Der Rest sollte vielleicht eher davon Abstand nehmen. Kriegsfilme sind recht repetitive Dinger. Jeder dieser Burschen ist grundverschieden und doch sind sie alle gepackt von blinder Kriegswut und Nationalstolz. Stern ist ein zutiefst sympathischer Mensch, aber er scheitert auf voller Linie. Ein heroischer Kampf zwischen Feigheit und Sinnlosigkeit. Der perfekte Abschluss um Wickis Argumentation ein letztes Mal zu untermauern.
Robert DeNiro ist ein erfolgreicher, und zu Recht gepriesener Schauspieler. Da ist es nur legitim, dass er hie und da eine Rolle annimmt um Geld zu verdienen. Midnight Run" ist eine solche Altersvorsorge. Damals, war dies jedoch noch eine Ausnahme.
Wobei Midnight Run" prinzipiell kein schlechter Film ist. Mehr bleibt eigentlich nicht mehr zu sagen. Durchschnittlich durch und durch. Was will man mehr!? Dieser Mann ist jedoch kein geringerer als Martin Scorsese, einer der renommiertesten lebenden Regisseur der Welt und nebenbei ein Film-Buff vor dem Herren. Ich denke, es ist schwierig einen Film zu finden, der mehr Filmausschnitte aus anderen Werken verwendet als dieser. Die Ausschnitte wirken nie irritierend, sondern dienen immer der Untermalung von Scorseses voice-over Schilderungen.
Der Filmfan sei jedoch gewarnt. Der Betrachter erkennt wie viel Liebe und Herzblut in diesem Projekt steckt, und dass Scorsese hier nicht einfach die Zeilen aus einem Skript rezitiert, sondern wirkliche Emotionen und Erinnerungen hinter seinen Anekdoten stecken.
Das Format bringt allerdings auch mit sich, dass filmisch nicht sehr viel herauszuholen ist. Im Nachhinein betrachtet, kann ich nicht behaupten zu bereuen den Film gesehen zu haben. Die Struktur des Films ist bemerkenswert. Erst nach und nach beginnen sich seltsame Dinge im Haus abzuspielen, und die Geschichte wird immer verworrener bis hin zum finalen Twist, der sowohl genial als auch genugtuend ist. Nichtsdestotrotz, dies ist ein handwerklich ausgezeichneter Film mit einigen visuell herausragenden Szenen und einer der besten Kinderschauspielleistungen in Person von Alakina Mann, die die Tochter spielt die ich in letzter Zeit gesehen habe.
Maori sounds exotic and you'll probably know not much about their culture going into the film. This is part of why it works so well but actually you could replace this family with Afro-Americans, Latinos or some other ethnic minorities in the country of your choice. Their problems of domestic violence and alcoholism are universal, though I haven't seen many films that offer a better insight into the subject. Director Lee Tamahori really seems to know what he's showing us and he not only has the film making skill to create a bleak and gritty atmosphere but also a knack for casting: Grace also happens to be the most interesting character.
An somewhat intellectual, innocent girl in midst of a chaotic and damaged family. The film starts off kinda slow and formulaic but turns in one of the most uneasiest films I've seen in a while. It's brutal, shocking and gut-wrenching. Honestly, it broke me and left me in shambles. I didn't realize that New Zealanders speak with such a strange accent. Sounds like lazy British. I thought it'd be more like Australian. Hercules" ist reicher an Charakteren als an Plot. Zwar ist mir das Problem einer kindgerechten Aufarbeitung eines griechischen Mythos bewusst, doch solch eine mehr oder weniger Neuinterpretation von The Lion King" scheint mir doch etwas billig.
Zwar ist die Riege der Nebencharaktere abwechslungsreich und es wird sogar einiges an Wert auf Charakterentwicklung gelegt, aber der einfache Comedic Relief durch nicht-sprechende Tiercharaktere ist nicht zu ersetzen. Dass man sich das Leben selbst nicht leichter macht, indem man auf Sidekicks siehe oben verzichtet kommt noch erschwerend hinzu.
Zwar ist der Mythos um die untergangene Stadt weitgehend bekannt, der Film erschafft sich jedoch seine eigene Entstehungsgeschichte samt Mythologie und Technologie. Ich hatte Schreckliches erwartet in Anbetracht der Vorzeichen zu diesem Film. Und doch, die ganze Sache nimmt eine interessante Wendung. Zwar ist mir nicht vollkommen klar warum der Film Ende der 60er Jahre spielen muss und nicht einfach in die Gegenwart verlegt ist, aber so kommt Hauptcharakter Larry Gupnik wahrscheinlich noch besser zur Geltung.
