Typical story lines have Tora-san, a suitcase carrying, leisure-suit wearing, traveling salesman visiting different parts of Japan, where he meets a beautiful young woman, is smitten, and tells her if she ever needs help, she should come visit him in his hometown.
After returning home to his family, which disapproves of his wandering lifestyle, the damsel in distress shows up, and Tora-san falls in love.
Alas, his attempts to help her, and win her heart, invariably cause her to fall for someone else.
Eclipse Series 10 - Silent Ozu-Three Family Comedies Yasujro Ozu B0012Z3630 In the late twenties and early thirties, Yasujiro Ozu was working steadily for Shochiku studios, honing his craft on dozens of silent films in various genres, from romantic melodramas to college comedies to gangster pictures and, of course, movies about families.
In these three droll domestic films Tokyo Chorus, I Am Born But.
It is through the eyes of precocious and outspoken nine-year-old Marjane that we see a people's hopes dashed as fundamentalists take power — forcing the veil on women and imprisoning thousands.
Clever and fearless, she outsmarts the "social guardians" and discovers punk, ABBA and Iron Maiden.
As she gets older, Marjane's boldness causes her parents to worry over her continued safety.
And so, at age fourteen, they make the difficult decision to send her to school in Austria.
Vulnerable and alone in a strange land, she endures the typical ordeals of a teenager.
In addition, Marjane has to combat being equated with the religious fundamentalism and extremism she fled her country to escape.
Over time, she gains acceptance, and even experiences love, but after high school she finds herself alone and horribly homesick.
Though it means putting on the veil and living in a tyrannical society, Marjane decides to return to Iran to be close to her family.
After a difficult period of adjustment, she enters art school and marries, all the while continuing to speak out against the hypocrisy she witnesses.
At age 24, she realizes that while she is deeply Iranian, she cannot live in Iran.
She then makes the heartbreaking decision to leave her homeland for France, optimistic about her future, shaped indelibly by her past.
The Band's Visit Eran Kolirin B0013HL6ES This heartwarming and poignant winner of the Cannes Film Festival Un Certain Regard prize is the mesmerizing and witty story of strangers in a strange land.
A fading Egyptian police band arrives in Israel to play at the Arab Cultural Center.
When they take the wrong bus, the band members find themselves in a desolate Israeli village.
With no other option than to spend the night with the local townspeople, the two distinctly different cultures realize the universal bonds of love, music and life.
Set against a breathtaking desert landscape, this cross-cultural comedy proves that getting lost is sometimes the best way to find yourself.
Following his rise to prominence at Shochiku, Oshima struck out to form his own production company, Sozo-sha, in the early sixties.
That move ushered in the prolific period of his career that gave birth to the five films collected here.
Pleasures of the Flesh Nagisa Oshima, 1965 A corrupt businessman blackmails the lovelorn reprobate Atsushi into watching over his suitcase full of embezzled cash while he serves a jail sentence.
Rather than wait for the man to retrieve his money, however, Atsushi decides to spend it all in one libidinous rush.
Violence at Noon Nagisa Oshima, 1966 Containing more than two thousand cuts and a wealth of inventive widescreen compositions, this coolly fragmented character study is a mesmerizing investigation of criminality and social decay.
Three Resurrected Drunkards Nagisa Oshima, 1968 A trio of bumbling young men frolic at the beach.
While they swim, their clothes are stolen and replaced with new outfits.
Donning these, they are mistaken for undocumented Koreans and end up on the run from comically outraged authorities.
Based on interviews with more than 500 people about the one memory they would choose to take with them to heaven, Japanese director Hirokazu Kore-Eda has modeled a unique blend of documentary and fiction that addresses the vagaries of memory but also what it means to make films.
After Life transpires in a sort of way station where the dead must select one memory to be re-created on film and taken on with them forever, relinquishing everything else.
Over the span of a week, a dedicated group of caseworkers tease out self-deceptions as well as real epiphanies from 22 different lives.
An old woman remembers reuniting with her husband on a crowded bridge after World War II; a man recollects the breeze felt on a tram ride the day before summer vacation; a successful man faces his own treachery.
Remembering becomes a courageous act in the casual exposition of this lovely film.
These captivating films are a glorious introduction to a peerless career.
https://casinos-spin-money.site/1/1505.html Most Beautiful Ichiban utsukushiku : This portrait of female volunteer workers at an optics plant during World War II, shot on location at the Nippon Kogaku factory, was created with a patriotic agenda.
Eclipse Series 3 - Late Ozu B000OPPAF6 This month, we present five wonderful works of art by Japanese master filmmaker Yasujiro Ozu.
Made directly after Tokyo Story, widely considered his most perfect film and one of the greatest movies ever made, these titles show Ozu at the top of the game, visually and narratively.
Elegant, humorous, rich with joy and sadness, these films further demonstrate why Ozu has become synonymous with the word cinema.
Five-Disc Set Includes: Early Spring: A married salaryman in postwar Tokyo enters into an affair with an office mate in this moving portrait of a fragile marriage.
Tokyo Twilight: In the dead of winter, past and present traumas afflict two sisters and their aging father in this, one of Ozu's most heartbreaking and powerful works.
Equinox Flower: In Ozu's splendid first color film, a stubborn businessman who disapproves of his daughter's fiance must learn to embrace modern romance.
Late Autumn: Ozu regular Setsuko Hara, once the marrying child in Late Spring, becomes the parent in this poignant tale of the bonds between mother and daughter.
The End of Summer: Ozu's second-to-last film beautifully blends comedy and tragedy to tell the story of three sisters who are stunned to discover that their aging father has taken up with his former mistress.
Eclipse Series 5 - The First Films of Samuel Fuller Samuel Fuller B000QXDFS0 His films have been called raw, outrageous, sensational, and daring.
In four decades of directing, Samuel Fuller created a legendarily idiosyncratic oeuvre, examining U.
And characteristically, it all began with a bang: after printing the legend with the elegant B-pictures I Shot Jesse James and The Baron of Arizona, he got himself into hot water with the FBI on The Steel Helmet, the first American movie to portray the Korean War.
I Shot Jesse James Fuller's directorial debut is a psychological western, excavating, with pathos and humor, the tale of Robert Ford, the member of Jesse James's gang who shot the famed outlaw in the back.
The Baron of Arizona A devilishly witty Vincent Price plays a nineteenth-century con man who sets out to commit the most epic swindle in U.
The Steel Helmet With its low budget and high ambitions, Fuller's snarling Korean War film, an examination of race relations as well as a visceral plunge into battle, remains one of the director's most this web page and admired works.
Amid Japan s economic collapse, moral waywardness, and American occupation, Kurosawa managed to find humor and redemption existing alongside despair and anxiety.
In these five films, which range from the whimsically Capraesque to the icily Dostoyevskian, from political epics to courtroom potboilers, Kurosawa established both the artistic range and social acuity that would inform his entire career.
Beck 6302424216 Talk about slapdash.
デポジットファイル a tribute to Star Trek hosted by Leonard Nimoy and William Shatner, and within the first half-hour they've run out of things to talk about related to Star Trek.
Though there are clips from フラッシュオンライン無料ストリーミング classic Trek and Star Trek: The Next Generation, they seem like an afterthought: montage fodder that only occasionally chooses a topic like humorous catch phrases of the characters and looks at it thoroughly.
