Warner Bros. Pictures’ and Legendary Pictures’ “The Dark Knight Rises” is the epic conclusion to filmmaker Christopher Nolan’s Batman trilogy, Leading an all-star international cast, Oscar® winner Christian Bale (“The Fighter”) again plays the dual role of Bruce Wayne/Batman. The film also stars Anne Hathaway, as Selina Kyle; Tom Hardy, as Bane; Oscar® winner Marion Cotillard (“La Vie en Rose”), as Miranda Tate; and Joseph Gordon-Levitt, as John Blake. Returning to the main cast, Oscar® winner Michael Caine (“The Cider House Rules”) plays Alfred; Gary Oldman is Commissioner Gordon; and Oscar® winner Morgan Freeman (“Million Dollar Baby”) reprises the role of Lucius Fox. The screenplay is written by Christopher Nolan and Jonathan Nolan, story by Christopher Nolan & David S. Goyer. The film is produced by Emma Thomas, Christopher Nolan and Charles Roven, who previously teamed on “Batman Begins” and the record-breaking blockbuster “The Dark Knight.” The executive producers are Benjamin Melniker, Michael E. Uslan, Kevin De La Noy and Thomas Tull, with Jordan Goldberg serving as co-producer. The film is based upon characters appearing in comic books published by DC Comics. Batman was created by Bob Kane.
Can’t Buy Me Love – 1987
Can’t Buy Me Love
Sometimes the most important thing eludes us and we don’t recognize it. Not everyone has the opportunity to recognize, especially when one lives it, what is really important, what is in fact real; the truth of who we are and who others are. And to recognize that before the others and ourselves. Not everyone has that opportunity. Almost all of us fall in the lies and fictions of who we are, who the others are and the place of all of us in our world, but only few of us – lucky few – manage, in the end, but maybe still in time, to see the truth, the reality. And these ones, may consider themselves very happy.
All it takes is to understand that, and we can be who we want to: our own selves.
If you like ’80s teen comedies, this one is not to be missed. I liked this movie and i just wanted to share these thoughts i had after seeing it. Patrick Dempsey is good in it, and Amanda Peterson is absolutely great, loved her. Wish i had met a girl like her when i was in high school. But then again, maybe i did…
Director:
Writer:
Stars:
The Quiet Earth – 1985
The Quiet Earth
QUIETEARTH
The film is highlighted by an evocative score and, of course, the splendid cinematography of the awesomely desolate locations – perfect for this type of parable (best of all, perhaps, is the image of a crashed plane in the town center). For the first 35 minutes or so of this eerie and thoughtful work, Bruno Lawrence (who also co-wrote the script) is the only on-screen character: this segment (necessarily slow-moving but enjoyable since, in order to take his mind off the sheer loneliness of his situation, Lawrence is able to indulge his every whim – which he sometimes does with childish glee) actually constitutes the core of THE QUIET EARTH. Hence, we listen to his endlessly looped radio pleas for other survivors to contact him – as well as watch him enact a Nazi-like mass rally in a massive garden, wear feminine garb (for the hell of it), and even witness his desperate (if uproarious for those in the mood!) challenge to God inside a church: appear before him (as if to provide answers to his myriad questions), or else he’ll “shoot the kid”…which he promptly does by repeatedly blasting through a huge crucifix!
Eventually, the hero’s joined by a red-headed woman and a Maori (a New Zealand native akin to the Australian aborigine) – sparking inevitable comparison with the similar racial theme running through the much earlier THE WORLD, THE FLESH AND THE DEVIL (1959); for the record, I also own a copy of the latter but have yet to watch it. The last half-hour, then, is taken up by some conventional love-triangle confrontations but this doesn’t detract from the film’s overall sobriety (especially since it becomes apparent that the catastrophe that had devastated the earth was apt to be repeated). Incidentally, the belated revelation of just why the trio came to survive the end of the world is most ironic (and, in the case of Lawrence, quite moving – since he’s a scientist who was actually at work on the project which doomed our planet in the first place)! He’s determined to atone for the folly he was party to – which leads to the abrupt, somewhat puzzling yet beautiful conclusion…
Director:
Writers:
Craig Harrison (novel), Bill Baer
Stars:
K-PAX – 2001
K-PAX
It never ceases to amaze me how movies like this get made.
No car crashes, no explosions, no pyrotechnical performances with people screaming at each other or themes/bravura megalomaniacal rants that self-consciously have “Please nominate me for an Oscar” whispering in the Academy’s ear.