Das nenn ich mal ein Grande Finale! Scott der spielt auch immer nur Ungustl'n Fast Eddie" hat etwas Cruise-iges an sich. Deshalb steht The Color of Money" nun auch auf meiner sehen-will"-Liste.
Dies ist zu Recht ein Klassiker. Memento" meets Reservoir Dogs" meets Saw". Da ist man dann manchmal sogar dankbar, dass doch ein Film wie Unknown" um die Ecke kommt. Warum das mag man fragen? Ganz einfach, offensichtlich hat sich niemand in der gesamten Filmcrew einen Dreck darum geschert ob dieser Film gut werden sollte oder nicht. Nur knapp vor dem Drehbuchschreiber muss man fairerweise zugeben. Filme wie Morocco" werden heutzutage ganz einfach nicht mehr gemacht.
Welchem Genre solch ein Film auch zuzuordnen ist, es ist ausgestorben. Hier geht er einen Schritt weiter und steckt die Dietrich in Frack und Zylinder und betont deren kesse und burschikose Gangart. Im Nachhinein, muss ich aber zugeben, dass ich nicht ganz verstehen kann, was der gute Herr Ebert daran findet. Die Kriegsszenen sind monumental und beeindruckend, und hier zeigt Griffith wirklich was er kann.
Griffith muss bewundert werden. Unschuldig bleibt in diesem Film nur er. Ry Cooders Gitarrensoundtrack begleitet den Film wie aus einem Autoradio. Dies ist ein Kunstobjekt. One of the most notorious leitmotifs of film history is used in Fritz Lang's classic. Lang experimented quite a bit in his first talkie and used melodies, songs and sounds with great effect. The result is an extraordinary intense crime film - even an early thriller.
Years or even decades before Film Noir or psychological thriller were established M has all the parts already in place - a thrilling story, sophisticated storytelling and masterful use of the medium film. Long depicts the paranoia of a whole city Berlin with its 4. Riled up by the press everybody is a suspect.
Although suffering from obviously inexperienced screenwriters the dialogue is quite shaky sometimes and not-so-good sound mixing Lang is able to convey all his messages - his criticism on lynch law as well as on the political and judicial system. In the end he even blurs the line between organized crime and police.
Nachdem was ich bisher von Fellini gesehen habe, war ich auf eine Fortsetzung nicht sehr erpicht. La Dolce Vita" ist ein langer Film. Fast drei Stunden lang verfolgen wir das Leben von Marcello, einem Boulevardjournalisten. Marcello wird gespielt von Marcello Mastroianni, und es ist ein Traum ihm bei der Arbeit zuzusehen. Mastroianni ist einer der begabtesten Schauspieler aller Zeiten. First of all, I must admit the film is probably too avant-gardistic at this point of my cinephile life. I'm pretty sure further rewatches will elevate this thing to my personal cinematic heaven - it has almost everything I love about the movies, just at this point of my life in a strange and convoluted style.
The two things that stood out the most, are the fascinating performance of Marcello Mastroianni this is the first film that I've seen from him , which instantly made me understand why he's one of the highest praised actors of the past century and the wonderful and detailed sets and costumes I'd love to see this in colour Add the soundtrack sometimes it fits the scenes just perfectly, sometimes it helps to set this particular mood of overexcitement that Guido seems constantly trapped in and the imaginative capabilities of the director and you got a winner.
I had quite a hard time to integrate the dream motives into the context of the "actual" plot but I have the feeling I'm not the only one with this problem. The whole atmosphere of the film is outstanding. The unnerving life of Guido is in stark contrast to the rather restful backdrop of the spa setting. He tries to get away from his work and his women, but instead is pressed by his producer, actors, journalists and even calls his wife to accompany him. A quite schizophrenic world in which he lives, and not surprising that he's worn out. Fellini however, puts a lot of comedy in his film too most notably Guido as a kind of Indiana Jones within his harem of women.
This way, he creates another contrast in which the viewer gets dragged in. A sense of urgency subliminally underscores the whole movie. Extravaganza meets austerity, comedy meets tragedy, the volumptous costumes and sets in reality and the comparatively sober design of the dream sequences. I'm sure though, as I said, that it'll get a more favorable review in the future. Jack the Giant Slayer" ist bei weitem kein grottenschlechter Film, wie man vielleicht vermuten mag, wenn man bis hierher gelesen hat. Jack the Giant Slayer", wie so viele andere Blockbuster schaffte es jedoch nie eine emotionale Verbindung mit mir aufzunehmen.