Otherwise, there's way too much time devoted to letting Nimoy shill for the Star Trek VI movie and reminisce about the special effects in Star Trek IV which he happened to direct.
Aside from superficial treatment of the Trekkie phenomenon better explained in the movie Trekkiesthe fan base is barely mentioned—and what's the deal with LeVar Burton's tour of Space Camp?
It looks like an outtake from Reading Rainbow.
This doesn't even count as a greatest-hits video because the organization is so haphazard.
The whole thing smacks of moneymaking exploitation.
Shatner, of course, gets center stage, telling anecdotes about the way each of the roles was cast and why each actor was uniquely suited for his or her role.
A great this web page is also made and rightly so about what a breakthrough the show represented in its multicultural casting.
Shatner, who also serves as host, repeats many of the same stories he used https://casinos-spin-money.site/1/1647.html his book, Star Trek Memories, as do his old cast mates.
Indeed, this is one of several Star Trek retrospective tapes in which Nichols or someone else tells the story about her encounter with Martin Luther King Jr.
All the films are presented in their widescreen editions; one, Breakfast at Tiffany's, is offered in this format for the first time.
The set includes 5 Best Picture Oscar winners and films that took home an additional 33 Academy Awards.
All the tapes are available to buy individually.
The pack, with a handsome mosaic of faces from the movies, also features collector gift cards a movie version of baseball cards and a commemorative booklet detailing the productions of all 10 films.
The collection is oddly weighted toward the last 25 years, offering only one film from the 1950s and one from the 1960s.
Your taste in current cinema will define the value of the set.
Besides Tiffany's, one of Audrey Hepburn's finest films, the collection contains: The Ten Commandments with Charlton Heston, Grease with John Travolta, Francis Ford Coppola's Apocalypse Now and The Godfather, the funny, whale-saving Star Trek IV—The Voyage Home, Tom Cruise's hit Top Gun, the smash hit Ghost with Demi Moore, Mel Gibson's Celt fest Braveheart, and Forrest Gump with Tom Hanks.
By all accounts, Mengele could be very charming.
And like Mengele, Fajo collects things that please him, such as the Rejac Crystal and Data.
It's like a car wreck: one is compelled by the force of human nature to look.
There's just something strangely attractive about evil.
Make no mistake, Kivas Fajo is evil.
Sure he prances about like a demented gnome, but he also kidnaps, steals, and kills without compunction.
He uses Data's programmed value of all life against him.
When degradation and threats don't work, the collector produces an illegal disrupter and aims it at his assistant Varria Jane Dalywho is herself a prisoner in his stable.
Fajo will stop at nothing to get Data to sit in the chair.
When Data finally does sit in the chair, the viewer understands that everybody has his price—even Data.
That price is another being's life.
This episode contains the most chilling line in TNG's history: "I cannot feel pleasure.
I am only an android.
Actor David Rappaport was originally cast as Fajo, but committed suicide before filming could be completed.
The ironic thing is that "The Most Toys" is all about the affirmation of life.
The facts: while visiting the married couple and observing the Federation researcher's work on a new source of energy, the Enterprise's first officer has an argument with the scientist, who is then killed while Riker beams out of the scene.
But what really happened?
The situation looks cut-and-dry to Tanugan Inspector Krag Craig Richard Nelsonwho arrests Riker but is then convinced by Captain Picard Patrick Stewart to re-create the varying testimonies in the ship's holodeck.
For Trek fans, the episode clearly echoes a show from the original series entitled "Wolf in the Fold," in which engineer Scotty is accused of a heinous sex crime while visiting a planet.
The plot is intriguing, the suspense is fine, and the suggestion of a dark streak in Riker will not be lost on fans of the series.
Popular with Trek fans, the godlike imp Q John de Lancie makes his sixth appearance on The Next Generation, but this time with a difference.
Stripped of his amazing powers by the Q Continuum—his immortal overseers—the condescending space-pest becomes a mere humanoid on the Enterprise, adding an extra headache for Captain Picard Patrick Stewartalready busy trying to keep a moon from crashing into a Federation planet.
Assigned to crew duty, the humbled Q is escorted everywhere by Data Brent Spinerwho introduces the skeptical alien to such fleshly pursuits as ordering chocolate treats.
When Data makes an extreme sacrifice to protect Q from an old nemesis, the narcissistic fellow is uncharacteristically moved to heroic action of his own.
The episode was made strictly for fun most Q episodes end up rather profound, but this isn't one of themand de Lancie has great sport with his alter ego's sudden ordinariness.
Corbin Bernsen LA Law makes a surprise appearance as Q2, Q's annoyed boss.
That "fact" comes courtesy of "The High Ground," an episode of The Next Generation in which the struggles of Northern Ireland are echoed in the ongoing violence between Federation members the Rutians and disenfranchised rebels called the Ansata.
Captain Picard Patrick Stewart and the Enterprise arrive to apply pressure on the Rutians to resolve differences with the terrorist underground, but when an Ansatan bombing results in the capture of Dr.
Beverly Crusher Gates McFaddenthe mission changes.
Guest stars Richard Cox and Kerrie Keane are very effective, respectively, as an Ansatan leader and the Rutian cop determined to bring him down.
The episode also puts a rare spotlight on Picard as an action hero—he actually gets to punch out a terrorist at one point—and extends the teasing possibility of an eventual romance between the captain and the ship's comely physician.
Not a classic from the series, necessarily, but a good one with interesting moral murkiness.
But even as he's preparing to complete what has been his life's work, the ship's computers begin to go glitch-crazy.
More problematic, the computer itself records no instance of failure or malfunction.
The problem, as it turns out, is that Wesley Crusher Wil Wheaton has been conducting a school experiment involving microscopic robots called nanites.
Two nanites have escaped into the computer—and have evolved in a way that allows them to reproduce and run amok in the computer system, threatening not only the scientific mission but the safety of the Enterprise itself.
It's an intriguing episode, one that uses its plot to debate the nature of life as it applies to sentient mechanical beings.
In this case, not only are the nanites capable of reproducing but also learning and evolving; when the scientist suggests killing all the nanites to save his project, the nanites themselves gang up and retaliate.
On the other hand, the whole episode keeps building to moments of tension and suspense that simply fade away, rather than reaching cathartic release.
And a subplot, involving Crusher's mother Beverly Gates McFadden and her mother-hen impulses toward her growing son, reveals yet again how stiff an actress she is and why she wasn't missed during her absence for the second season.
The Enterprise receives an unexpected message from a race known as the Sheliak, who've been out of touch for more than a century.
The Sheliak, aliens who consider themselves far superior to humans, claim a small planet under guidelines set down by their treaty with the Federation and announce that they intend to colonize this planet four days hence.
The problem is that humans have already colonized the planet.
Tough luck, says the Sheliak—evacuate or die.
But when Data is sent to the planet to organize the evacuation, he runs into two problems: first, there are 15,000 colonists, more than can be shipped out in the four days given by the Sheliak; and second, the colonists have no desire to 遊びお金のためのポーカーゲーム />Worse yet, their leader refuses to deal with an android.