No, instead we’re given a quiet, enormously fascinating, compassionate, well-intentioned film that sits back and realizes that above beautiful cinematography (Which it has in spades), before performances which nail you to your seat (Which it carries in abundance), the most important thing of all is story. And K-Pax despite all “common sense” in Hollywood, throws out every safe-bet to get a movie produced and gives us just that. Wonderful story. Marvelous story.
I don’t need to talk about that. Everyone from the science fiction fans (Who appreciated the depth and seriousness of the subject matter) to the warm n’ fuzzy brigade (Who “Get the message” of the movie) have done their part to praise the various facets of a film that refuses to be categorized and is simply a very, very good story.
And perhaps because of that, because no one knows precisely what it is, just that’s it’s wonderful–Not unlike Prot himself–the people who came to this picture and created it have made a film that doesn’t slant itself one way or the other but does a wonderful job of juggling seemingly disparate elements–the science, the drama, the message,the psychological aspects–and approach the movie fresh-eyed and innocent. The cinematography is, at times, simply beautiful and inspiring. And Iain Softley obviously had an enormous respect for the material because when it came time to tell the stories and let it speak through the actors, he pulled back, kept it simple and left the audience to witness to incredible performances by Jeff Bridges and Kevin Spacey to leave viewers with the same feeling; the acting is beautiful and inspiring.
Director:
Writers:
Gene Brewer (novel), Charles Leavitt (screenplay)
Stars:
American Beauty – 1999
American Beauty
This is by far one of the best, if not THE, movies of the 90’s. “American Beauty” stole my vote immediately as I started watching it. The idea and concept of “American Beauty” is just some ordinary people on an ordinary block with ordinary lives.
Kevin Spacey plays Lester Burnam, a middle aged married man who has lost some hope in life. He has a job that is degrading, a wife who refuses to show any type of loving emotion towards him, a daughter who practically hates herself, and is judged constantly as a looser. But all of a sudden, he sees his daughter’s friend, Angela, and something snaps in him to do something with his life. He quits his job and takes, the dreaded by most Americans, a fast food cook job. He starts working out and doing some illegal substances. Even though this sounds like he is ruining his life, it actually helps him and makes him realize how much he loves “the precious moments in his stupid little life.” You have no idea what he is talking about I’m sure, but don’t worry, you will some day. Kevin Spacey was by far the best actor in 1999 and deserved this Oscar 100%.
Annete Benning plays Carol Burnam, Lester’s wife. She is a very fake and unsuccessful real estate agent who cannot get a sale. Her image in life is “in order to be successful, one most project an image of success at all times”. You can tell, she is not happy with her marriage and starts to have an affair with the big boss of the real estate company. Again, seems horrible, but it helps her in the end. Annete was unfortunately robbed of an Oscar for this film.
If there could have been nominations for every role in this movie, they were well deserved. This is a terrific movie that should be watched by every adult. It’ll make you look again at your life and think. What a great movie.
Director:
Writer:
Stars:
Trinity Is STILL My Name! – 1971
Trinity Is STILL My Name!
Trinity is Still My Name
This comedy/Western sequel concerns about Terence Hill and Bud Spencer, two bandits who attempt to rob a family but finish to protect them . They’ll fight against shady baddies and corrupt landowners and will find shelter in a monastery where disguise themselves as friars.
The formula of ¨They call me Trinity¨ deals enhance the comics remarks of the western parody genre originated on the 1960 decade with the directors as Burt Kennedy and Andrew McLagen and adding the references to Spaghetti Western model that was in real decadence . The humor is continuous though is sometimes grossed-out , laughters are based on physical differences and diverse personalities of both protagonists ; once upon terminated the formula is transfered to other genres as oriental adventures or action . The comedy is developed by means of successive struggles without blood , neither guts, nor cruel killings. The choreographic fights are slights and clean , no crude violence, nor gore, predominating the parody and the irony . Terence Hill plays as a rascal and likable gunslinger with fast-gun and Bud Spencer as a corpulent, grumpy and two-fisted man, besides in support cast is the veteran Harry Carey Jr interpreting the daddy , he’s regular of the maestro John Ford . This delightful spoof of the Spaghetti Western with our unlikely heroes achieved enough smash hit, as the original . And twenty and some years later was realized a third part :¨The fight before Christmas¨ or ¨Troublemakers¨ but didn’t obtain success and was a true flop . The Trinity and Bambino times had passed. Rating : Average but amusing and entertaining.
Director:
Writer:
Stars:
My Name Is Trinity – 1970
My Name Is Trinity
What a great movie, one of the best spag westerns I’ve seen so far. I didn’t find this movie to be as funny as I thought it was going to be based on the other reviews I’ve read, but I did find it to be a thoroughly entertaining gem with a slightly twisted world-view.