Die Ereignisse ergeben sich aus der Geschichte und aus den Charakteren, und wirken nicht wie von Drehbuchautoren erdacht. Das trifft selbst dann noch zu, wenn das Ende naht, und Friede, Freude, Eierkuchenstimmung jedes Hollywoodende in den Schatten stellt. Zum derzeitigen Punkt in meinem Leben und meiner Karriere" als Filmfan, kann ich mit ihnen nicht allzu viel anfangen.
Technisch ist der Film ein Meisterwerk. F for Fake" versagt also auf der Ebene des Dokumentarischen, umgeht dieses Manko jedoch, indem es auf seinen Kunstcharakter verweist - Kunst darf alles, auch wenn es oft nicht allzu sinnvoll ist. Betrachtet man es von dieser Warte aus, ist der Film mehr als gelungen - ein echtes Meisterwerk. Genau genommen, habe ich diesen Film bereits vor Jahren schon einmal gesehen und hatte keine allzu guten Erinnerungen daran, weshalb ich ein Desaster erwartete.
So schlimm war es dann aber doch nicht. Somit sympathisieren wir am Ende also etwas mit Pupkin, und der Film verliert dadurch etliches an Schlagkraft. Neben Taxi Driver", ist The King of Comedy" seine beste schauspielerische Leistung die mir bis jetzt untergekommen ist. Travis Bickle zu stellen. Pupkin, der unbedingt seinen Traum erreichen will, und ihn bereits in seinen Fantasien auslebt, explodiert auf musisch-kreative Art und Weise und erreicht schlussendlich, wie auch Travis, was er sich vorgenommen hat.
Seinen Schwerpunkt setzt Malick jedoch jedes Mal woanders. In Badlands", ist ganz klar die Liebe, bedingungslos und naiv, im Vordergrund. Immer wieder arbeitet Malick dabei mit Gegenkontrasten. Malicks Filme sind generell frei von Pathos. Was pathetisch wirkt ist meist nur poetisch-reflexiv. The New World" ist ein transzendentales Historienepos, was auch immer man sich unter diesem Begriff vorstellen mag.
Vertrautes findet man jedoch in der Rollenvergabe. Wer an die Scheinprobleme der New Yorker Upper Class gewohnt ist, und hofft mehr davon zu sehen, ist also hier falsch. Geld spielt eine Rolle, und Existenzangst, etwas dass in diesem Zusammenhang in einem Allen Film bisher noch nicht zu sehen war. Es ist Quentin Tarantinos essentiellster Film, und jener, der ihn am meisten definiert. Er erforscht darin die amerikanische Popkultur, mit Hilfe irrwitziger Dialoge, seltsamen Charakteren und einem guten Schuss Gewalt. Als Riesenfan von nicht-linearen Narrativen, finde ich die Struktur des Films einfach nur genial.
Und das Beste daran - am Ende macht alles Sinn. I'm American, our names mean shit"; What happened here was a miracle, and I want you to fuckin' acknowledge that" Kein anderer Regisseur bringt einen so sehr durch Gewaltszenen zum Lachen, und kein anderer Regisseur macht mir Samuel L. Man kennt diese Situation: Dann jedoch, langsam aber stetig, scheint es mir, als dass der Drehbuchautor sein Interesse und seine Motivation verloren hat und einfach das Buch abgeschrieben hat.
Ebenso irritierend die Wahl der Schauspieler. Immerhin ist das Buch im Original auf Deutsch und handelt von einem Schweizer der nach Portugal reist, der Film ist jedoch auf Englisch. Der einzige Film in dem mehr gekokst wird als in "Free Rainer", ist wohl "Scarface". So endet eine Satire aufs Unterhaltungswesen als eskapistisches Bobodrama, mit kurzem Zwischenstopp im Heist- und Krimigenre.
Das Ganze ist also eine eher unrunde Angelegenheit. Fast wie bei einem Essayfilm, laufen Bild und Ton aneinander vorbei. Ich muss jedoch anerkenne, wie unterhaltsam Godard seine nicht gerade subtile Kritik an Kapitalismus, Werbung und Amerikanischer Popkultur in seinen Film einbaut, indem er massenhaft Popkulturreferenzen und Werbebotschaften einstreut. Alles in allem, ist der Film v. Stylistisch hat Meirelles seinen Platz auf jeden Fall gefunden. Zwar leidet der Film etwas unter den Flashback Gimmicks mit dem das Script den Film aufzuwerten versucht, jedoch wird dieses kleine Manko durch die starke Besetzung und den smarten Einsatz verschiedener Kameratechniken mehr als wettgemacht.
