality.
All you have to do is check out the "Memorable Quotes" section of this movie and you'll find a small sampling.Second, the film has one of my all time favorite characters, Ronnie "Z-Man" Barzell, played with a flourish and relish by John LaZar. He speaks beautifully and energetically with a penchant for speaking in old English, and he also throws some of the most interesting, not to mention fun looking, parties ever put on celluloid.
Couple this outrageous story with a script sparkling with the cliched "hip lingo of 1960's youth" (penned by a young Roger Ebert, who must have gotten a huge kick out of having his characters use phrases like `You're a groovy boy, I'd like to strap you on sometime' and utter words like `groovy' and `dig' with heart rending earnestness), a ridiculously fetching sound track (I happily own one of the very few surviving copies on CD - only 1000 were ever made), a bevy of buxom, big-haired, Playboy bunnies who can barely act, and the uniquely stylistic camera work of soft-core porn master Russ Meyer, and what we have is a film that is so intentionally bad that it defies fantastic.
After viewing this movie, i saw Russ Meyers movie "Beyond the Valley of the Dolls", which is full of nudity, sex, and violence (not exactly "Beaches" material).
It brings out more of the humour and subtle differences.It is easy to see that the movie was based on Valley of the Dolls, but with a classic Russ Meyers touch, a pornographic-like story line.
He got together with Russ to write this movie because he had given favourable reviews for Meyer's earlier porn films.
Since this movie, Ebert has co-written a couple of Meyers films, none of which i have seen.This probably makes me out to be a porn freak, right?
This is the only Russ Meyers film that i have seen, and the only one i want to see, but this movie does have something that others don't.
Roger Ebert and Russ Meyer are as compatible as orange juice and tooth paste, but they come out with one of the classics of camp in this movie.
Even stranger, the actors are so good-looking they'd make the pope drool, and still they really can act.I think the studio's restriction to be less explicit than in his self-financed work did Russ Meyer a lot of good, it's definitely not a very graphic but decidedly sexy movie, and as far as I can tell it's his best one.
You know maybe it's me but if I had to list all the essential ingredients of a good movie they would include, an unpredictable story, a great soundtrack, a few attractive cast members, the odd joke, some action and many other things that are included in Russ Meyers masterpiece.
While former manager Harris finds himself left behind by Kelly, all of them are sucked into the show business world of sex, drugs and partying.There are some films it is hard to review and those from Russ Meyer are some of them.
Released in 1970 and directed by Russ Meyer, "Beyond the Valley of the Dolls" satirizes the previous film, scripted by none other than Roger Ebert.
So naturally this 1970 follow-up is a raunchy sex comedy directed by Russ Meyer and penned by the late film critic Roger Ebert.
The fact that this homicide forms the basis of Beyond's insane bloodbath ending tells you all you need to know about the approach Meyer and Ebert are taking with this remake/sequel.Dolly Read plays Kelly, the lead singer of an up-and-coming all-girl pop-rock band, which heads to LA to meet Kelly's aunt, Susan (Phyllis Davis), and hopefully meet with her $50k inheritance.
While this battle is waged, the girls live up to Porter's title, boozing and bonking their way through a series of parties, while their new svengali, Ronnie "Z-Man" Barzell (a lascivious John Lazar), sidelines their existing manager Harris (David Gurian), changes the band's name, and shamelessly promotes them for himself."All uptight about tomorrow and hanging onto yesterday," moans Randy Black (Jim Iglehart, channelling a low-rent Mohammed Ali); "all that matters is now." Combining counterculture energy with cheapo raunchiness, Beyond the Valley of the Dolls boldly and ruthlessly satirises the Love Generation.The story begins with a road trip promising boundless opportunity and free-spiritedness, but ultimately the girls' desires are parochial and shallow: sex and wealth.
But Kelly (Dolly Read), Casey (Cynthia Meyers) and Pet (Marcia McBroom) are lured into a kaleidoscope of sex, drugs and evil that leads to the ultimate violence in a city of deranged angels.The first time you watch Beyond the Valley of the Dolls, you experience it as a cult cinematic mind trip: a hallucinogenic soft-core porn tour to the tail end of the Swinging Sixties.On another level, it is a clever, funny, subversive.
I am a firm believer that Russ Meyer's films were funnier and more unique before Roger Ebert's influence of self parody.
"It's my happening, baby, and it freaks me out!" There's just something about Russ Mayer's most popular and biggest film, 1969's "Beyond The Valley Of The dolls" that makes you watch it every time it's on IFC (Independent Film Channel).For one thing, it's uncut and that's always a treat.For another, it takes place in the hip, decadent, psychedelic, hippie heaven of Hollywood in 1969.Regarding the line, "It's my happening, baby, and it freaks me out!": Mike Meyers paid tribute to this film by including that line spoken by super-hip, super weird pop group manager Z-Man (John Lazar) in "Austin Powers: International Man OF Mystery." The sex, the drugs, the nudity, the excellent color, the cast (including Dolly Read-Martin ("Mrs. Dick Martin"), former KHJ-9 teen dance show host Michael Blodgett and Phyllis Davis)and yes, even the cheesy plot combine for a couple hours of weird yet alluring entertainment.And that wild, wacky, way-too-hip-for-the-room dialogue demands repeated viewing.
Campy, melodramatic, ridiculous and hilariously dated counterculture shock vehicle, Beyond the Valley of the Dolls is a landmark Russ Meyers film.
AMC just showed an edited version the other night and it was missing 11 minutes of what makes Russ Meyer movies worth watching.The story here is nothing new.
Even the music in this movie is great and while the film is not fantastic, its good because its simple and fun.
A movie like this could only have been made when it was and by Russ Meyer.
This movie is what breast-loving director Russ Meyer and film critic Roger Ebert envisioned the swinging 60s LA scene to be like.
Ebert writes his story like someone with a heart but for most of the time, the film comes across as a horny teenager writing down his sexual fantasies; weather it was director Meyer's idea to include all the graphic content will never be known but it makes you think.
Filled with drugs, sex, rock n' roll, stereotypes, murder, fighting, and plenty of cheese, i would have to say that Beyond the Valley of the Dolls is probably the best bad movie ever made.
The movie is very hypnotic with it's music, style and delivery, although Russ Meyer's quick editing is very much like "Armageddon's" with every scene changing in about 5 seconds.The story is basically about an all-girl group called the Carrie Nations and it's run of sex, drugs and rock 'n roll as well as the horrible price it pays for success.
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tt0075029
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The Outlaw Josey Wales
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Josey Wales, a Missouri farmer, is driven to revenge by the murder of his wife and young son by a band of pro-Union Jayhawker militants. The murderers were from Senator James H. Lane's Kansas Brigade, which included Captain Terrill.