Even as Data tries to reason with the colonists, Picard goes head-to-head with the top Sheliak, debating the finer legal points of the treaty in an effort to buy time.
Brent Spiner makes the most of the kiss Data receives from a human woman who falls for him—though the android still doesn't understand what sex is all about.
There's some nice chess-move-style plotting, with strong performances by the Enterprise crew and some stilted performances by the planet colonists.
Riker and Picard face off, with Riker helming a broken-down old derelict of a ship called the Hathaway.
Riker bucks the odds, and the arrogant Zakdorn's low assessment of his abilities, using a holographic trick to distract the Enterprise, thus winning the contest.
Only the contest attracts a very real Ferengi vessel that attacks the Enterprise, thus taking the game to another level, an opportunity to display their game skills in an actually dangerous situation.
The アトランティスカジノ無料ゲーム bursts with ideas about finding creative solutions to complex problems, that pit left-brain, or logico-mathematical, skills against right-brain, or creative, abilities—and very good ideas at that.
She's there to help the Enterprise intercept a Klingon warship, which has been in a cryogenic sleep for almost a century.
They've been gone long enough that crew members don't know that Klingons are at peace with the Federation—sort of the equivalent of Japanese soldiers on remote Pacific Islands who never heard that World War II was over.
K'Ehleyr's job is to convince these warriors that they are no longer at war.
While she's waiting for them to show up, she has enough time to ruffle Worf's feathers by trying to rekindle their opinion ヘンダーソンnvのカジノマップ rather feelings.
Plakson has a delightfully tart way with her lines, which work well at needling the usually implacable Worf.
Interestingly, K'Ehleyr is the one pushing for the couple to get down—but then bridles at the notion that, by mating for the sheer fun of it, they are bound for life.
Traditionalist Worf, by contrast, can't imagine having sex without commitment—which just goes to show the difference between humans and Klingons.
Plakson—as K'Ehleyr—would show up in a later episode, with the child produced by this encounter.
Unfortunately, the interpersonal moments consume so much time that, when the Klingon ship finally appears, the tension in that encounter winds up feeling perfunctory.
In "Manhunt," the familial arrival is Lwaxana Troi Majel Barrettmother of counselor Deanna Troi.
Barrett, the widow of series creator Gene Roddenberry and the only actor to appear in every Star Trek series, had made one previous appearance in The Next Generation, and クリアウォーターカジノエンターテイメントwa character would turn up again in later episodes.
In this outing, she is beamed aboard the Enterprise, which will transport her to a Federation conference where she is a delegate.
The Enterprise is also carrying a pair of delegates from the planet Antede Three—but they have chosen to spend the flight in suspended animation because it's the only way they can endure space travel.
Though they provide the plot's jeopardy at the end of the show, the real focus is on Lwaxana, who is going through what Deanna refers to as "the phase"—a period of heightened sexual hunger.
The story is meant to be comic, based on the turnabout notion of this female sexual predator chasing Picard and Riker.
Given that the episode aired in 1987, it seems retrograde in its depiction of men trying to put off this forthright vamp.
It doesn't help that Barrett, never a great actress, reads all her lines as though they were written by Oscar Wilde, when the script doesn't even rise to the level of Neil Simon.
Q has been kicked out of the Q continuum, he's bored, and he's decided he wants to join the crew of the Enterprise and go exploring with them.
When Captain Picard says no, Q gets angry and knocks the ship into a particularly dangerous part of the unexplored universe, just to see how well they can fend for themselves without his help.
Guinan Whoopi Goldbergthe bartender of Ten-Forward, has been to this part of space before, and she recommends leaving as quickly as possible.
Needless to say, they don't leave fast enough, and they meet up with the cyborg race called the Borg.
After one battle, the Borg prove to be stronger, and Guinan says their brief taste of human technology will no doubt spur them on to seek it out again.
An auspicious introduction to a brilliant villain: the Borg.
Riker, eager to forward Wesley's training as an officer, puts him in charge of the geological survey team of Drema Four.
Wesley is eager for the work, but worries about giving orders to older and more click crew members.
Meanwhile, Data picks up a call from Drema Four's surface, and begins what he thinks is a harmless exchange with a child named Sarjenka.
Look carefully under Sarjenka's makeup and you might recognize a very young Nikki Cox.
When it becomes clear that Drema Four is doomed to the same fate as the other planets in the system, Data reveals his friendship to the crew.
You guessed it—it just might be time to violate the Prime Directive.
For those who always found it a cop-out, this episode contains one of the more extensive discussions of the Prime Directive, and goes a long way towards explaining why it's so important.
Riker Jonathan Frakes is being given the opportunity to captain his own ship, the Aries, on a dangerous mission into a remote part of space.
The bad news is that the person offering him this mission is Kyle Riker Mitchell Ryanhis father, whom he hasn't spoken with for 15 years.
Ever since his mom died, Commander Riker has had bitter feelings toward his dad, believing he was all but abandoned by the man.
Elsewhere on the ship, Wesley Crusher Wil Wheaton has noticed that Worf Michael Dorn is in a particularly bad mood.
With a little investigation and the help of Data and Geordi, he discovers it is the 10th anniversary of Worf's Age of Ascension, a special day that Klingons celebrate with family and pain.
While Wesley figures out a way to celebrate Worf's big day, Commander Riker and his dad spar both mentally and physically, and through battle are able to say what they're feeling about each other.
Oh, and in a further attempt to give Dr.
Pulaski Diana Muldaur more of a backstory, it's revealed that she used to date Kyle Riker.
That's essentially where Commander Riker, Data, and Worf find themselves while investigating an oxygen pocket on a lifeless planet.
A revolving door in the middle of nowhere whooshes the away team into a bustling Las Vegas hotel casino, where the activity seems to contradict sensor readings.
There's no life here, merely an elaborate holodeck fantasy sprung from the pages of a trashy paperback crime melodrama.
Think Harold Robbins by way of Jean-Paul Sartre: there's no way out of this hackneyed soap opera and the Enterprise transporters トッテナムライブゲーム beam them out, so it's up to Riker and company to create their own dramatic exit.
The rather elaborate explanation for it all concerns an ancient NASA astronaut and the misguided benevolence of a naive alien race, but it hardly matters.
The fun lies in Data's studies of gamblers, gold diggers, and the intricacies of room service, and Riker's energetic fling as a flamboyant high roller.
As Counselor Troi listens in on the hoary dialogue emanating from the gambling hall, she queries: "Did humans really talk like that?
Following a distress signal, the Enterprise finds the USS Yamato stranded due to a systems failure, with the Romulans nearby.
Even before the opening credits roll the starship explodes, killing everybody on board.
Turns out the captain of the Yamato had been searching for Iconia, a planet legendary for its technological advances, and whose technology would be incredibly dangerous if it were to fall into the wrong read: Romulan hands.
Then the computer virus that destroyed the Yamato starts to infect the Enterprise, and the Romulans show up and start threatening them.
To make matters worse, Data himself becomes infected.
A good yarn—and as the Internet continues to expand, stories like this the 大人が賞品を獲得するためのゲーム share about computer viruses will become increasingly relevant.
When 16-year-old Salia Jaime Hubbard boards the Enterprise in order to be escorted to Daled IV, the planet she is destined to rule, Wesley Crusher gets an immediate crush on her.