Nichtsdestotrotz, haben weniger talentierte Regisseure schlechtere Filme in ihren Heimatgenres gemacht. I'll never steal anything for the rest of my life! Beside the social commentary, this is a morality film about the effects of theft and should actually be mandatory to watch for all pubescent teenagers. I actually thought, Italian post-war neo-realism wouldn't be anything I'd like, considering the style of similar films. Neo-realism is more about milieu and theme than about style though because I really liked De Sica's visuals and pace which weren't as boring or lenghty as Rossellini's or Antonioni's.
What you get to see is heartbreaking. A young father of two who was unemployed for a long time finally gets a job for which he needs a bicycle though. So he goes straight to the pawned shop where he brought his bicycle and trades it for his bed sheets. The next day, he starts as a bill poster, but half through his first day at work he has his elementary bicycle stolen.
The rest of the film shows how he tries to get it back, as he wanders the streets of Modena accompanied by his son Bruno. Like in real life, he looks after clues and hints without getting anywhere in his search. Everytime he gets closer to the thief, he loses him as he pursues. I was really emotionally invested throughout the film, lead actor Lamberto Maggioriani's face at the end of the film will haunt you for a while and you'll most definitely will be convinced that theft is bad. Now, let's speak about the social commentary part a bit. The struggle of this one poor man represents the struggle of all poor men and the dilemma of poor men taking from each other rather than from the rich of course, stealing from the rich isn't very ethical either.
Instead of class war post-war Italy's working class took on itself, and this is what De Sica tries to criticize I guess. It's a bit of meta-thinking but, didn't National Lampoon rape its own idea with the god-awful Van Wilder in the early s. Beta House which is basically a reenactment of Animal House and you got one of the most referenced films in movie history. Sadly, that I've seen many of the jokes in inferior quality before ruined much of the experience for me.
Of course no one else had John Belushi or any of the other cast members but the acting isn't really what it's all about. Anyhow, I don't think I would sincerely love this film if I hadn't seen the other films I mentioned. The humour is just too gross out and too over-the-top and although it has heart and charm and a lot of laughs I can't hand out a better rating - not even for the kick-ass soundtrack. It is the first adaptation of the popular Wolf Haas novels which comprise the also great sequels Silentium and Der Knochenmann.
The fourth PotC film is clearly the worst as only Johnny Depp saves it from being a really bad movie into mediocracy. Beside the uninspired plot and the cheap sets and CGI Penelope Cruz has no chance alongside Jack Sparrow who's character has been developed for a decade - she's just the boobs, replacing Keira Knightley.
Blackbeard also seems pitchforked into the series but stays in the background anyway and doesn't really contribute to the story. What I also don't like are movies who use cheap tricks and effects just because they're shot in 3D to make it clear to the audience and PoT 4 has plenty of it cannon balls, barrels, monkey, etc. An unconventional "biopic" of a musician whose life can't really be pictured in a normal film. So, it's maybe the right approach how Haynes tried to contrast the different stages of Dylan's life. Its approach alone is quite artsy but combined with the non-linear storytelling I really liked and brilliant performances by Cate Blanchett and the young Marcus Carl Franklin Haynes created a, I don't want to say brilliant, film but a remarkable alternation to your everyday blockbusters.
The music btw is as good as someone could expect from a Dylan "bio". Eagle Eye is not much more than a recycled version of films I've already seen. But there's a reason RT calls it preposterous. And the appearance of my arch-enemy Shia LaBeouf doesn't play into its cards too. Fun fact about L. Then unknown Crowe and Pearce weren't enough to convince studio execs to produce the film - only the casting of Kim Basinger secured the actual production of the film.
Confidential is a homage to classic film noir, just in colour. It has one of these straight forward Mystery Thriller plots with all the intrigues and twists that made film noir so popular. It's basically about three cops investigating in a homicide case, and all of them do it different. But in my opinion it's more about a sophisticated character study of these three than about solving the case.