After grieving and burying his wife and son, Wales joins a group of pro-Confederate Missouri Bushwhackers led by William T. Anderson and fights in the Civil War. At the conclusion of the war, Captain Fletcher persuades the guerrillas to surrender, saying they have been granted amnesty. Wales refuses to surrender. As a result, he and one young man are the only survivors when Captain Terrill's Redlegs massacre the surrendering men. Wales intervenes and guns down several Redlegs with a Gatling gun.
Senator Lane forces Fletcher to work with Terrill in tracking down Wales and puts a $5,000 bounty on Wales, who is now on the run from Union militia and bounty hunters. Along the way, despite wishing to be left alone, he accumulates a diverse group of companions. They include an old Cherokee named Lone Watie, a young Navajo woman, and an elderly woman from Kansas and her granddaughter Laura Lee, whom Wales rescues from Comancheros. At Santo Rio, two men, Travis and Chato, join their group.
Wales and his companions find the abandoned ranch owned by Laura's father and inhabit it after Wales parleys and makes peace with the neighboring Comanche tribe leader, Ten Bears. Meanwhile, a bounty hunter who identified Wales at Santo Rio, guides Captain Terrill and his men to the town. The following morning, the ranch is attacked by the Redlegs. Wales' companions take shelter in the fortified ranch house and open fire, gunning down all of Terrill's men. A wounded Wales, despite being out of ammunition, pursues the fleeing Terrill. When he corners him, Wales dry fires his four pistols through all the empty chambers while reliving the events surrounding his family's death, and remembering Terrill's involvement, before stabbing and killing Terrill with his own cavalry sword.
At the bar in Santa Rio, Wales finds Fletcher with two Texas Rangers. The locals at the bar, who refer to Wales as "Mr. Wilson," tell the Rangers that Wales was killed in a shoot-out in Monterrey, Mexico. The Rangers accept this story and move on. Fletcher refuses to believe the story, but pretends to not recognize Wales and says that he will go to Mexico to look for Wales himself, and try to convince him that the war is over, because he owes him that. Wales says that they all died a little in the war, before riding off.
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murder, anti war, cult, violence, flashback, humor, revenge, sadist
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train
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wikipedia
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Even when matched up against his Oscar-winning 1992 film UNFORGIVEN, THE OUTLAW JOSEY WALES must rank as being among Clint Eastwood's finest turns both in front of and behind the camera.
Having displayed a solid feel for the director's chair with 1971's PLAY MISTY FOR ME and 1973's HIGH PLAINS DRIFTER, Eastwood took the reins on JOSEY WALES when he and the original director Philip Kaufman, who still shared a co-write of the script (and had directed 1972's THE GREAT NORTHFIELD, MINNESOTA RAID), ran into some pretty strong disagreements.
The end result was one of the best westerns of the 1970s, in critical, commercial, and artistic terms.Eastwood's character is a farmer living out a quiet life in Missouri near the end of the Civil War who is forced to see his whole family and homestead wiped out by marauding "Redlegs" from Kansas.
As he heads towards Texas, he encounters a motley group of outcasts (Chief Dan George; Sondra Locke; Paula Trueman), and becomes less obsessed by violent revenge and more interested in helping, going for his guns only when McKinney's Union troop closes in, and bounty hunters come looking for him.In contrast to the "Man With No Name" persona he codified with Sergio Leone in the 1960s, or the tough cop he personified in DIRTY HARRY, Eastwood's Josey Wales is a man of great courage and sympathy who becomes tired of all the violence he has had to see and to take part in.
Many westerns have the theme of the older breed of man who tamed the west by violence being abandoned by his fellows; only this one, so far as I know, has the older breed of man abandon himself, that is to say, change his ways with the changing of the times.Clint Eastwood is a decent actor, not a great one.
His role is a neat twist on the trope of the 'reluctant hero'; Fletcher is a reluctant villain.The ending of THE OUTLAW JOSEY WALES is the most beautiful and poetic of any in western movie history, maybe the most beautiful of any movie ever.
Eastwood's character doesn't speak much but utters a handful of memorable lines.The central character played by Eastwood is given fine support by an excellent ensemble cast including Chief Dan George, Sondra Locke, Bill McKinney and most of all John Vernon.
"The Outlaw Josie Wales" was made by Clint Eastwood at a time when westerns were out of favor and the public wanted more of Clint as Dirty Harry.
This film as it turned out, was one of Clint's best and certainly ranks up there with the more popular "Unforgiven" (1992).Josie Wales (Eastwood) is a dirt farmer in Missouri during the American Civil War. One day a group of yankee raiders led by Captain "Red Legs" Terrill (Bill McKinny) attacks and burns his farm and murders his wife and young son while leaving Josie for dead.
But finally Terrill and his group of "Red Legs" tracks Josie down and..........Eastwood who also directed the movie, plays Wales with his usual grim faced persons.
Certainly Clint Eastwood's best complete movie, the story of a man drawn into hell by the inhumanity of others (specifically, the Redlegs and the Senator), who is redeemed by the humanity of others (the settlers, Lone Wattie and Ten Bears) to recover some semblance of a life after the Civil War.
All in all, a brilliant bit of film from Eastwood (who clearly learned everything he could from his own directors, and then combined that knowledge into superb craftsmanship of his own.) It is interesting to contrast the Jose Wales and Billy Munny (from Unforgiven) characters.
It is more focused and more genuinely evocative of mood than Nevada Smith, which its story may faintly call to mind; it seems less overtly "Hollywooden" than that film, too.Westerns that stand in stature alongside Josey Wales: The Searchers, One Eyed Jacks, The Man Who Shot Liberty Valance, Fort Apache, and The Good, The Bad, and The Ugly.
(Those who've seen Jimmy Stewart break down in tears of moral anguish in one of the aforementioned films-- or watched Randolph Scott use up all his ammo in a standoff on some matter of principal so imperative that he cannot move until the thing plays itself out, however that may be-- know exactly what I mean.)Another thing I like: Whenever you get too comfy within the environment of this film --as you did, say, in the late John Wayne westerns, after he had become such a franchise-- along comes some major shock or disappointment or unbearably poignant bit to remind you that the model of this film is, after all, real life, where these kinds of thing happens all the time.-----------------------May I add a spoiler at this point?
Sixteen years before the unforgettable Unforgiven (1992), Eastwood delivered this genre classic, at a time where New Hollywood had confidently taken over and, outside of Italy's fledgling film industry, Western was no longer on the agenda.
Overlong but splendid Western well played and directed by Clint Eastwood as a farmer turns outlaw when Union soldiers kill his family.
A Missouri peaceful farmer named Josey Wales (Clint Eastwood) whose family is killed by ¨Red Legs¨, a bunch of pillaging outlaws who have allied themselves with the Union Army ; he then turns vigilante .