She seems to like him, too, much to the displeasure of her overprotective guardian Anya Paddi Edwards.
Wesley roams the ship asking for dating advice while Anya tries to lock Salia in her room.
Of course, Wesley is following that unwritten Enterprise rule that encourages flings with people and aliens from outside of the ship, which guarantees they will be short-term affairs.
It's a pattern established by Picard see episode 24, "We'll Always Have Paris"where duty and ambition always take precedence over personal relationships.
Back to Wesley, though.
When Wesley discovers the true nature of this alien life form, he must come to terms with the fact that looks aren't everything.
Everybody knows that Data is an amazing machine, but is he more than that?
Is he a sentient being?
These questions, perfect for idle speculation, are put on trial on a brand-new starbase when Commander Bruce Maddox Brian Brophy decides he wants to disassemble Data in order to learn "its" secrets, so that he can build many more Datas in the future.
Data, however, doesn't think his science ability is up to snuff.
Maddox forces a transfer so that Data must undergo the experiments, which in turn leads to Data's resignation from Starfleet.
But can he resign, or is he the property of Starfleet?
Is he a person, or more like a toaster?
A trial is set up in front of Judge Advocate General Philipa Louvois Amanda McBroom ; Riker is called on to argue that Data is the property of Starfleet, while Picard must defend Data as a new form of life.
Excellent arguments are given for both sides.
The Enterprise hosts Mendon, a Benzite who is all too eager to please and manages to rub both Worf and Captain Picard the wrong way.
Meanwhile, Riker becomes first mate on the Klingon cruiser Pagh.
A misunderstanding leads to a Klingon attack on the Enterprise and Riker must sort out his conflicting loyalties.
This episode, an early look at Klingon culture, is great fun.
Screenwriter Burton Armus clearly had a terrific time exploring the aggressive Klingon ways, and the show manages to make a point about cultural misunderstandings without losing its sense of humor.
This is the perfect episode for those who like their gagh served cold.
It turns out that Riva is a New Age deaf mute whose thoughts and ideas are communicated through a three-person chorus that follows him around wherever he goes, but he's good at his job anyway.
On the way to the planet, however, Riva seems more interested in hitting on the empathic Deanna Troi than studying the history of the conflict.
His cockiness not only jeopardizes the mission but his own chorus as well.
With the help of Data and Troi, Riva is forced to find new ways to do his old job.
Though the episode just click for source to resolution, credit must be given to the writers for not tying up all of the loose ends by the finale.
The Enterprise comes to the aid of dashing, lovable rogue Captain Okona.
Okona's easy wit charms the ladies of the crew and inspires Data to learn about the peculiar human trait of humor.
Okona is soon in hot water as two different factions demand his surrender, while Data is up to みんなのための無料オンラインゲーム ears in shtick with the help of Guinan and a holodeck comic played by Joe Piscopo.
Piscopo is given alarmingly free reign in defining what is funny, but it is Brent Spiner's playful illustrations of Data's poor comic touch that come off best.
Also keep an eye out for a young Teri Hatcher in the transporter room, appropriately cast as an attractive crew member.
It's his slip of the tongue that causes all the mayhem in this episode.
After Data ruins a perfectly good holographic adventure by jumping to the end of a Sherlock Holmes mystery, the frustrated chief engineer asks the computer to create an adversary worthy of defeating the android.
What Geordi meant to say was an adversary worthy of Holmes, but never mind.
The computer obliges and Moriarty is born.
He comes equipped with superintelligence approaching consciousness and a direct line to the main computer.
Pulaski gets thrown into the mix—as a crumpet-eating hostage, of all things—and Moriarty starts messing with the Star Trek universe as we know it and turns reality on its ear.
TNG is at its best when it doesn't take itself too seriously.
In fact, this episode proved to be so popular that the story was continued three years later in "Ship in a Bottle.
This makes many best of Trek episode lists, and is simply a must-own for all TNG fans.
Riker Jonathan Frakesthe promotion of Geordi La Forge LeVar Burton to chief engineer, and the replacement of Chief Medical Officer Beverly Crusher with Dr.
With a scene that's much sexier than it has any right to be, a Tinkerbell-like spark enters the ship, finds a sleeping Deanna Troi Marina Sirtismoves under her covers, and impregnates her.
The alien baby starts to grow much faster than a normal gestation period, shrinking the time frame down to a couple of days.
Worf wants to terminate the pregnancy, Data wants to study the life form, and Troi decides to keep the baby no matter what anyone thinks.
Once born, the boy continues its rapid growth, but is discovered to have an adverse effect on the specimens of a dangerous plasma plague they are carrying to a scientific research facility.
None too subtly, the whole episode explores ideas about family.
Also included is a guest spot by independent-film veteran Seymour Cassel.
While waiting for him to return to the ship, Data and Worf investigate the wreckage of an old space capsule they find, one that was launched from Earth in the late 20th century.
On board the capsule are three humans in コミック8カジノキングスパート2 animation: a businessman, an artist, and a housewife.
Each were frozen at the moment they died from fatal diseases, hoping that sometime in the future they https://casinos-spin-money.site/1/1045.html be thawed out and cured.
Meanwhile, Picard brings the Enterprise into the neutral zone to investigate the destruction of a few remote outposts.
Rumor has it, after 50 years of quiet, the Romulans have returned to annoy and fight against the Federation.
The gravity of the situation is lost on the unfrozen humans, particularly the blowhard businessman who is itching to find out how his stocks are doing after more than 300 years.
The comic aspects are rather broad, but the reintroduction of the Romulans is well played.
The question of the destroyed outposts isn't resolved until season 2 hint: it's one of the series' favorite villainsbut the most interesting revelation is that TV on Earth only lasts until 2040.
Watch this episode now, before it's too late!
Keel and a couple of other highly respected captains have gathered because Keel has begun to notice some bizarre orders emanating from Starfleet and suspects a growing conspiracy.
Back on the Enterprise, Picard is skeptical, but Data helps confirm some of the strange orders.
Picard sets up a meeting with Admiral Quinn Ward Costello to check it out.
Admiral Quinn had previously boarded the Enterprise in episode 19 "Coming of Age" in order to investigate the competency of Picard in the face of an unstated conspiracy, but now he seems like a different man.
Though the writing is a bit forced, it's nice to see the show working on long-form, continuing story lines.
Hiccups in time are causing occasional moments of déjà vu.
The distress signal from Dr.
Paul Manheim Rod Loomisa scientist who's been working on experiments in nonlinear time, puts Picard into a bit of an emotional funk.
You see, 22 years prior, Picard was supposed to meet a woman in a café in Paris—a woman whom he loved and who loved him.
He stood her up for fear of being tied down by a relationship, choosing instead his Starfleet career.
Needless to say, the old flame Michelle Phillips ended up marrying Manheim, and now it's up to Picard and the crew of the Enterprise to save them both.
It turns out to be nothing more than an ancient, prerecorded sales pitch delivered with sleepy enthusiasm by long-faced character actor Vincent Schiavelli welcoming visitors to Minos, the arms market of the universe.
Beaming down to the planet, Riker, Tasha, and Data wander about a lush forest before encountering a series of flying sentinels vaguely resembling outboard motors minus their propellersthe first easily destroyed by phaser fire, but subsequent incarnations adapting themselves to the crewmembers' attacks.