And although the characters are really well analyzed the final twist is crap. The best thing about L. Confidential is arguably its cast, beside the above mentioned Crowe and Pearce in their first big American production, it has Kim Basinger as femme fatale, Kevin Spacey and dozens of familiar faces in minor roles like James Cromwell, David Strathairn the guy from The Mentalist and one of the CSI crew. Ritchie's distinctive style is already apparent in his first feature film. Lock, Stock has an absurd plot, Tarantinoesque action and violence, high body count but manages to stay British through and through.
The mood that Ritchie creates is just awesome and his casting choices were also intriguing. For me as a fan of Jason Statham it's nice to see him in good films now and then. I hate Zac Efron but for Linklater's sake I gave him another chance and against all odds - he didn't blow it. I think they got his attitude quite right - he's arrogant, loud, poetic, eccentric and visionary. The film is at its best when they're in the Mercury theater rehearsing and eventually performing the play.
The love story though which thankfully stayed in the back for most of the time was disjointed and not good-enough developed. The dialogue, is, although not written by Linklater himself, as qitty and spirited as you know it from him. I also found costumes and the whole art direction not as authentic as we know it from other period pieces of the same era - it all had a certain modern feeling that didn't feel the 30s at all. For me Richard Attenborough is Santa Claus as in the remake of Miracle of 34th Street so feel my doubts about him being Pinkie Brown whom I already know from the remake of this very film.
And although I must admit Sam Riley's version of this great character appealed more to me - Attenborough played him also very well. He is menacing and callous but also handsome and charming enough to make a young girl fall for him. This young girl is Rose, a waitress who happens to gets mixed up with Pinkie when she's a kind of witness to one of his murders. The story fascinated me even more when I saw it the second time and the original is surely not as rushed and disconnected as the remake.
The plot is compelling and Pinkie's mind games with the naive Rose are gruesome and you hope for her that she quits him eventually while you're still rooting for Pinkie to get away with his crimes. This is British noir at its best, at least as good as the better known The Third Man if not better. Cocktail is as 80s as it can get. The opening credits made me laugh - neon colours, the music and Tom Cruise perfectly typecasted in a pure Cruise-role. Of course it's cheesy and the script is far from Shakespeare, the acting is inept and the characters are a bit shallow BUT it's NOT god awful like various reviews and the Razzie nominations might indicate.
I, indeed, had a good time watching it. Cruise plays a materialistic asshole who, in the end, finds redemption? As the questionmark behind redemption indicates, the purpose and the message of the film is somewhat questionable and in the end I doubt that he's healed from his materialistic world view. Robert Zemeckis is still The Man. Three major points in favour of Flight: Here he's on top of his game though. Not only plays he some of the best drunk scenes in recent memory but also shows a wide range of emotions.
It didn't help me to forget about the annoying number of backfalls into alcoholism throughout the movie - I know, that's kinda the point, but it's gets quite frustrating after one and a half hour if he still doesn't realize he has a teeny tiny problem with the booze I disgress though, the script is not exactly the problem of Flight - there is actually no big problem I have with Flight, except maybe, that Kelly Reilly looks way to hot for a heroin addict. But realism isn't the main motif of Zemeckis anyways the key scene of the whole movie features an inverted plane I think he wants to do sophisticated popcorn entertainment movies and that's what Flight is.
Heartfelt, thrilling and morally exemplary that's how a Hollywood movie has to end - alcohol - bad, redemption - good. Heck, he even gets the girl. The last scenes hurt the film a bit though. I would have faded into black and end it after the court room scene but don't need to make money with this flick Now, that I'm thinking about it - how did he film these flight scenes?!?
Stylish, violent yet sophisticated La Haine has what most American Ghetto movies are lacking - some thoughful philosophy apart from notorious wisecracking. Actually I shouldn't have to explain much why it's worth watching - only two names: Cassel's performance is the next reason why I like him so much. The character of Hubert is more interesting and multifaceted though. The choice of themes doesn't surprise: Without much future it's easy gambling with death and prison.
I was planning on seeing this for a long long time now and well, it was time Although I for myself am not a very skilled dancer I like watching it mostly street dance or some crazy choreographed hip hop stuff and so naturally I thought Step Up could be a worthy watch.
And, indeed, the dance sequences are quite good - there are just not enough of them. Most of the film is just a formulaic romance of a poor boy who is for some reason - probably marketability - white who meets a privileged girl and they are completely different and fall in love anyways blablabla. The two leads, Channing Tatum no, this little flick doesn't make me join the Tatum fan club either and Jenna Dewan have undeniable chemistry though they're married in real life after all - after they me while filming this and it's not that hard to understand why Step Up made shitloads of money and evolved into a franchise because they're all very good looking, the soundtrack is decent and the romance is mindless enough for the stupid masses.