For me the strong appeal of this film was a result of the many strong characters and just as importantly, a tight, well written script which gets more and more compelling with each passing scene. By the time the film reached its conclusion I was totally drawn in.
I’m not surprised that there were so many sequels to this … at the end, when Trinity and Bambino (Terrence Hill and Bud Spencer) inevitably ride off into the sunset their characters are so interesting you really want to follow them and find out what’s going to happen to them next. Not to mention the other characters like the Major and the drunk Mexican (I heard this was really Sonny Bono in one of his early roles? Just kidding.)
I liked the ending of this film. Although there’s never any doubt that Trinity and Bambino will prevail, the way they win the day was unexpected, and, in keeping with the traditional western archetype, the violent men who win with their fists and revolvers suddenly find themselves out of place in the stable society they help to build.
I would not say this is the greatest western of all of all time, but definitely an entertaining way to spend a Saturday afternoon and the type of characters and plot I wish we would see more of from today’s filmmakers.
Director:
Writer:
Stars:
The Five Man Army – 1969
The Five Man Army
The Five Man Army
Fantastic film that might shock a few spaghetti western fans. The shock? Peter Graves in a 1970 spaghetti western! Graves is his usual self,great voice,intense and even a bit light hearted at times. Terrence Hill co- hort ,Bud Spencer,a legend in the genre,plays his normal role as a tough but lovable brute of a man. This film is sort of a “Magnificent Seven” but minus two. While the story may be run of the mill,the score by master Ennio Morricone is haunting and will stick with you for as long as you grace this earth. Morricone is one of the few composers that can actually make an average film into a very good one. His music adds so much to the film. The rest of the cast is above average compared to the standard fare of the genre during that time period(early 70’s). Overall a very enjoyable film that I would suggest to anyone who wants to sit back and just let their mind and body relax for an hour or two. No one can do westerns like the Italians. I wish that the genre would make a comeback but no matter what..things will never be good as the period from 1964-1974,at least as far as westerns are concerned. Give me a good ole Italian western over the American oater…ANYDAY!
Directors:
Writers:
Marc Richards (screenplay), Dario Argento(screenplay)
Stars:
The Shootist – 1976
The Shootist
In his last movie, John Wayne plays J B Books, an ageing former gunfighter who arrives in Carson City. Books has in the past killed thirty men in gunfights and has become a legend of the West, but this hard-won status has brought him unwelcome attention from would-be gunslingers hoping to gain their own place in history as `the man who shot J B Books’. Early on, Books is told by his old friend Dr Hostetler that he is dying of terminal cancer, and the film chronicles the last week of his life, from 22nd to 29th January 1901, his search for a dignified death in accordance with his own code of honour.
The film is about both endings and new beginnings, so it is significant that the action takes place in the first month of a new century. January 1901 marked not only the beginning of a century, but also the end of an era, because it was the month in which Queen Victoria died; this event is referred to several times in the film. The days of the `Old West’ were also coming to an end; under the influence of new inventions such as the motor car and the telephone (both of which appear in the film) it was becoming a quieter and less lawless place.
The time of year is significant in another way. A film which is about both the end of a man’s life and the end of an era will inevitably be elegiac in tone, and the standard way of making it would be to film it in autumn, with plenty of shots of falling leaves and grey, misty skies. Don Siegel, however, takes an alternative approach, setting the film during a brief period of brilliant winter sunshine and mild weather known as a `false spring’. This not only provides some strikingly beautiful images, but also has a double symbolic meaning. For Books and for the Old West it is winter; but for the younger generation, spring is coming. One of the most touching features of the film is the relationship between Books and Gillom, the son of his landlady. Gillom idolises Books and treats him as a hero; Books, in the last days of his life, treats the young man as the son he never had and tries to teach him that there is a better way than that of the gun. The Old West may be passing into history, but there are indications that the New West, although it may be less picturesque, will be a better place in which to live. If winter comes, can spring be far behind?
The film itself also turned out to mark the end of an era in more ways than one. Although there is some doubt whether Wayne actually knew in 1976 that his cancer had returned, we now of course know that it was to be his last film and that he was to die about three years later, and this knowledge makes the film all the more poignant. It was also one of the last of the great Westerns. Although the genre had seemed in reasonable health in the early seventies, it was to suffer, for various reasons, a sharp decline in the second half of the decade and throughout the eighties. Perhaps the standard conventions of the genre had become so familiar that they seemed like clichés; perhaps the post-Vietnam generation had no time for films which often had as their themes honour, glory and courage. (It is notable that the patriotic war film underwent a similar decline at the same time). Certainly, the financial failure of `Heaven’s Gate’ made investors wary of backing westerns. Even Clint Eastwood, who had seemed to be the heir-apparent to Wayne’s crown as King (or should that be Duke?) of the West, abandoned the genre for a time, although he was to return to it triumphantly with `Unforgiven’ in the early nineties.