Meanwhile, Picard and Dr.
Crusher also go exploring, finding themselves trapped in an underground cave where the captain must tend to the doctor's broken leg.
With both Picard and Riker on the planet, La Forge finds himself in command for the first time; he's not the only one questioning whether he's ready for the job.
Though the situation is old hat and unfolds with a certain tattered predictability, this is one of the better outings of The Next Generation's first season.
The characters are fleshed out without resorting to too much overdrawn dialogue even the usually aggravating almost-romance between Picard and Crusher is subtly drawn ; in particular it's Geordi's day to shine, and LeVar Burton brings a nice self-confidence to the heretofore submissive engineer.
Overlooking the studio-bound landscapes typical of early Star Trek, the episode also features some impressive effects in the brief scenes of the Enterprise's saucer separation, a clever device that fortunately was never overused on the show.
Nothing groundbreaking, though no major missteps either.
After detecting a disturbance in the Neutral Zone, the Enterprise discovers the remains of one ship and a damaged cargo vessel whose life-support systems are failing.
A rescue team sent in to find the survivors discovers a trio of Klingons and brings them back to the ship.
These Klingon officers don't trust the peace with the Federation and are also wanted by the Klingons for crimes that they have committed.
The officers question Worf's dedication to his race, wondering aloud if his instincts have been dulled by living with civilized men, and try to goad him into joining their revolution.
Just as Wesley doesn't always know what is and isn't part of the test he's one of four finalists for a single Academy slotthe crew ハリウッドカジノトレドブラックジャック最小 the Enterprise doesn't know who or what is being investigated.
All they are told is that "something is wrong with the ship.
This puts everybody on edge, as they can't understand what continue reading be wrong with a captain as competent as Picard, but the commander is under strict orders not to blab about it until the investigation is over.
Both story lines are eventually resolved, of course, but it's fun to see the members of the Enterprise get all uppity in defense of Picard.
When a routine check-in by the Enterprise leads to a testy dismissal from the head engineer, as well as bad vibes for Counselor Troi, the away team goes to investigate.
Apologies are quickly made by the newly conciliatory terraformers, who explain that their manners tend to fade over the decades of isolation required to bring life to a dead world.
So what exactly happened to Star Trek II's Genesis Project?
But during the brief tour, one scientist is killed by an apparently malfunctioning laser, and suspicions are raised again.
Data and Geordi investigate, and discover beyond question that an intelligent force in fact controlled the deadly beam.
The three remaining scientists are brought up to the ship for questioning; also beamed aboard is a small crystal whose arrhythmic, "musical" light pulsations have intrigued Data.
Despite some insistence from the ship's computer that, lacking organic structure, the crystal simply can't be life why exactly aren't Starfleet medical programs informed of the silicon-based Horta encountered by the old Enterprise crew?
Alive, growing, and angry at the attempted extermination of its species by the terraformers.
Not to mention able to control the Enterprise's computers, thus putting the entire crew at risk.
Though the rapidly multiplying creature, eventually dubbed the microbrain, is one of the show's all-time cheapest aliens—basically some glowing penlights placed under a bell jar—the story is a fairly interesting rehash of some classic Trek themes.
Plus, any episode that introduces the catchy phrase "ugly bags of mostly water," the microbrain's description of humans, is an instant classic.
While Riker doesn't trust the Bynars, he forgets all of read more complaints when he tries out the holodeck.
Setting リアルマネーオンラインゲーム up as a trombone player in a 1958 Bourbon Street bar, he meets up with a sultry brunette.
Her reactions turn out to be more complex and more "human" than the program ever exhibited before, and when Picard walks in on the couple he is equally charmed.
While they're lost in the holodeck program, the Enterprise starts to self-destruct.
This forces an evacuation of everybody except Riker and Picard and an eventual hijacking of the ship.
The reasons behind the events are very smart, making this a nicely thought-out episode, despite little things like Data learning to paint and Riker's masturbatory fantasy.
There are no signs of life on the ship, but three escape pods are missing, so the crew of the Enterprise take a trip to the nearest planet, Angel One, to see if they can locate any survivors.
The civilization on Angel One is "similar to mid-20th-century Earth," except the gender roles are switched.
Women are the hunters and natural leaders, while the men are treated as please click for source ornaments and playthings.
You can imagine how well that plays with Riker.
But it's Riker who, in pure Shatner mode, nearly gets lucky with the leader of Angel One, Mistress Beata Karen Montgomery.
Well, it turns out the three survivors are fugitives from justice because they've been inspiring the men on the planet to campaign for equal rights, and the women just don't like that.
Meanwhile, the Enterprise has been incapacitated by a mysterious virus.
The obvious politics of this episode are nicely balanced by the entertainingly "girlish" costumes worn by the men on the planet.
Returning to the barren planet where Data was found, the away team finds an underground laboratory containing the disconnected segments of another cyborg, identical to Data.
Reassembled and brought to life, this second android grins, twitches his cheek, and introduces himself as Lore.
Lore explains that he was created to replace Data when the latter disturbed the humans with whom he interacted a lie, Data realizes—it turns out to have been exactly the opposite ; and that the colonists' fate was the work of a giant "crystalline entity.
Yes, it took only 14 episodes for Next Generation to dredge up that hoariest of clichés, the evil twin right down to Lore's distinguishing facial tic and fondness for penny-dreadful dialogue.
Brent Spiner has what fun he can with the dual roles—he was starting to find the humor and humanity in Data by this point, and the more risibly histrionic that Lore's lines become the more Spiner engages in some tasty scenery-chewing, but not even his mercifully campy turn can salvage some of the silliest scenes ever written for the series.
And the rest of the crew is as smug as they ever were the first few seasons, despite being so obtuse that they can't even see through Lore's ludicrous sham when he switches places with an unconscious Data.
Picard's thrilling account of the computer-generated verisimilitude persuades a few shipmates to join him: Commander Data, Dr.
Crusher, and some guy you've never heard of.
Guess who gets shot when the holodeck malfunctions and its artificial creations turn very real and very deadly?
The cast plays up to the genial humor of the witty story, and guest star Lawrence Tierney is a hoot as a Sidney Greenstreet-type villain philosophically intrigued by the notion that he doesn't truly exist.
All that's missing is the playfulness that could have sent this over the top.
Like many Next Generation episodes made before the show found its own voice and tone with the introduction of the Borg, "The Big Goodbye" suffers in comparison with the original Trek.
One looks back fondly to Kirk and Spock's similar brush with '30s-style gangsters "A Piece of the Action"which had a goofy, go-for-broke sense of the situation's absurdity which this show lacks.
And コミック8カジノキングスパート2 all Picard's going on about the stunning reality of the simulated San Francisco, this is a disappointingly set-bound episode, cramped and confined when it most needs to break out of its story and breathe freely.
In this instance, Q transports key personnel Data, Geordi, Tasha, Wesley, Worf, and Riker to a barren planet, where they battle horrid creatures wearing the uniforms of Napoleon's army.
Most importantly, Q bestows his powers onto Riker Jonathan Frakeswho then struggles not to use them—and fails spectacularly.