I was a bit underwhelmed because I thought the amount of dance scenes would be higher but it wasn't bad enough to keep me from giving at least the first sequel a chance which has - what I've read - more dancing. This Fellini guy and I, we have a complicated relationship. I think I could like his film weren't it for his neo-realistic roots most apparent in the milieus in his films and the notorious scenes of people wandering around in bleak suburbs and his desire to cast his wife Giulietta Masina in every other of his early films.
Of course, this is partly because of the time period the film was made in, but these whimsy and weak female characters are just killing me. I think this is more like Fellini's natural environment and I think his visual style suits lavish luxury more than bleak naturalism. After this scene at the film star's mansion, the story goes nowhere for a while until Cabiria meets the next man in her life the first one, right at the beginning, throw her into a river after stealing her purse , Oscar who she madly falls in love with - and so does he, apparently.
The ending is great though, Fellini has a knack for leaving the stage with a big bloody bang and this film proves it. Funny how I've never seen a Boorman film for my entire life and then two in one week. Point Blank is a smarter-than-average revenge film that tries to film the genre hole that the death of film noir in the late 50s left. Here you got a fine example of these post-noir stages. Boorman uses an editing style to achieve a pace that seemed quite modern my knowledge of pres films is not very big but I can't remember seeing a film so suitable for today's viewers' eyes like Point Blank.
The pacing benchmarks how later myriads of action movies play out. Anyways, I wouldn't call it a masterpiece despite its technical and storytelling achievements but it's well worth one and a half hour of your life although hardly the 93, bucks Walker does all this shit. Love Actually, actually is my favourite rom-com and one of my favourite Christmas movies, although I don't see it as much as a Christmas movie but more of a movie that happens to cover a story around Christmas. It's more about love than Christmas.
Anyways, I'm a huge fan of such anthology films anyhow, and I also love huge star-studded casts. Love Actually has all this and much more. Especially the ensemble cast is really really good. You merely get to see such talent on screen in a rom-com, and this is one my favourite casts ever, but more on that later. The brain behind the film is Richard Curtis the beloved screen writer of similar British successful productions as Four Weddings and a Funeral and Notting Hill. Love Actually was his baby and he carefully put it all together.
The result has just the perfect mix of laughs, cheerful moments, tearwrenching and smarts that I look for in any movie. Critical for any holiday film is also the rewatch-value, otherwise we wouldn't care to see it over and over again at this time of the year.
Love Actually stands out in this particular category. Even after numerous viewings you still get some new connections and nuances you never realized before Today, for example, I realized that Martin Freeman is part of the cast - he plays a porn actor. I think that's one of the main points why I like it so much. But the really really really single greatest thing about Love Actually is, by far, its cast. I can't and won't list all the stars that participated in it, but I want to point out a few.
There's the wonderful Emma Thompson, who gives objectively the best performance of the film one of the few that required some serious dramatic skills although I didn't like her character as much as others. For me, it's all about Hugh Grant I'm a huge fan of him anyways , who plays the prime minister and brother of Thompson, Bill Nighy, who plays an old rockstar who re-releases an old hit as a Christmas version, Andrew Lincoln, as Mark, the best friend of a newlywed husband and secret admirer of his new wife, Kris Marshall, as a loser who goes to America to pick up some chicks and Billy Bob Thornton as the slick and arrogant American president.
Actually, the whole cast is great, I can't complain much about any of the roles, although some the characters I didn't really love e. Laura Linney as the whimsical employee in Alan Rickman's company who has a crush on her colleague but can't connect with him because she has to care for her mentally ill brother. It has also one of the greatest soundtrack of all times if you ask me. I like pop soundtracks and Love Actually finds just the right combination of Christmas classics from Hugh Grant's interpretation of Good King Wenceslas to pop tracks by the Sugarbabes.
If you are, like me, a sucker for films consisting of interrelating stories with many many stars who mostly have British accents and you can live with a great amount of schmaltz then you're at the right place and should just dive into this pre-Christmas London wonderland. I always had a thing for Aronofsky's ability to explore philosophical ground with stylish visuals. Even though I resented his debut Pi, especially Black Swan is one of my favourite films of recent years.