Then Wales in turn has a price on his head and joins a Confederate guerrilla unit to revenge their deaths and winds up on the run along with a motley group (Sam Bottoms , Chief Dan George , Sondra Locke) from the Union soldiers who murdered his family and undertaking a lethal chase .The picture compellingly describes the atmosphere of violence set in post-Civil War ; in which women have few rights, and took place confrontation among bands and bloody battles .
Colorful and adequate cinematography shot in Panavision by Bruce Surtees , great cameraman Robert Surtees's son.This masterpiece of characterization , adventure and action was efficiently directed by Clint Eastwood ; however , the movie received mixed reviews on its release .
For starters, the film is based on a novel, and it is also known that Eastwood fired the man who was going to direct it (Philip Kaufman, also the screenwriter) when the project was already in an advanced stage.Clint Eastwood stars as Josie Whales, a pacific farmer who sees his family killed during the American Civil war, and who, not having any good reason to live but to achieve revenge, joins the suddist irregulars.
A series of events turn him into a fugitive, with literally every bounty hunter in the territory after him, and his dry, sullen persona starts to evolve as his journey towards Kansas progresses and he joins some of the most peculiar travel partners ever to grace a western: a young kid (Sam Bottons), a disenchanted Indian chief (Chief Dan George), an Indian woman who speaks in an unintelligible tongue, a dog, a puritan woman and her aloof young daughter (played by Sondra Locke, future companion and regular screen partner of Eastwood).It is a wonderful film, really, but as I said it is VERY strange.
Wales is teared apart, as the film goes, between his desire for revenge and thus ending with his inner torment, and the newly found desire to reintegrate to society (he's been a loner for years as the film starts), as he founds himself as the leader of some sort of dysfunctional, even interracial, family.This inner conflict is also transferred to the film itself, which seems to eternally debate between historical (and genre) accuracy (this must be the most "historical" of all Eastwood films, as it is based on historical events and several real figures like Quantril are mentioned) and Eastwood's desire to short-circuit it with dry humour and anti-archeotypical character allegiances.This alone should make it a must see for all westerns aficionados, but it should also be noted that this is one of Eastwood's finest directing efforts.
This version of Eastwood is perhaps a little too ineffectual for us to fully accept his transition to a hard-hearted badass, but enough happens in the meantime to make us forget the prologue, only for to be reminded of it in the picture's final act as some surreal dream of the life that once was, with renewed impact.As an actor, Clint Eastwood was of course born to play the tough-jawed Clint Eastwood type, but he handles the more peaceable aspects of the Josey Wales character with rather mixed success.
Overall, we follow him as the war turns him from a simple farmer into the most wanted man in the west.You can always count on a strong lead performance from any film that has Clint Eastwood's name at the top of the actor's credit list, and The Outlaw Josey Whales certainly doesn't disappoint in that respect.
The Outlaw Josey Wales has it all...action and adventure woven into a great story with great settings, brilliant acting by a ensemble cast of memorable characters, and is beautifully filmed, costumed, and decorated with an eye for detail and authenticity.Needless to say, I would definitely rate this film a '10' and recommend it to all..
It seems the only real criticism of this wonderful western (Eastwood's best), and one of my all time favorites is that it presents the Union as the bad guys and the south as the good guys.
Missouri farmer Josey Wales (Clint Eastwood) joins a Confederate guerrilla unit after his family was murdered.
One of the greatest Westerns of the seventies, "The Outlaw Josey Wales" is not only a compelling revenge tale with plenty of typical Eastwood badassery, but is also a superb character study and offers much food for thought regarding wartime morality and even race relations among other topics.
His symbolic marriage to the 'flower child' (Laura Turner, played by Sondra Locke) is the final signal that America MUST heal itself, the hawks and the doves are not, in the end, enemies, but must reconcile.The Outlaw Josey Wales is, simply, a fantastic and beautiful movie, one that must be seen and experienced repeatedly by anyone who claims to be a fan of the genre.
He intervenes and kills many union soldiers before making his escape with one still living friend and then the story of the movie starts.Even though he has little to live for Josey decides to head for Mexico and hopefully a life of peace but a $5000 bounty on his head ensures trouble all along the way.
Eastwood Is Always An Inspiring Western Figure...This Time It's The Outlaw Josey Wales!.
Since I am a Clint Eastwood, I couldn't say no to this great western, especially one that Eastwood personally directed and personally acted out the role of Josey Wales, a Missouri farmer who becomes a wanted outlaw.
I thought UNFORGIVEN was one of the best films/westerns I had seen in a long time but now I know Eastwood was clearly self-referencing the superior THE OUTLAW JOSEY WALES, an American masterpiece that everyone should make an effort to see..
The film is a revenge tale set at the end of the American civil war, which, rather than exploring the cause of a War, explores what War causes in people - in a more than impressive manner.Josey Wales (Eastwood) is a farmer, who, after his wife and kids get massacred by Redlegs (Kansas Unionist guerrillas during the civil War), vengefully joins the Confederate Guerillas of Bloody Bill Anderson.
As in some of his other Westerns, Eastwood's character of Josey Wales is on friendly terms with Native Americans.
Eastwood's then-girlfriend Sondra Locke fits greatly in the role of the innocent beauty, Paula Trueman is one of the funny characters as her constantly nagging grandmother, Bill McKinley is sardonic as the murderous Terrill and John Vernon (who played the role of the mayor in "Dirty Harry") is great as Fletcher, a fellow former guerrilla who unwillingly has to pursuit Wales.
Outlaw Josey Wales and Pale Rider are my favorite Eastwood western movies.
I saw this film at least 15 years ago and many times since, it never fails to provide entertainment,and thought provoking subject matter on society, war, relationships and even race bigotry,set against the american civil war, it shows how one ordinary farmer can be sucked into a whirlwind of hate and revenge but still come out the other side with his humanity intact, there is plenty of action and character interraction along the way,with more than a little humour, beautifully filmed and more intelligent than the perhaps more popular spaghetti westerns, this is a better film than oscar winning The Unforgiven..
If I had a favorite among Clint Eastwood westerns it's a tie between Joe Kidd and The Outlaw Josey Wales.
If I was planning a personal Clint Eastwood festivals, these two would be my western choices.Clint's a bitter man in this film and how he became The Outlaw Josey Wales is part of the story here.
It's part of what makes the film so poignant in its way, much more so than Clint Eastwood's films normally are.In a decade which certainly saw fewer and fewer westerns being made, The Outlaw Josey Wales is one of the two or three best to come out of the Seventies.
As The Outlaw Josey Wales, Clint Eastwood is ideal as a wary, fast drawing loner, akin to the "Man with no name" from his European westerns.
The Outlaw Josey Wales was released in 1976 and it stars Clint Eastwood, Sondra Locke & John Vernon.
Many certainly will think about Josey Wales, exceptional western directed and starring by Clint Eastwood.
It's a great movie and Clint Eastwood have here one of his best performances, matched only years later in 1992 when he realized "Unforgiven" and won an Oscar..