The script by series staff writer Maurice Hurley under the pen name C.
Holland was stripped of action by Gene Roddenberry in favor of a talky, philosophical approach to questions concerning human destiny.
Things look and feel even more dry on the alien planet set, which looks like a holdover from the zero-budget third season of the original series.
More positively, a climactic scene in which Riker attempts to grant his Enterprise friends their most cherished dreams is quite singular in its ensemble work and drama.
Laboring to establish its own identity and figure out who its characters were, the young series occasionally stumbled into various retro-cliches from hokey, sci-fi B movies.
The hardbody paradise of the planet Rubicun III in "Justice" is one example: the peaceful sensualists known as the Edo living there are interested only in, uh, pleasure.
But when Wesley Crusher Wil Wheaton violates an arcane law and is sentenced to death, Captain Picard Patrick Stewart is faced with a conflict over following the Prime Directive or スロットウィザード the boy.
The evolution of this story is almost bizarre.
Beginning with a script by John D.
Black set on a colony called Llarof, the drama concerned Enterprise personnel caught up in the colonists' antiquated and unjust infliction of instant punishment.
The Prime Directive became Picard's barrier to helping the planet's progressives change things.
In any case, Gene Roddenberry and writer Worley Thorne did a radical rewrite, perhaps pulling a convenient element or two out of the classic Trek playbook slotlight 2のインストール zumtobel inventing the sex-obsessed Edo.
Still, Stewart and his co-stars leave their imprint on the episode, and the this web page struggle to balance Federation duties with higher obligations—a struggle that helped define TNG—has its roots here.
While escorting delegations from two feuding planets to a Federation outpost, the Enterprise passes through a mysterious cloud containing intelligent life in the form of pure energy.
One such entity alternately enters the bodies of Worf Michael DornDr.
Crusher Gates McFaddenthe ship's computers and, finally, Picard.
The script by Dorothy Fontana, based on a story by Michael Halperin, burns up a lot of time treating the basic idea as a mystery, with Data Brent Spiner even going so far as to adopt the mannerisms and vernacular of Sherlock Holmes.
A dubious element, though Spiner does get some great comic mileage out of it.
Again, it's Stewart's ingenuity that makes one forget the story's problems, playing Picard in a way that seems off by a few, unsettling degrees.
The galaxy's ultra-capitalists are chased by the Enterprise when a Ferengi vessel steals an energy converter.
The chase ends when both ships are immobilized above an unknown outpost of the long-dead Tkon Empire.
A joint effort to investigate fails when the Ferengi double-cross Riker's away-team.
Viewers who could never much stomach the Ferengi won't find a lot here to appreciate, despite efforts by Gene Roddenberry to invent a viable and interesting new nemesis for the Federation.
The story, which involves an automated Tkon guard sitting in judgment on Riker as well as the irritating aliens, is less-than-inspired as well.
On a positive note, Armin Shimerman makes his first appearance as a Ferengi, this one called Letek.
The diminuitive actor went on to play Quark on Deep Space Nine.
She dutifully meets her betrothed, a doctor named Wyatt Rob Knepperwho turns out to be a good person baffled as to why Deanna doesn't look like the blonde he has seen in visions since childhood.
An obligatory action subplot finds the Enterprise imperiled by the last survivors of a biological war.
But the real entertainment here comes from the brassy Lwaxana's huge personality, her endless flirtations with a flustered Captain Picard Patrick Stewartand her in-fighting with Wyatt's family.
Roddenberry in real life subsequently made annual visits to TNG as Lwaxana, but this episode almost didn't happen until writer Tracy Tormé son of Mel rescued and fixed an all-but-abandoned story treatment.
A plague on Styris IV sends the Enterprise in search of an organic vaccine on Ligon II.
Delicate diplomacy with Ligon's skeptical chief, Lutan Jessie Lawrence Fergusonbreaks down when Lutan kidnaps Tasha Yar Denise Crosby in keeping with his cultural traditions regarding the selection of wives.
Picard is confronted with following the Prime Directive, which means accepting Ligon's subjective notion of civilized behavior and putting Tasha in real danger.
The Next Generation often concerned itself with highly original moral quandaries where other species are concerned.
But there is a uniquely human face to the situation in "Code of Honor," perhaps owing somewhat to the fact that Ligon's feudal society is entirely black.
Ironically, it's that last point that embarrasses some of TNG's creative types, as if the episode serves up stereotypes.
But in the best Star Trek tradition, the opposite is true: the show works because it resonates with real-world issues about resisting exploitation, about the occasional difficulties of respecting the integrity of other places, other people.
Who cares if it's basically a retread of the original series' "Naked Time" or that it breaks out every Star Trek cliché in the book?
This episode lays the groundwork for fundamental relationship story lines that take seven years to unfold.
Thanks to some nasty alcoholic space bug, the crew of the Enterprise-D loses all inhibition and has a good ol' time.
See Picard and Doctor Bev get hot and heavy.
Watch in awe when Troi asks Riker "Don't you want to be alone with me in your mind?
Of course, all good things must come to an end.
Crusher finds a cure and Wesley saves the day.
A number one guilty pleasure among TNG fans everywhere.
Gene Roddenberry's second go-round with Star Trek on television boldly goes where no other soul had gone, overcoming Trekker skepticism at the time about new characters and a new cast.
After introducing Captain Picard Patrick Stewart and the rest of the crew, the script by Roddenberry and former Star Trek story editor Dorothy Fontana plunges them into a familiar Trek confrontation with a superior power, Q John De Lanciein a weirdly archaic setting drawn from Earth history in this case, the bloody kangaroo courts of Robespierre's day.
Declaring mankind barbarous and unworthy of existence, Q gives Picard 24 hours to prove humans are not just a "grievously savage race.
Crusher and a surprise cameo from a Trek icon.
There are bumps: originally shot as a 90-minute special, "Encounter" had to be padded a bit ergo the ship separation scene to make it two hours.
Borrowing its subtitle and several lines of dialogue from Shakespeare, the movie finds Admiral Kirk William Shatner and his fellow Enterprise crew members on a diplomatic mission to 最新のpcスロットゲーム無料ダウンロード peace with the revered Klingon Chancellor Gorkon David Warner.
When the high-ranking Klingon and several officers are ruthlessly murdered, blame is placed on Kirk, whose subsequent investigation uncovers an assassination plot masterminded by the nefarious Klingon General Chang Christopher Plummer in an effort to disrupt a historic peace summit.
As this political plot unfolds, Star Trek VI takes on a sharp-edged tone, with Kirk and Spock confronting their opposing views of diplomacy, and testing their bonds of loyalty when a Vulcan officer is revealed to be a traitor.
With a dramatic depth befitting what was to be the final movie mission of the original Star Trek crew, this film took the veteran cast out in respectably high style.
With the torch being passed to the crew of Star Trek: The Next Generation, only Kirk, Scotty, and Chekov would return, however briefly, in Star Trek: Generations.
After Leonard Nimoy scored hits with Star Trek III and IV, William Shatner used his contractual clout and bruised ego to assume directorial duties on this mission, in which a rebellious Vulcan Laurence Luckinbill kidnaps Federation officials in his overzealous quest for the supreme source of creation.
That's right, you heard it correctly: Star Trek V is about a crazy Vulcan's search for God.