Nontheless, The Fountain is just a preposterous work of convolution. Aronofsky tells or better, tries to tell three interweaving stories each about years apart, about three Hugh Jackman's who are all searching for the Tree of Life. Sounds great and all looks pretty neat. Just that I only found out what the film is about when I read it up on Wikipedia afterwards ok, I'm a bit exaggerating but you get the idea. All seems pretty random, especially in the beginning. Of course, I'd be ok with complicated or sophisticated films which hand out their secrets slowly, but The Fountain never really does and never really tries hard enough to make me care about its secrets anyways.
Funnily, it was the day when I thought that I haven't watched a "bad" film for a quite long period that The Fountain crossed my path.
It's probably not really a bad film, just one I couldn't connect with, and it also didn't help that I couldn't discover any effort from the filmmaker to make me wanna watch it. All in all, dull yet pretty impressive from a visual point of view and convoluted, and something I didn't think Aronofsky would do. I like him as a director, I still like him, but this has written arrogance all over it. Fellini's wife is an annoying bitch. How I know that? Because she plays the female lead in his La Strada. A really pit that I can't stand the naivety and numb nature of her Gelsomina because Anthony Quinn who plays the other leading character is plain awesome.
His Zampano is one of the greatest film characters I've seen on screen ever. Almost like a character from a Kurosawa film, he's both funny and brutal and right until the end we never exactly know if he's actually a good guy inside or why he just doesn't abandon Gelsomina. Much of La Strada is a mystery, but the loose ends are, what it's essentially about.
It's neither a melodrama nor a really character study, but just an excerpt of life, of a brute artist and a poor young girl who goes along with him for a certain distance. There's no tragic or happy ending, it just ends when their ways split again. I guess this is what life really looks like at least more than Hollywood melodrama , the other thing is if I desire to watch a film about it. If it has characters like Zampano, yes, give me more of it. With characters like Gelsomina I can live without these kind of films. La Strada, in the process, is somewhere in the middle - one brilliant character, an offbeat story but some very annoying details and of course Gelsomina as the big deal breaker.
Nevertheless, La Strada gets the old-master-bonus which is the reason why I watched it in the first place and you just have to acknowledge and admire Fellini's ability to play with comedy set pieces in this rather serious film. Also, from what I've read, this is his most personal film and with some effort you can see references to his own life.
Is it my general aversion against anything that only remotely looks like a Western that hampers my viewing experiences of films like that, or is it just not that good? I liked how it started out though. This opening credit silent movie was a great idea - one of several - to change the pace of the movie by director George Roy Hill, although it doesn't do much in setting up the characters or the plot. I also liked the shoot-out at the end, and the famous freezed frame.
What was in-between is another story. First of all, couldn't anyone just decide if they want to do a buddy movie or a serious western drama? The overall tone and atmosphere changes throughout the film and certainly hurts the dramatic effect of the story. Actually, it was pretty much the same with their later film The Sting which I very much enjoyed, the subject matter in Butch Cassidy would have deserved a more earnest approach in my opinion.
An even bigger enigma than the constant change of tone was the turn of Etta Place, the girlfriend of Sundance Kid, from school teacher to bank robber without any training, motives or explanation. Beside the fact, that she doesn't have much screentime I couldn't really comprehend what made her a criminal. I also didn't really get why they didn't stick with the "straight" work after successfully finishing their first job - it can't be too dangerous, they returned to bank robbing after all. How this script could have won Best Original Screenplay at the Academy Awards is beyond my understanding.
It's a mess - funny at times, kinda thrilling and featuring an eclectic duo of male leads - but still a mess. This is probably my favourite type of documentary. The search for long forgotten traces and hints to come to a conclusion that seems stranger than fiction. Searching for Sugar Man is essentially that although it cheated a bit.
Sixto Rodriguez, a musician whose career never took off in the early 70s for reasons inexplicable for music executives who worked with him but who has become for famous than Elvis in South Africa. And, I'm still not sure, if this isn't some sort of Banksy 2. The music is cool at least. This guy sounds a bit like Bob Dylan, with even more critical texts and a smooth voice. It's uplifting, has one big twist in it and doesn't really offer a big message.
In this case, the light nature of the film fits perfectly, and in times when documentaries deal mostly with war and financial crisis and health, Searching for Sugar Man is a nice change of pace. It has my vote and my recommendation. It's the first time I realized the formalistic nature of Wes Anderson's cinematography. If you weren't aware of it already, just pay attention to the arrangement of the images next to time you watch something from him - everything's just perfectly centered, and he doesn't use much camera movement except for zoom-ins and zoom-outs that don't alter the center of the picture.
What you surely acknowledged already, is his use of stark colours and his detailed and playful sets. He also assembles huge casts again and again, and Moonrise Kingdom is no exception.