A classic western filmed mostly in Utah and filled with nonstop gun play, humor, romance, and some of the best one liners in any Western to date.Josey Wales was dragged into the depths of hell during the civil war as his family was killed by union troops.
Clint Eastwood's 'The Outlaw Josey Wales' is a most unconventional Western 'road movie'.
He is terrifically supported by Chief Dan George, Sondra Locke, John Vernon, Sam Bottoms, Geraldine Keams and Paula Truman.To say the least, Clint Eastwood has delivered another unique Western gem which is among his best works..
The ending confrontation between Fletcher and Wales is one of the best out of not just the Western genre, but films in general.
Starring Clint Eastwood, Chief Dan George, Sondra Lock, John Vernon, Bill McKinney, and several other talented actors and actresses, "The Outlaw Josey Wales" is a very well-written and well-directed Western movie.
It probably was just thrown in because Sondra Locke (Clint Eastwood's at-the-time girlfriend) was part of the cast."The Outlaw Josey Wales" is one of my favorite Westerns and probably Eastwood's second-best work on the Western movie genre.
Many films were made about the people of Missouri and Kansas after the civil war, but "Josey Wales" is my favorite, specially because of the last scenes, which show a light at the end of the tunnel.
I think it would have come out even better if Kaufman had stayed, I liked his style and Eastwood in my opinion is not as great a director of westerns as he is an actor.
Clint is excellent in the title role, and I like Josey Wales as a character perhaps more than any other Eastwood incarnation because he's human, has a heart, and never pulls his gun on anybody who hasn't drawn a gun on him first.
This movie is about a lot more than the post-Civil War period.Wales had a long, violent journey to find people he could make peace with and want to give his life serving.The texture of this film was deep and rich with fine colorful characterizations from Eastwood's supporting cast, particularly the Lone Waite and Fletcher parts.
I have never seen a Western the likes of 'The Outlaw Josey Wales'.
Clint Eastwood is at his best as an actor (and I think he also directed this?) Anyway if you like westerns check this one out, great drama and action and he is awesome as Josey Wales in this..
Warner Brothers executive David Geffen was correct, the film needed to be trimmed a bit.The Outlaw Josey Wales has long been regarded as the last great western set during and in the aftermath of the American Civil War.Josey Wales, a Missouri farmer watched his family being murdered by Union militants.
I haven't seen that many Clint Eastwood westerns (outside of the Leone films, Unforgiven, Two Mules for Sister Sara, and High Plains Drifter), but I remember this one from about a month and a half ago, and like Eastwood's best, I got drawn into the story, and into the sympathies of the lead character, which I felt was the strong-point under the actor/director's control: a farmer, who's moved on from his old days, is living in the woods with his family.
It is an awesome film acted n directed by Eastwood with awesome star cast, Chief Dan George, Sondra Locke, Bill McKinney, John Vernon, etc.
Clint Eastwood's classic best western masterpiece ever done with a ton of great one liners!.
In addition, if you're not able to take a Clint Eastwood's best classic western masterpiece film with a ton of great one liners , ignore this review, as well.
I love this film and it is my fifth favorite Clint Eastwood western movie.
Clint Eastwood's "The Outlaw Josey Wales" is a strange and daring Western that brings together two of the genre's usually incompatible story lines.
The Western Genre has been good to Clint Eastwood, making him a star.
The acting throughout is strong, there is complex characterisation and characters do actually change during the course of the film.The Outlaw Josey Wales is a great Western, able to match the likes of The Dollars Trilogy and Unforgiven.
Many fans regard THE OUTLAW JOSEY WALES as Eastwood's best western, although for me it's a toss-up between this, THE GOOD, THE BAD AND THE UGLY and UNFORGIVEN.
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Hairspray
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In May of 1962, Baltimore teenager Tracy Turnblad (Nikki Blonksy) prepares for school while displaying optimistic appreciation of her drab neighborhood in which she sees so much beauty ("Good Morning Baltimore"). Tracy, who has a passion for dance and bouffant hairstyles, is something of a social outcast among her classmates because of her chubbiness, but her best friend Penny Pingleton (Amanda Bynes) shares Tracy's obsession with the after-school dance program The Corny Collins Show, which features a group of teenage dancers known as the Council Kids and is sponsored by Ultra-Clutch brand hairspray. The show is broadcast live on Baltimore's WYZT station and, despite the progressive opinions of Corny Collins (James Marsden) himself, remains a segregated program featuring only white dancers except for the last Tuesday of every month, which is designated "Negro Day." Tracy and Penny rush to Tracy's house after school to watch the show ("The Nicest Kids In Town"), much to the annoyance of Tracy's mother Edna (John Travolta), who works from home as a laundress and refuses to leave the house because she is ashamed of her voluptuous size. Edna shows concern for her daughter's interest in dance, fearing that people will mistreat her because of her weight. Penny's paralyzingly strict mother Prudy (Allison Janney) also disapproves of The Corny Collins Show, but mainly due to her own racism and the fact that pop music is becoming more and more influenced by R&B styles.Sharing Prudy Pingleton's disdain for "race music" is Velma Von Tussle (Michelle Pfeiffer), the manager of WYZT and domineering mother of the snobby, aggressive Corny Collins dancer Amber (Brittany Snow). Though Corny Collins defends his music choices and believes the show should be integrated, Velma refuses to consider it and constantly pushes for her daughter to be featured above all the other dancers. Several of the teenagers on The Corny Collins Show attend Tracy and Penny's high school, and Tracy in particular is star-struck and swoony whenever she catches sight of Link Larkin (Zac Efron), the show's main heartthrob and Amber Von Tussle's boyfriend.Tracy is ecstatic when Corny Collins announces that one of their female dancers is taking a leave of absence (for "just nine months") and invites any interested girls to come to the station for an audition. Though Edna attempts to talk Tracy out of the idea, Tracy's father Wilbur (Christopher Walken), a joke-shop proprietor, is more supportive and encourages his daughter to go after her dreams. Tracy and Penny cut school the next day, and following a brief dance test,Tracy is dismissed by Velma Von Tussle due to her weight and her support of integration. Velma is blissfully detached during the audition process as she reminisces about her glory days as a pageant queen ("The Legend of Miss Baltimore Crabs").Dejected, Tracy arrives back at school and is promptly given detention for cutting class. Her spirits lift, however, when she discovers that the detention room is where many of the school's black students congregate and dance to R&B music. She befriends Seaweed J. Stubbs (Elijah Kelly), the group's best dancer, whom she recognizes as a performer on the monthly Negro Day, and learns some of his dance moves. Link Larkin happens by the classroom door and sees Tracy's dance skills. Impressed, he enters the room and informs her that Corny Collins is hosting a hop, and that she is easily talented enough for Corny to select as a new Council member. As the school bell rings and the kids disperse, Link is accidentally jostled into Tracy, causing Tracy to have a series of euphoric daydreams about her interaction with him ("I Can Hear the Bells").Teenagers, both black and white, arrive at Corny Collins' public dance, though the dance floor is divided by a rope for segregation. Link is performing a high-energy song ("Ladies' Choice"), and Tracy spots Seaweed among the black dancers. He tells her to borrow some of the moves he taught her, and impress Corny Collins. Tracy quickly catches the attention of Corny (and Link) with her dancing, and, to the horror of Velma Von Tussle, is chosen as the new Council member for The Corny Collins