By the time Kirk, Spock, and their Federation cohorts are taken to the Great Barrier of the galaxy, this journey to "the final future" has gone from an embarrassing prologue to an absurd conclusion, with a lot of creaky plotting in between.
Of course, die-hard Trekkies will still allow this movie into their video collections; but they'll only watch it when nobody else is looking.
After this humbling experience, Shatner wisely relinquished the director's chair to Star Trek II's Nicholas Meyer.
In their own time, the Starfleet heroes encounter an alien probe emitting a mysterious message—a message delivered in the song of the now-extinct Earth species of humpback whales.
Failure to respond to the probe will result in Earth's destruction, so Kirk and company time-travel to 20th-century Earth—in their captured Klingon starship—to transport a humpback whale to the future in an effort to peacefully communicate with the alien probe.
The plot sounds somewhat absurd in description, but as executed by returning director Leonard Nimoy, this turned out to be a crowd-pleasing adventure, filled with humor and lively interaction among the favorite Star Trek characters.
Catherine Hicks from TV's 7th Heaven plays the 20th-century whale expert who is finally convinced of Kirk's and Spock's benevolent intentions.
With ample comedy taken from the clash of future heroes with 20th-century urban realities, Star Trek IV was a box-office smash, satisfying mainstream audiences and hardcore Trek fans alike.
Series creator Gene Roddenberry had conceived a second TV series, but after the success of Star Wars the project was upgraded into this lavish feature film, which reunited the original series cast aboard a beautifully redesigned starship U.
Under the direction of Robert Wise best known for West Side Storythe film proved to be a mixed blessing for Trek fans, who heatedly debated its merits; but it was, of course, a phenomenal hit.
Kirk William Shatner leads his crew into the vast structures surrounding V'Ger, an all-powerful being that is cutting a destructive course through Starfleet space.
With his new First Officer Stephen Collinsthe bald and beautiful Lieutenant Ilia played by the late Persis Khambatta and his returning veteran crew, Kirk must decipher the secret of V'Ger's true purpose click to see more restore the safety of the galaxy.
The story is rather overblown and derivative of plots from the original series, and avid Trekkies greeted the film's bland costumes with derisive laughter.
But as a feast for the eyes, this is an adventure worthy of big-screen trekkin'.
Douglas Trumbull's visual effects are astonishing, and Jerry Goldmith's score is regarded as one of the prolific composer's very best with its main theme later used for Star Trek: The Next Generation.
And, fortunately for Star Trek fans, the expanded 143-minute version originally shown for the film's network TV premiere is generally considered an improvement over the original theatrical release.
Shugrue, Leonard Nimoy 6300214400 You didn't think Mr.
Spock was really dead, did you?
When Spock's casket landed on the surface of the Genesis planet at the end of Star Trek II, we had already been told that Genesis had the power to bring "life from lifelessness.
As Kirk is getting to know his estranged son Merritt Butrickhe must also do battle with the fiendish Klingon Kruge Christopher Lloydwho is determined to seize the power of Genesis from the Federation.
Meanwhile, the regenerated Spock returns to his home planet, and Star Trek III gains considerable interest by exploring the ceremonial and, of course, highly logical traditions of Vulcan society.
The movie's a minor disappointment compared to Star Trek II, but it's a—well, logical—sequel that successfully restores Spock and first-time film director Leonard Nimoy to the phenomenal Trek franchise.
With Kirk's willful destruction of the U.
Enterprise and Robin Curtis replacing the departing Kirstie Alley as Vulcan Lt.
Saavik, this was clearly a transitional film in the series, clearing the way for the highly popular Star Trek IV.
Inspired by the "Space Seed" episode of the original TV series, the film reunites newly promoted Admiral Kirk with his nemesis from the earlier episode—the genetically superior Khan Ricardo Montalban —who is now seeking revenge upon Kirk for having been imprisoned on a desolated planet.
Their battle ensues over control of the Genesis device, a top-secret Starfleet project enabling entire planets to be transformed into life-supporting worlds, pioneered by the mother Bibi Besch of Kirk's estranged and now-adult son.
Spock mentors the young Vulcan Lt.
Saavik then-newcomer Kirstie AlleyKirk must battle Khan to the bitter end, through a climactic starship chase and an unexpected crisis that will cost the life of Kirk's closest friend.
This was the kind of character-based Trek that fans were waiting for, boosted by spectacular special effects, a great villain thanks to Montalban's splendidly melodramatic performanceand a deft combination of humor, excitement, and wondrous imagination.
Director Nicholas Meyer who would play a substantial role in the success of future Trek features handles the film as a combination of Moby Dick, Shakespearean tragedy, World War II submarine thriller, and dazzling science fiction, setting the successful tone for the Trek films that followed.
Farrell B000003K9E A program that never entirely made up its mind what it's supposed to be about, Star Trek: Voyager began life in 1995 with some truly fascinating prospects in its two-hour pilot episode, "Caretaker.
Carrying over story elements from each of those series, Voyager's debut finds Starfleet Captain Kathryn Janeway Kate Mulgrew stepping into the middle of Federation troubles with the Maquis, an army of rebels violently resisting the interplanetary organization's treaty with brutal Cardassians.
Janeway hopes to intercept a Maquis cell that unknowingly has a Starfleet spy, Tuvok Tim Russin its midst.
Instead, both Voyager and the Maquis ship under surveillance are accidentally catapulted out of the galaxy's Alpha Quadrant the familiar stomping grounds of Starfleet personnel by a benign but dying being called the Caretaker.
Voyager ends up in the unexplored Delta Quadrant, some 70,000 light years away.
Several of Voyager's key crew members are killed during the mishap, prompting an agreement with the skilled Maquis fugitives to cooperate on returning home.
So much seemed dramatically promising in this debut of Star Trek: Voyager, especially the unwieldy alliance of Starfleet regulars and hostile Maquis, and the likelihood that a lifetime spent in isolation, trying to get home, would lead to the development of a self-contained society on the ship.
The curiously cheesy sets and fascinating, progressive management style of Janeway half mommy, half taskmaster were also new developments in Star Trek culture.
Yet things didn't turn out to be quite so intriguing or original as the years passed—though that doesn't mean Voyager isn't a sporadically good show.
It just isn't the one that "Caretaker" seemed to promise.
Madame Bovary is adapted from the great French novel by Gustave Flaubert and recounts the story of a young woman who longs for a more passionate life than her provincial world can ever accommodate.
Unwilling to accept the confines of her marriage to the steady and conventional Charles Hugh BonnevilleEmma Bovary Frances O'Connor embarks on self-deluding affairs that lead to tragedy.
As selfishly amoral as Emma Bovary is, and even though her motivation is sometimes unfathomable in this version, we do feel for her plight and the story develops with cumulative power—though a ridiculous sex scene against a tree doesn't help.
This is at least the 10th screen adaptation, the 1949 Hollywood take and the 1991 French version by Claude Chabrol being the most notable.
The story is a predecessor of Jules et Jim 1962 and Betty Blue 1986 and inspired David Lean's great film Ryan's Daughter 1970.
This version has a dark visual beauty and a powerful central performance by Frances O'Connor, but a brisker pace and sharper psychological insight might have transformed a polished entertainment into a television classic.
