You’ll shed a tear or two—especially if you’re a parent—and they’ll be totally earned.
There must be many ardent admirers who know far more than me about Fritz Lang's "Metropolis"(1927), one of the great movies in the 20th Century. They will provide you more detailed and accurate knowledges about this unforgettable masterpiece after watching, no, experiencing it. So, I think I have to talk about my experience during the evening of May 4th and my several thoughts, instead of making a fool of myself by talking about what I do not know well.
Something strange happened to me while watching the recent Benicio del Toro movie "The Wolfman." I suddenly realized I wasn't being scared in the very least. Nada. Like Dr. Chilton once said referring to Hannibal Lecter in "Silence of the Lambs" "my pulse never got above 80".
Despite the movie's constant and frantic attempts to scare the audience with surprising and loud growls, with beheadings and half-eaten corpses, nothing worked, I've a hard time understanding why.
Is it my attitude towards the genre?
I have a friend who walked out of THERE WILL BE BLOOD during that baptism scene, when Daniel Day-Lewis exclaimed, "I've abandoned my child!" My friend was just divorced, lost custody of his children, and was tormented with the remorse that follows these things. As Daniel Day-Lewis shouted, my friend almost needed to cover his ears. He returned to his seat shortly afterwards, but needed that moment to collect himself.
I have another friend who was molested by a family friend. She refuses therapy, but she attributes multiple aspects of her personality, that she herself identifies as disorders - social ineptitude, sexual dysfunction and confusion, chronic despair - to that period of molestation. When she watched MYSTIC RIVER, a movie speaking of the physical and psychological abuse of children and the long term consequences on their hearts and minds, she found herself painfully revisiting those experiences, but not where we might expect.
From its incendiary opening to its somber but exultant conclusion, Spike Lee's grand and important film "Malcolm X" captures the life of a complex, charismatic and gravely misunderstood man who fought for human rights and justice for Africans and African-Americans. The film, based on The Autobiography of Malcolm X as told to Alex Haley, is arguably Mr. Lee's best and most universal film, and one of the great American film biographies.
For context, "Malcolm X" had extraordinary publicity leading up to its 1991 production. Numerous black activists in New York City and elsewhere had forecasted that Mr. Lee's film would not accurately depict the essence of Malcolm. "Don't mess Malcolm up," was a refrain the director heard over and over again.
Regardless of how one feels about the Vatican and its handling of its recent crises, one cannot help but doubt how much we feel let down. Religion of any sort has long been regarded as our moral authority. Some today will think it is outdated, others still necessary.
Everyone should be able to believe want they want to, but there is no doubt that when it comes to belief, there is nothing quite as dangerous as blind faith.
Courtroom dramas count for some of Hollywood's best movies and, among their finest stands Sidney Lumet's "The Verdict."
Even when comparing it to other greats such as his own "Twelve Angry Men" or "To Kill a Mockingbird", "The Verdict" stands in my opinion as the one with the most memorable, well, verdict, one which I believe to be as fresh, as satisfying and as powerful in your first viewing as it is in your twentieth.
Legendary movie critic Pauline Kael formally recognized Morgan Freeman's talents in her review: "Morgan Freeman may be the greatest American actor." It's hard to argue with that title now, but it was in 1987 when she wrote her review for "Street Smart."
From the perspective of more than 20 years after its theatrical release in the US, it's rather surprising to think that this small, flawed movie boosted the career of one of the great American actors of our time. It garnered him his first Oscar nomination (he lost to Sean Connery in "The Untouchables") and that was just the start. He has been nominated for an Oscar five times in total and received the Oscar for best supporting actor for "Million Dollar Baby". He is now one of the most formidable actors in Hollywood and is consistently watchable on the screen.
Marital infidelity is a favorite subject in films. It's one of many taboos which audiences can explore without having to live through its challenges nor worry about its consequences. The emotional and social tumult that comes with it always provides filmmakers and actors with complex and often fiery material to work with. But because it is a social ill, it tends to be viewed through an illicit lens.
The very way these kinds of love affairs are defined speak for themselves. Adultery. Infidelity. Cheating. Marriage is a sacrament, hence anything that goes against it is cast as
Why do we go to the movies? I expect the reasons vary. Some people may go to be wowed by an interesting plot, spectacular special effects, tight action sequences. Some may go for an escape, wanting to be absorbed in a world other than their own for a little while. Some may go for the company, for a date, for some bonding time with parents, siblings, friends. Some may go out of boredom, loneliness, or both. Some may go to simply see a good movie, a work of art. The cinema never judges.
The movie I want to talk about is Korean Movie "The Chaser". I watched it in early 2008 and I hadn't had much expectation since watching its trailer. However, after watching the movie, I chose it as one of the best Korean movies of 2008.
Several weeks ago, Mr. Ebert gave enthusiastic review to this terrific film and I decided to talk about it as one of Korean audience.