Show. Tracy's parents, as well as Penny and Seaweed, are delighted.Negro Day arrives, hosted by Seaweed's mother, televison DJ Motormouth Maybelle (Queen Latifah). The biased station views, as well as the surprise of Tracy's admission to the Council, are echoed in a song written by the black dancers who are then chastised by Velma for performing it after the white dancers performed a cover version ("The New Girl in Town").Tracy becomes a local celebrity and one of the most popular dancers on the show, despite Velma and Amber's disgust. Mr. Spritzer (Paul Dooley), the CEO of Ultra-Clutch hairspray, first dislikes Tracy and calls her a "chubby communist" after she announces on-air that, if she could, she would make every day Negro Day. Spritzer soon changes his mind when Tracy causes a huge boost in ratings and sales. Wilbur begins selling Tracy-themed merchandise in his joke shop, the Hardy-Har Hut, and Edna finally realizes that Tracy's weight did not prevent her from reaching her goal.Tracy soon receives an offer from Mr. Pinky (Jerry Stiller), the owner of a local plus-size dress shop, to be their official spokesgirl. Tracy is excited by all the sudden attention, but Edna suggests they should find an agent to take charge of Tracy's affairs. After much coercing, Tracy convinces Edna to be her agent, which at first terrified Edna because it would require her to be seen outside their house. Edna finally agrees to accompany her daughter to meet Mr. Pinky and go over a contract. Tracy assures her mother that times are changing, and that people who look different are finally beginning to be accepted ("Welcome to the Sixties").After both Tracy and Edna receive makeovers at Mr. Pinky's shop, they stop at a diner to celebrate, with Edna feeling more confident than she had been in years. Amber and Velma enter the diner, and Tracy is forced to introduce them to her mother. Velma hurts Edna with a thinly-veiled insult about her new dress, reducing Edna to tears, but Tracy explains after the Von Tussles leave that Velma's motive for breaking them down is the threat that Tracy now presents to Amber winning the annual Miss Teenage Hairspray pageant the following month.At school, Tracy is more popular than ever before, and students deliberately land themselves with detention slips just to see her after school. Link also becomes disenchanted with Amber's cruel pranks and gossip, and begins growing closer to Tracy. Tracy introduces Penny to Seaweed, and there is an instant attraction. Seaweed invites Tracy, Penny, and Link to a platter party at his mother's record store after school, and introduces them to his younger sister, Little Inez (Taylor Parks). Seaweed leads the black teenagers in expressing their individuality and spirit in the face of social prejudice ("Run and Tell That").A lively party is underway at Motormouth Maybelle's record shop, with all of the Negro Day dancers in attendance ("Big, Blonde, and Beautiful"). Penny, Link, and Tracy are at first nervous, but soon enjoy themselves. Tracy and Link express similar views on the integration of The Corny Collins Show, and Link hints that he has chosen Tracy over Amber at last.At the Von Tussle's opulent home, Amber sobs to her mother about losing Link to Tracy. Velma promises to make it all better, as she is in control of Link's singing career. In the meantime, Amber makes an anonymous call to Edna, ousting Tracy's current whereabouts, which causes Edna to rush over to Maybelle's shop and attempt to take Tracy home at once. Maybelle invites Edna to stay, enticing her with the enormous table of food, and Edna gives in. After asking Maybelle what the party is being held for, Maybelle sadly explains to Edna and all in attendance that Velma Von Tussle had officially cancelled Negro Day on The Corny Collins Show. Tracy, Penny, Link, Seaweed, and the dancers are outraged, and Tracy suggests that they stage a protest march on the WYZT studio. Maybelle wholeheartedly agrees, as do the dancers, but Link explains to Tracy that he is scheduled to sing in front of talent scouts at the upcoming Miss Teenage Hairspray pageant, and that participating in the march might damage his budding career. He apologizes with sincerity, but Tracy is terribly hurt.With Edna and Tracy not yet home, Velma dons her sexiest dress and introduces herself to Wilbur Turnblad at the Hardy-Har Hut. Though her intention is to seduce Wilbur and be caught by Edna, likely leading to Tracy leaving the show, Wilbur only cares about peddling his precious joke items and remains impervious to Velma's advances. Edna and Tracy arrive home, and Tracy sadly goes to bed. Edna, invigorated by the food from Maybelle's party, spruces herself up and goes down to the joke shop in search of her husband ("Big, Blonde, and Beautiful Reprise"). Edna arrives to see Velma forcing Wilbur into a compromising position, and Edna storms out in fury. Back at their house. after changing the locks and sobbing for hours, Edna forbids Tracy from ever appearing on The Corny Collins Show again.That night, Tracy visits her father, who is sleeping in the joke shop on a bed of whoopie cushions. He assures her that nothing happened between him and Velma, and that his only love is Edna. Tracy explains her fears about the future (though she makes no mention of the protest march), and Wilbur once again comforts her and encourages her to pursue what she knows is right.Tracy returns to bed, and Wilbur reconciles with his wife ("You're Timeless to Me"). The following morning, Edna attempts to wake Tracy to tell her the argument is over, but find she has escaped to join the protest. Fearing for Tracy's safety, Edna sets out after her.Tracy meets up with the protesters, who disperse picket signs among themselves and set off down the street, led by Motormouth Maybelle ("I Know Where I've Been"). Edna finally catches up and tries to talk Tracy into coming home, but Tracy refuses. They soon reach a police roadblock and are curtly instructed by a policeman to cease their protest. Tracy is angered by his rude treatment of Maybelle, and taps the officer with her picket sign when his back is turned. The officer immediately accuses Tracy of assault, and chaos ensues as he orders his men to arrest all the protesters. Tracy flees to Penny's house, and Penny secretly hides her in their basement fallout shelter until Prudy discovers them and calls the police on Tracy. Tracy is locked in the basement room while Penny is bound with a jump rope in her bedroom by her mother as punishment for harboring a fugitive. Soon afterwards, Seaweed climbs into Penny's room, frees her from her binds, and confesses his love. They break Tracy out of the basement window and escape by car. Link, feeling guilty for not supporting Tracy, visits the Turnblads, who are frantic with worry about Tracy's whereabouts. As he examines Tracy's bedroom, Link realizes his true feelings for her ("Without Love"). Once together again, the teenagers (along with Edna and Wilbur) concoct a plan to crash the Miss Teenage Hairspray pageant the next day.Velma, knowing of Tracy's involvement with the protest, stations police around the studio the next day as the pageant begins. The security is shown pictures of Tracy and given explicit orders to prevent her from entering the building. The teenagers put their plan into action, infiltrating the studio and executing an elaborate trick to smuggle Tracy inside without the police realizing. Tracy arrives onstage just in time for the dance competition, and is joined by Link, who chooses Little Inez as his partner, no longer caring about the talent scouts in the audience, but rather about bringing The Corny Collins Show a step closer to integration ("You Can't Stop the Beat"). The phone-in votes increase dramatically after Inez's performance, and Inez is crowned Miss Teenage Hairspray, awarding her the position of lead dancer on the show, and officially integrating it at last.Velma is furious, and is caught on camera admitting to her daughter that she rigged the pageant so Amber would be sure to win. She is immediately fired by Mr. Spritzer. As the celebratory finale dance reaches its pinnacle, Wilbur encourages Edna to take the stage herself, which she does with great enthusiasm. Penny and Seaweed kiss passionately, causing Penny's mother to have a fit of horror as she watches the pageant from home. Tracy and Link finally have their first kiss, as a better future begins to unfold around them.