Wayne’s great strength as an actor was his ability to convey the tough but honourable man of action. Both these qualities are present in `The Shootist’, but he was able to add further qualities, pathos and as sense of a less honourable past. Although Books is hard-bitten and irascible, he is also fundamentally decent, resorting to force only in self-defence. He can show pity- early in the film he spares the life of a villain who tries to rob him at gunpoint, even though he has the man at his mercy. Nevertheless, we are always well aware that he did not gain his fearsome reputation by a scrupulous observance of the Ten Commandments; although this is not an overtly religious film, the story of his last days can be seen as the story of his search for atonement as well as for dignity. In his last film, Wayne achieves one of his greatest performances; it is remarkable that he was not even nominated for an Oscar.
The other performance that stands out is that of Ron Howard as Gillom. Howard, of course, is now best known as a director; if his acting career is remembered it is for his role that bland TV series `Happy Days’. Nevertheless, he was also capable of giving good contributions in films (`American Graffiti’ is another example), and here he brings a touching youthful innocence to the part. There are also good contributions from James Stewart as the gentle, dignified doctor and from Lauren Bacall as Gillom’s mother. (She has the unusual Christian name Bond, possibly symbolic of the close ties that grow between her and Books at the end of his life).
`The Shootist’ is a marvellous film, sombre and elegiac, and yet at the same time with a message of hope. A fitting end to Wayne’s career.
Stars: John Wayne, Lauren Bacall and Ron Howard
Director: Don Siegel
Writers: Glendon Swarthout, Miles Hood Swarthout
The Searchers – 1956
The Searchers
If you’ve never seen John Ford’s THE SEARCHERS, you will have, undoubtedly, seen a film that owes it’s ‘style’ to the film. DANCES WITH WOLVES, THE OUTLAW JOSIE WALES, UNFORGIVEN, JEREMIAH JOHNSON, and OPEN RANGE are just a few westerns that have ‘borrowed’ from it, but THE SEARCHERS’ impact transcends the genre, itself; STAR WARS, THE English PATIENT, THE LAST SAMURAI, even THE LORD OF THE RINGS have elements that can be traced back to Ford’s 1956 ‘intimate’ epic. When you add the fact that THE SEARCHERS also contains John Wayne’s greatest performance to the film’s merits, it becomes easy to see why it is on the short list of the greatest motion pictures ever made.
The plot is deceptively simple; after a Comanche raiding party massacres a family, taking the youngest daughter prisoner, her uncle, Ethan Edwards (Wayne), and adopted brother, Martin Pawley (Jeffrey Hunter), begin a long quest to try and rescue her. Over the course of years, a rich tapestry of characters and events unfold, as the nature of the pair’s motives are revealed, and bigoted, bitter Edwards emerges as a twisted man bent on killing the ‘tainted’ white girl. Only Pawley’s love of his ‘sister’ and determination to protect her stands in his way, making the film’s climax, and Wayne’s portrayal of Edwards, an unforgettable experience.
With all of Ford’s unique ‘touches’ clearly in evidence (the doorways ‘framing’ the film’s opening and conclusion, with a cave opening serving the same function at the film’s climax; the extensive use of Monument Valley; and the nearly lurid palette of color highlighting key moments) and his reliance on his ‘stock’ company of players (Wayne, Ward Bond, John Qualen, Olive Carey, Harry Carey, Jr, Hank Worden, and Ken Curtis), the film marks the emergence of the ‘mature’ Ford, no longer deifying the innocence of the era, but dealing with it in human terms, where ‘white men’ were as capable of savagery as Indians, frequently with less justification.
Featuring 18-year old Natalie Wood in one of her first ‘adult’ roles, the sparkling Vera Miles as Pawley’s love interest, Wayne’s son Patrick in comic relief, and the harmonies of the Sons of the Pioneers accenting Max Steiner’s rich score, THE SEARCHERS is a timeless movie experience that becomes richer with each viewing.
Starrer: John Wayne, Jeffrey Hunter and Vera Miles
Director: John Ford
Writers: Frank S. Nugent , Alan Le May
http://rcm.amazon.com/e/cm?t=widgetsamazon-20&o=1&p=8&l=bpl&asins=B000JLSM00&fc1=000000&IS2=1<1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr
hollywoodsalltimehitmovies 