I liked the cast, and I liked the look of the film - these distinctive, earthy colours. Stylistically, Anderson is for sure one of the best directors working today but the story wasn't that great in my opinion. I can't help, but feel that some of it seemed awfully rushed, character development was widely abandoned and it all was a bit too silly for my taste.
To be honest, I can't really figure out what to think about it. The quirkiness, yet serious nature and genuine emotion it wants to evoke make it a predicament to judge on. All in all though, I must say, I wasn't very impressed nor did I find it hilariously funny. It was just the wrong combination of the right ingredients for me I guess. Lincoln is a fascinating picture and expertly crafted, but only mildly entertaining or sweeping. Steven Spielberg shows his talents as a theater director as well as some versatility. This is not a typical Spielberg movie. It's more of a chamber play put on screen, with a lot of fancy dialogue and thespian monologues.
Monologues which really help the awesome cast to shine. Led by the amazing Daniel Day-Lewis, who could play literally everyone, or win an Oscar for selling hoovers, who brings Abraham Lincoln to life. Of course we'll never know how he really spoke and behave like, but it doesn't matter much.
Change the subject matter and the main character and Day-Lewis is still stellar.
I just know that much: But as I said, he gets all the chances to show his talents he needs and so does Tommy Lee Jones, who has one of the best scenes in the film when he delivers his central speech in front of the congress. It's a piece of cinematic beauty, needless to say, Day-Lewis' speeches have the same effect only that the come more often. What I meant, when I said, the film is not Spielbergian at all, is, that he doesn't include a lot of tearjerking scenes but stays rather distant and objective.
We don't get to see his Gettysburg speech it is recited though by soldiers he visits in camp nor his death. Both this occasions are staged with finesse, that you usually don't find in his movies there pretty straightforward normally - not that there's anything wrong about that. The subject matter is something, American audiences respond more than I. My knowledge of this beloved president is also quite limited. Nonetheless, the slavery debate is multi-layered and kept me interested. So auch im Fall der Affenbande.
Gestohlen wurde ein unermesslich wertvoller afrikanischer Stammesschatz. Bliss und Mander ermitteln. Mykar und seine Freunde bereiten sich auf den scheinbar aussichtslosen Kampf vor. Nach dem Tod seines besten Freundes kennt Mykar nur noch ein Ziel. Rache an Rudrick von Nordwiesen. Vom eigenen Vater und allen Bewohnern verachtet, hat er nur einen Freund: Cay, den Sohn des Dorfpriesters. Wem kannst du glauben? Kann Maya wirklich ihren Augen trauen? Oder gaukeln diese ihr nur falsche Bilder vor? Michael Hendricks ist ein Auftragskiller der ganz besonderen Art: Er sucht das Opfer auf, sagt ihm gnadenlos die Wahrheit - und macht ein Angebot, das man nicht ausschlagen kann: Zahl mir zehnmal so viel wie dem Killer, der auf dich angesetzt ist, und ich blas dem Kerl das Lebenslicht aus.
Vollsperrung des Flughafens von San Francisco. Zwei Explosionen stoppen die Metro zum Terminal 3. Jerry Bruford glaubt im Namen einen guten Sache zu handeln und will keine Gewalt. Und Lennard Fanlay ahnt, dass es hier um viel mehr als eine Geiselnahme geht. Der neunte Teil der Plejaden-Staffel - inkl. Als Morkena das geheime Versteck identifiziert, beginnt ein Wettlauf gegen die Zeit.
Sie erreichen einen lebensfeindlichen, tiefblauen Planeten. Es beginnt mit einer Leber Vollsperrung des Flughafens von San Francisco. Zwei Explosionen stoppen die Metro zum Terminal 3. Jerry Bruford glaubt im Namen einen guten Sache zu handeln und will keine Gewalt. Und Lennard Fanlay ahnt, dass es hier um viel mehr als eine Geiselnahme geht.
Und Lennard Fanlay muss feststellen, dass auf Hoffnung Verderben folgt Hazel Oldham wird getrieben von den brutalen Ereignissen in ihrer Vergangenheit. Vanessa Tyler hat eine klare Aufgabe. Wer sich ihr dabei in den Weg stellt, stirbt. Egal, ob Mensch oder Dogge. Showing results by author "Raimon Weber". Last 30 Days 1. Last 90 Days 1. Under 1 Hour 4. Whispersync for Voice 6. All Categories 20 results. Add to basket failed.
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