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comedy, entertaining
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train
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imdb
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It was very well written and the cast proved that even more.If you want to have a fun time at the movies, I really recommend Hairspray.
Obviously a big-budget, flashy musical remake of a John Waters film is never going to be as subversive or as comically edgy as its predecessors, but one of the good things about HAIRSPRAY is that it never intends to be.
In a welcome change from the summer drudgery of explosions and CGI, this film is a pure feel-good crowd pleaser where excitement and energy rise above all.Everyone in the cast gives able performances; even Travolta who, in drag and a fat suit, seems at first off-putting, beginning a one-joke "hey I'm a man in a dress!" performance, quickly grows into his own as Edna does, becoming the most crowd-pleasing character by the film's end.
It's a pleasure to see a former GREASE-r returning to what made him famous, but Travolta proves surprisingly agile in the comedy department, especially during his song and dance numbers.The real enjoyment here, however, and the truly great performances are given by the younger members of the cast.
Kelly displays simply astounding singing and dancing skills, while Blonsky easily carries the entire film of her shoulders, becoming the heart and soul of the movie with one hip thrust.HAIRSPRAY has nothing much to offer besides two hours of entertainment and escapism, but it offers it in spades.
'Hairspray' viciously lampoons bigots and reserves specific devastation for Ultra-conservative religious zealots, figures of authority and WASPs. The satire is white hot (Alison Janney steals every scene she is in), the music catchy, the movie's spirit is irreverent.I had no problems with the cast and their performances.
Christopher Walken and Travolta have a song and dance number duet that rates among the best moments of the film and isn't to be missed.
Keep a sharp eye out for the hilarious John Waters cameo during the opening number.Of recent major movie musicals, this is easily better than 'The Producers,' (better comedy and music) and last year's 'Dreamgirls' (weaker songs but better pacing and strong beyond the first half).
It could be that I am just dizzied by the dashing good looks of Zac Efron, but the magic that was produced on stage by the original Hairspray cast has transfered flawlessly to the big screen.I couldn't have asked for more.
Queen Latifah was "big, black, and beautiful." Michelle Pfeiffer--perfectly obnoxious...the list goes on.The candy colored costumes and thrilling choreography were so enjoyable, and even the more serious parts of the film (though there are very few!) were touching and sincere.The only thing I wished had been included was the song "Mama I'm a Big Girl Now." While it would have been a great addition, other big song and dance numbers carried the film along just fine.I caught myself smiling like a buffoon more than once.
My family and I saw the movie version of the Broadway musical adaptation of John Waters' 1988 comedy HAIRSPRAY on its opening weekend.
:-) My little girl loves music and dancing, but she still tends to like animated films better than live-action films, so when she got into HAIRSPRAY from the start, dancing joyfully in her seat to the Phil Spector-style opening number, "Good Morning, Baltimore," I knew this movie was truly something special.
HAIRSPRAY is the kind of movie musical that GREASE should have been back in the 1970s (yes, it was a huge box-office hit, but I always thought it had a cold, calculating air to it, plus it was so obvious that the teenage characters were being played by stars pushing 30), making it all the more appropriate that John Travolta should carry on the Divine tradition of a man playing mama Edna Turnblad in drag, without *being* a drag.
Travolta is great fun to watch, a delightful surprise with his sensitive performance (even if his Baltimore accent is a little off but maybe that's just because Baltimore is played by Toronto :-)) as insecure caterpillar-turned-butterfly Edna; this is no cheap, brassy drag-queen turn.
Adorable newcomer Nikki Blonsky lights up the screen in all her scenes as Tracy Turnblad, the perky dynamo who won't let her plus-size body or the sneers of Amber Von Tussle (Brittany Snow) and the other so-called cool kids keep her from dancing her way onto Baltimore's American BANDSTAND manque, THE CORNY COLLINS SHOW.
Tracy and her shy bud Penny Pingleton (Amanda Bynes) become socially aware as they befriend the black kids from the "wrong" side of town, fighting against bigoted station manager and stage mother Velma Von Tussle (Michelle Pfeiffer, having a blast slinking around making trouble) to integrate the show instead of relegating their new friends to the program's monthly "Negro Day." The plot's serious aspects, with its foreshadowing of the era's more sobering issues, are woven deftly into the movie's high spirits.
"Hairspray: The Musical" is the definition of a feel good movie.The storyline has been tweeked a bit from the original film.
Velma's goal is to ensure that her daughter, Amber stays Miss Hairspray in the face of the rising success of Tracy Turnblad (played wonderfully by Nikki Blonsky).The musical numbers are fantastic, and while there's less of an emphasis on the dancing which was a big part of the original film, it doesn't detract from the wonder of the musical sequences.Other differences is the take on the individual characters.
the only thing i wish was kept was mama i'm a big girl now, you only hear it in the credits......but i love the new songs (especially Zac's "Ladies Choice"!!) and the entire cast did a really good job!!!
Zac as link was perfect...although it was a little awkward seeing him kiss Nikki, who by the way could not have done a better job as Tracy, i wasn't sure when i heard that they were having this well know cast with a complete nobody as the lead, but she definitely earned it!!
Also.....John Travolta as Edna is super funny, but when he sings i couldn't help but think..."i didn't know Dannny Zuko was in the movie." but he pulled it off!!.
this is what the recent musicals should have been.in a time of CGI effects and mind boggling plots, it's a relief that once in a while, a movie comes that you would just simply enjoy and makes you want to scream for joy!
I love the original film, and I enjoyed the songs from the Broadway musical, but had real qualms about what was done to the plot.
