This film will suck you in and spit you back out again. Its a hard-hitting movie about the dangers of addiction of all sorts and how easily addiction can take hold - whether it's an addiction like TV viewing, or cigs, coffee, slimming pills, or dope, speed, or heroin - they can all push you over the edge. This is also a film about choices, and how bad choices can so easily lead us deeper into the mud.
Despite it's grim reality, I found this film quite humorous in places - although it probably isnt meant to be funny.
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As a fan of the original I was interested in seeing this remake. Unlike most of the reviewers on this page I thought this film was dire.From Stings awful rendition of The Windmills Of My Mind to the totally sexless Rene Russo as Crowns foil. The ill conceived sexy dance routine was in my humble opinion an embarrassment to watch. Much like the former Bonds attempts at singing in Ma Ma Mia. Brosnans initial night of passion with the less than lovely Russo is like some tepid soft core effort you would see on an obscure cable channel late at night. Where Faye Dunaway was stylish and sexy I felt Rene Russo came over as some sort of frisky divorcee. The film looked pretty enough but the denoument at the museum just irritated me. After all you can only ... Read More:
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Anthony Hopkins really makes this film worthwhile. Without his excellent performance this would no doubt have turned into a mess like "HANNIBAL RISING". The entire hype about extreme violence was totally bogus HANNIBAL relies more on the character of the serial killer than on gore FX (although there are some nasty FX indeed). The reason why this is BETTER than SILENCE OF THE LAMBS is because Hopkins gets more screen time. He is a brilliant actor. Thank God they good an good director here as well.
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Anthony Hopkins really makes this film worthwhile. Without his excellent performance this would no doubt have turned into a mess like "HANNIBAL RISING". The entire hype about extreme violence was totally bogus HANNIBAL relies more on the character of the serial killer than on gore FX (although there are some nasty FX indeed). The reason why this is BETTER than SILENCE OF THE LAMBS is because Hopkins gets more screen time. He is a brilliant actor. Thank God they good an good director here as well.
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This works if you let it.
I imagine that each viewer takes something different from this film, there is no clear cut narrative that guides you through the story.
Instead you get three stories that may be linked, or just a trilogy of themed ideas running simultaniously.
Death, love, loss, ressurection, idealism, mysticism, told in past, present and future tenses.
Try to understand it, or just sit back and feel it, you can't ignore it.
Probably too long for some, not clear cut enough for others, if you like older science fiction where reality was explored through character and story, this is for you. As a bonus, it is full of the most visually striking images I've seen, the way light is used is genius. If you like special effects and ... Read More:
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I have to generally agree with James' comprehensive review here. I know this film means a lot to people, but I would strongly recommend renting this first.
As much of this has been said, I won't bore with repetition, except to say why the C16 scenes and the ending were the points where it went wrong for me also. Fantastical sequences are notoriously difficult to get right, because here there is a greater need for discipline if they are to remain meaningful, even on an intuitive level. I'm sorry to say that any meaning was lost for me at the aforementioned points, and so the film failed ultimately because of that.
I've written this review purely because, like James, I wouldn't want those coming to this from the 'anything by the director of 'Pi' and ... Read More:
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When compared to the fiasco that was Kingdom Of Heaven. 1492 serves as a reminder of what a trully great film director Ridley Scott is. The casting of Gerard Depardieu is inspired and its impossible to imagine anyone else playing this passionate visionary. As with all Scott films it is visually stunning and reuniting with Bladerunner composer Vangelis, the score sets the mood of the film perfectly.
Depardieu brings the palpable complexities of his character wonderfully to life. From the scheming at court to the first arduous sea voyage every scene is wonderfully crafted and beautifully shot. How historically accurate the film is remains open to question. My advice would be to watch and appreciate the film for what it is. A wonderfully well acted historical saga shot by a ... Read More:
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I've watched and enjoyed "The Taylor of Panama" several times now. It seems to represent co-producer John Le Carré's homage to Graham Greene, Ian Fleming, and a spoof on the spy genre-film in general (It even includes a humorous pot-shot at "Casablanca.").
Geoffrey Rush turns in a moving performance as Harry Pendel, the tailor, whose fantasy life makes him all too vulnerable for the enticements and blackmail of the seedy would-be, but never-actually-was, James Bond--Andrew Osnard, a burnt-out MI-Sixer, banished to Panama as a punishment for peccadilloes in foreign postings [Pierce Brosnan does an engaging satire on his cinematic Bond aplomb.]. Between the fantasies of Pendel (whose dead but not-so-silent partner is portrayed by Harold Pinter) the situation soon gets out of hand ... Read More:
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I recently bought the Pi DVD set - which also includes Requiem - from a seller on Amazon for just £6, which included postage from the USA! The new DVD arrived within 5 days, which is better service than a lot of UK Amazon sellers provide.
I rate Pi highly for a number of reasons. It is shot in gritty black and white which perfectly captures the lead actors state of mind, and his harsh New York environment. This movie constantly swings between deep mathematical insights into the nature of reality on the one hand, and overwork and madness on the other. It's a rollercoaster of a ride at times as our maths hero plunges further into his black mental maze, but then his brain fog clears again and he breaks through to a new level of mathematical insight - until he reaches the final level.
Jakob the Liar/Jakob der Lugner was the only East German film to be Oscar-nominated and, considering how neatly it falls into the ever-popular tradition of East German films reminding the population of their sins during the war as a means to engender guilt and stifle criticism, it's surprising to learn how difficult it was to get made after the government detected a possibly subversive thread - you don't think the Nazis could be symbolising the communists, do you? It's a good film but not a great one, surprisingly visually unimaginative considering the strong qualities of Frank Beyer's other films and only really starting to hit home in the last half hour. Still, it's hard to dislike a film that begins with the caption `The story of Jakob the Liar is not true. Honest. Or perhaps it is.'