I remember that time very well, and am most eager to leave it behind me a second time.I hope to return with a more thoughtful and thorough review, but for now I will offer one bold prediction: John Travolta will be the surprise winner of the Academy Award for Best Supporting Actress for his remarkably sweet, funny and straightforward portrayal of Edna!.
I was a fan of the original John Waters movie and I was dubious when I heard they were making it into a Broadway musical.
We had heard the Broadway CD, but had never seen the original Hairspray (Devine) or the Broadway musical, so we didn't know what to expect.This movie overwhelmingly surprised us.
From the catchy opening number ('Good Morning Baltimore') to the sensational finale ('You Can't Stop the Beat', my fav) the film just had a wide-eye innocence not seen in movies for a looooong time.And all the performances were fantastic.
As for the rest: James Marsden turns in his best performance ever as Corny Collins, Amanda Bynes is lovable and funny as Tracy's BFF Penny, Elijah Kelly was ridiculous as Seaweed Tubbs, and I have to admit even Zac Efron was really good here (FYI, I hate 'High School Musical').Also while I'm not a huge fan of musicals, this is the first one that had me toe-tapping.
As a long-time fan of the ORIGINAL John Waters film, I had no desire to give any respect to the stage-to-film remake, especially starring Travolta and Pfeiffer (homage to Grease 1 and 2 maybe?) Relenting to my mother's wishes (a huge Travolta fan), I went to see it today at its first showing (for the $5 price).
For the most part, all of the musical performances were GREAT (couldn't they have done more production on Michelle's voice?) and the dancing let me know just how fantastic it would be to see this on the stage.
(Sadly, three numbers were trimmed for time.) An excellent cast of young talent and old vets, notably Michelle Pfeiffer, Queen Latifah, Christopher Walken (who knew he was such a good dancer?) and Allison Janney.
If there was anything anywhere that had an edge, Dixon blunted it and producer-director-choreographer Adam Shankman, a mediocre talent if ever there was one, did the rest.The absolute best thing that can be said about the 2007 HAIRSPRAY is that has a fairly consistent energy level, largely thanks to Nikki Blonsky as the teenage Tracy Turblad.
All the cast have been perfectly chosen, from big stars like John Travolta and Michelle Pfeiffer to teenage sensations of Zac Efron and Elijah Kelley, and what a smart choice of picking Nikki Blonsky.
I love the John Waters original, and have seen the stage musical five times.
I have scrutinized this movie for imperfections, and if they are there, they've gotten past me.Highlights include: Every single cast member; excellent use of the Dynamites; choreography faithful to the stage version; cutting between Latifah and Pfeiffer in "Big, Blonde & Beautiful"; new song "New Girl in Town"; and an ending that's different from the stage version.
Unlike many other movie musicals, whose song and dance numbers more often than not seem stiff and forced, Hairspray's crackle with kinetic vitality and genuine life.
But as well as visually, the film also thrives on interpreting some of the most valid social issues of the decade, including racism, and other such prejudices against the social norm in a particularly cheerful and uplifting way, making Hairspray one of the most morally sound musicals to grace the screen in quite some time.
One has to give John Travolta credit for playing his part straight, instead of coasting by on the shock humour generated by seeing the iconic star stuffed into a fat suit and drag, and he succeeds in instilling Edna with a surprisingly touching streak - it's just a shame, given his history, that his singing and dancing are disappointingly not up to par with the rest of the cast.
Genre veteran Christopher Walken proves his effortless talent is not dampened by age, dancing and singing better than most half his age, and carrying the film's most touching scene (with his character professing his love to his wife, Travolta) with ease.
If you think that "Grease" is the greatest movie of all time (my eldest Sister does), or you think that what we really need are more films like "Dirty Dancing" (yes, same Sister), or you think that "High School Musical" is the best movie to come along in the past couple of years (no, that was my Niece talking that time) then you are really going to love "Hairspray".
I guess some Travolta haters just can't get over it.The movie was so well crafted that the emergence of characters like Amanda Bynes' and Queen Latifa's make you love them.
The film stands on its own on all levels, but if you like any of the stars like Michelle Pfiefer, Christopher Walken, John Travolta, Queen Latifa, Amanda Bynes, etc., you'll love this film.
Using John Travolta's Edna Turnblad for This scene was the only disappointing departure from the original plot for me.Nikki Blonsky as Traci Turnblad may be a Newby, but her performance kept up with a Terrific all-star cast, like Michelle Pfeiffer, Christopher Walken, Jerry Stiller and others listed above.I smiled from the start of the first number, and I was in a Late Afternoon showing PACKED with Teenagers - who Cheered and applauded at all the right times - like they UNDERSTOOD what it was like to Live through this time of life!.
Definitely not a movie for anyone who doesn't like musicals or sappy romance but a great time for those who do!Now the challenge is to see it and see if you can keep your feet from moving during the songs .
John Travolta pulls of his role as Edna with great easy and nothing is more priceless than watching him dance around in a romantic duet with the amazing Chritopher Walken.
Musical remake of John Waters' cult-comedy from 1988, adapted from the Broadway triumph and full of toe-tapping songs--each one a 'showstopper' that hopes to obliterate the number that came before--has a "short and stout" white high schooler in 1960s Baltimore becoming a teen-sensation on the TV dance-program "The Corny Collins Show", which is run by bigots afraid of integrating white and black dancers.
Leslie Dixon's script retains much of Waters' original elements--which is a good thing--but she doesn't allow the characters to take shape, and teen rabble-rouser Tracy Turnblad (well-played by newcomer Nikki Blonsky) hardly gets to make her mark on the tube before leading a protest march on Baltimore against segregation.
Comparing the two movie versions is pretty much useless (Waters' film wasn't a musical after all, and it had a far slimmer budget), but beefing up the (supporting) characters of Velma Von Tussle and Motormouth Maybelle was pointless (except to showcase Michelle Pfeiffer and Queen Latifah, respectively, in these roles).
The cast was perfect such great stars in this movie from Travolta all the way to the debut of Nikki Blonsky who took the lead role although she is a completely unknown actress.
And what is the purpose of taking great actors like John Travolta, Christoper Walken, Michelle Pfeifer and wasting their time making a movie like this.
Hairspray features an all-star cast, with newcomer Nikki Blonsky, Zac Efron, James Marsden, Brittany Snow, Christopher Walken, John Travolta, Michelle Pfeiffer, Amanda Bynes, Queen Latifah, and Elijah Kelley.In 1962, teenager Tracy Turnblad and her friend Penny Pingleton are rightly obsessed with The Corny Collins Show.
After one of the members takes a leave of absence, Tracy goes to try out and finds herself on a wonderful adventure, which includes falling hopelessly in love with fellow teenager Link Larkin and making integration happen.With the opening scene, the magical musical number 'Good Morning Baltimore', the film is off to a great start.
For someone like myself, that's pretty exciting.The story of "pleasantly plump" teenager Tracy Turnblad has been told three different times: As a campy 80's movie, then on the Broadway stage, and now in this fantastic new screen version.
It's a fun, feel-good, optimistic film, with wonderful songs and it leaves you feeling hopeful for the chances of all those of us who are 'different' from the norms appointed by societyIf you like musicals and need a bit of cheering up, go and see it on the big screen while you can.
With the help of Tracy's friends, they prove that anyone can be a star and shine.Hairspray is without a doubt one of the best films of the summer, I highly recommend this movie to anyone, even if you're not into musicals, this is just such an uplifting movie.
I loved the John Waters cameo in the beginning, the director of the original movie, Hairspray.
First, I love musicals, and I enjoy John Water's more "mainstream" movies (Hairspray, Pecker, Cry Baby).
He gave his own performance and did not try to impersonate Divine or Harvey, he seemed much more like a real women than a man in drag and the chemistry between Travolta and Chris Walken was great, you really believed they were man and wife, their musical number is a highlight of the movie.
The acting was great, Travolta wasn't half as annoying as the trailers make him out to be, you really believe that Christopher Walken and him are in love, Amanda Bynes was sweet but under used, Zac Efron (the main reason my cinema was full) ditched his teeny bopper style and moved on to great things, Michell Pfeiffer was brilliant, her voice was excellent and she was incredibly believable, James Marsden as always (even when wearing a visor) brings charm to his performance though he needed much more screen time, Queen Latifah belting out "I Know Where I've Been" brought a tear to my eye and possibly the best casting decision in the movie (and one of the most beautiful girls I have ever seen, with ms Bynes being up there too) is Nikki Blonsky as Tracy Edna Turnblad, she is Rikki Lake, she is Marissa Janet Winokour, she is fantastic.
This more modern film adaptation of the classic musical hairspray is a very family-friendly fun and colorful movie.
The cast is all great, including Michelle Pfeiffer Queen Latifah, Christopher Walken, Zac Efron, Brittany Snow, and John Travolta.
John Waters' 1988 original "Hairspray" was a brilliant candy-coloured movie about a fatso teenager becoming a dancing star in Baltimore and battling racial segregation on her way.
While High School Musical gets bogged down in its message, Hairspray deals with the message sensitively and manages to create an incredibly fun movie at the same time.The casting is brilliant.
warm and fun, lots of good characters, great dancing and music, etc.
I went to see Hairspray with my mother and two nephew's ages 11 and 12.The kids knew nothing about the film and where very unsure of the film title thinking it would be boring as they normally like watching action movies.The only musicals i really enjoyed before are grease and little shop of horrors.But I was pleasantly surprised by Hairspray it was a wonderful film.The family really enjoyed it and throughout the film were smiling and laughing at some points of the film when john Travolta was dancing we and most of the audience where in hysterics This is a very funny film and put together very well I will be watching it again when it comes out on DVD.Great acting by the whole cast.John Travolta had me in stitches of laughter..
Tracy Turnblad (Nikki Blonsky) would love to be part of the show, whereas her mother Edna (John Travolta) doesn't agree.
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Grudge Match
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In their prime, Pittsburgh boxers Henry "Razor" Sharp (Sylvester Stallone) and Billy "The Kid" McDonnen (Robert De Niro) become rivals after two fights, one in which Kid beats Razor and one in which Razor beats Kid, the only defeats of their careers. Before they have a rematch, Razor announces his retirement without explanation, infuriating Kid and costing them a big payday.
Years later, Razor is low on money and working in a shipyard when he's visited by promoter Dante Slate, Jr. (Kevin Hart), who wants Razor to provide a motion capture performance for a video game. It was Slate's father whose shady business dealings ended up leaving Razor in dire financial straits. The soft-spoken Razor wants no part of this stunt. Kid, a showoff who runs a bar and a car dealership, is all for it.
Razor begrudgingly accepts $15,000 needed to care for his ailing former trainer Lightning Conlon (Alan Arkin) and pay his overdue bills. He doesn't even own a TV, so when Lightning moves in, the old trainer can't even watch favorite shows of his like Dancing with the Stars.
At the recording studio, Razor is surprised and taunted by Kid, who was also invited by Slate. The two get into a fight and damage the studio before being arrested. Cellphone footage of the fight is uploaded on YouTube and goes viral, giving Slate the idea of organizing a final grudge match between Razor and Kid, which he will promote as "Grudgement Day."
Kid eagerly accepts. Razor is forced to do so as well, not receiving his $15,000 and then learning he has been fired from the shipyard. At the press conference to announce the grudge match, Razor is approached by his ex-girlfriend Sally Rose (Kim Basinger), who cheated on him with Kid during their youth and ended up becoming pregnant. Now widowed, Sally wants to reconnect with Razor, but he is reluctant.
Razor asks old trainer Lightning to get him back in shape. Kid expects gym owner Frankie Brite (LL Cool J) to train him, but Frankie mocks the fight and is of little help. Kid is approached by his estranged biological son, B. J. (Jon Bernthal), against Sally's wishes. The two begin to bond after B. J. gives Kid helpful advice regarding his technique, and is invited to be his trainer.
Lightning convinces Razor to forgive Sally. He also finds out Razor is blind in one eye. A fight could cause permanent damage, so Lightning and Sally both implore Razor to call it off. At first he agrees, enraging Kid, but ultimately Razor explains that he needs to do this, Kid having cost him what he loved most, boxing and Sally.
Kid takes his grandson Trey to celebrate the news that the Grudge Match is sold out. B. J. believes they're going to a movie, but Kid takes the child to a bar, then leaves him on his own while hooking up with a groupie. Trey ends up accidentally starting Kid's car while he's in the backseat having sex. Kid prevents an accident, but he is arrested, and B. J. is infuriated that he endangered the boy. Kid apologizes to B. J. and gives him a scrapbook that he kept of B. J.'s sports career in school, proving he hadn't been uninterested in him throughout the years. B. J. forgives him.
The Grudge Match arrives, televised and packed. Kid gains the upper hand, severely beating Razor by unknowingly exploiting his blind eye. Upon learning of Razor's condition, however, Kid stops focusing on the eye and helps Razor to his feet. Razor turns the fight to his favor, but likewise helps Kid on his feet after nearly knocking him out. The fight ends and the judges decide it on points. Razor is declared the winner by a very close split decision. He celebrates with Sally and Lightning, while a satisfied Kid enjoys the company of B. J. and Trey, who are proud of what he has accomplished.
In a post-credits scene, Razor has a new TV, on which he and Lightning view a performance by Kid on Dancing with the Stars and quickly deduce that he's having sex with his partner. In another, Slate tries to set up another grudge match between Mike Tyson and Evander Holyfield. Holyfield refuses several increasingly higher offers to fight Tyson before showing interest when Slate offers Holyfield a role in a fourth Hangover film. Tyson, frustrated by this, approaches Slate angrily before the scene ends.
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