A prime example is the 1994 production of Middlemarch, based on the classic novel by George Eliot, which juxtaposes morals and money, grand ambitions with petty jealousies, and pursuits of the mind with bodily needs.
A handsome young doctor named Lydgate Douglas Hodge, Vanity Fair comes to the provincial town of Middlemarch to start a new hospital; a headstrong young woman named Dorothea Juliet Aubrey, The Mayor of Casterbridge yearns to contribute to the greater good of the world.
These idealists enter into marriages that derail all their intentions and lead them into lives they never imagined.
The network of characters in this six-episode program, ranging up and down the societal ladder, create an intricate and utterly engrossing narrative as well as a magnificent recreation of life on the cusp of the Industrial Revolution.
The cast, from the largest to the smallest roles, is impeccable.
When a scene turns to a character you've only glimpsed before, the precision of the writing by miniseries master Andrew Davies, Pride and Prejudice and the vivid performances suck you into the life of this person who seemed like mere background scenery only moments before.
The cumulative impact of Eliot's story will leave you gasping at its brilliant balance of romance and reality.
Performers include creepy Patrick Malahide The Singing Detective and sexy Rufus Sewell Dark City among the familiar faces of dozens of inspired character actors.
Don't let the literary pedigree of Middlemarch scare you off—the plot is as juicy as a soap opera, with a psychological fullness that makes every dramatic turn all the more gripping.
Martin Chuzzlewit features two Martin Chuzzlewits: An elderly and extremely wealthy one the magnificent Paul Scofield, A Man for All Seasonswho loathes the sleazy, grasping relatives that hope to profit from his death; and his grandson Ben Waldena well-intentioned source self-absorbed young man who has fallen in love with his grandfather's ward, Mary Graham Pauline Turner —and because the elder Martin disapproves, the younger Martin has been disowned.
In the gap between these two are a host of schemers, crooks, and even one or two good people—but at the center of it all is the pompous and oily Seth Pecksniff Tom Wilkinson, In the Bedroom, Eternal Sunshine of the Spotless Mindwhose manipulations and lechery make him one of Dicken's most memorable villains.
Whirling in his orbit are the goodhearted but ineffectual Tom Pinch Philip Franks ; the brutish Jonas Chuzzlewit Keith Allen ; Pecksniff's daughters, the "volatile hummingbird" Mercy Julia Sawalha, Absolutely Fabulous and the bitter, overlooked Charity Emma Chambers, The Vicar of Dibley ; and a host of other vivid Dickensian creations, all given juice and vitality by dozens of outstanding British actors, anchored by Scofield's magisterial presence.
Because of his characters' outsized personalities and his plots' wild reversals of fortune, Dickens is ideally suited to dramatization, and Martin Chuzzlewit takes full advantage of his strengths.
Lurid events like murder and blackmail contrast with rich psychological portraits, making Martin Chuzzlewit an opulent narrative feast.
Harmon had been expected to marry Bella Wilfer, a young woman chosen by his father, but now the Harmon fortune will go to the poor but honest Mr.
Boffin and his wife.
The Boffins adopt Bella, and together they begin to climb the ladder of London society, under the watchful eye of Boffin's new secretary, who may not be what he seems.
Meanwhile Eugene Wrayburn, an idle young lawyer, falls for Lizzie Hexam, the daughter of the man who pulled Harmon's body from the river, but he must compete for her affections with the schoolmaster Bradley Headstone.
As the fortunes of the characters rise and fall, the River Thames flows eternally on, the symbolic backbone of this remarkable story.
Dickens was the master of Victorian social satire, ruthlessly exposing the cruelty and absurdity that supported the strictly hierarchical class structure of the day.
This superb production does his novel justice, fleshing out the satirical bones of the plot with performances that eschew caricature in favor of psychological depth.
Anna Friel's Bella is wonderfully complex, her innate goodness struggling with her love of money and desire for advancement.
Paul McGann, as the lawyer Wrayburn, is also superb, wrestling with the implications of his feelings for Lizzie.
And of course, this being Dickens and the BBC, there's a terrific supporting cast, including Timothy Spall as the melancholy articulator of skeletons, Mr.
At six hours, Our Mutual Friend is a long production, but not a moment too long.
A mystery, a love story, a critique of the pursuit of wealth and status, this is perhaps the best adaptation of Dickens ever to be committed to film.
A remake of the beautiful, haunting 1942 Cat People, this version takes off from the same idea: that a woman Nastassja Kinskia member of a race of feline humans, will revert to her animalistic self when she has sex.
Arriving to meet her brother Malcolm McDowell in New Orleans, she finds herself disturbed by his sexual presence.
A zoo curator John Heard becomes fascinated by her, but he will discover that her kittenish ways are just the tip of the claw.
Schrader dresses the story up in a stylish, glossy production, keyed on Kinski's green-eyed, thick-lipped beauty; it's hard to think of another actress in 1982 who could so immediately suggest a cat walking on two legs.
Luckily Kinski had a European attitude toward her body, because this film has plenty of poster-art nudity.
There's also lots of gore and some wacky flashbacks to the ancient tribe of cat people, who hold rituals in an orange desert while Giorgio Moroder's music plays.
Cat People doesn't really make all this come together, but it's always interesting to look at, and the dreadful mood lingers.
In their mutual care is 8-year-old Michael sweetly understated Darrell Johnstonthe illegitimate son of youngest sister Christina Braveheart's Catherine McCormack.
A voice-over from the adult Michael recalls that significant summer, in the month of August, during the feast of Lughnasa.
The bolder townfolk dance around a fire to Lugh, an ancient god of light.
Yes, this is fiercely Roman Catholic Ireland and Lugh a pagan god, but that irony is at the core of the film, the hypocrisy of tradition.
The dramatic change in the richly metaphoric movie comes with the arrival of two men: eldest sibling—and only Mundy brother—Jack Michael Gambona priest returning from many years in Africa, now addled, and Christine's long-absent lover and Michael's father, the charmingly flighty Gerry Rhys Ifans.
Beautiful music and excellent performances highlight the link, which also features gorgeous cinematography of the Irish countryside.
Meryl Streep is stern eldest sister Kate; Kathy Burke is lively Maggie; Brid Brennan who appeared in the stage play is thoughtful caretaker Agnes; and Sophie Thompson is simple sweet Rose.
It's a quiet film, but one filled with ironic and haunting meaning.
Directed by Pat O'Connor Circle of Friends.
Ironically, the plane, whose slow speed was only one of its major flaws, had been thought to be obsolete before the beginning of World War II, but by the time Hitler attacked France in 1940, Stuka pilots were Nazi heroes.
A German propaganda newsreel shown briefly in this video depicts the planes as mighty conquerors, though they were often deployed to terrorize civilians.
In Poland the whistling, sirenlike sound of their dive-bombing runs had so terrified the Polish population that the Nazis outfitted the wings of Stukas with sirens before the invasion of France.
As the Stukas attacked in a steep dive, dropping their bombs with great accuracy on French defenders and their British allies, the dive-bombers created a hellish din heard above all other sounds of battle.
The Stuka instilled fear out of proportion to its numbers or even its limited role as a weapon, and during the Nazi blitzkrieg just its distinctive silhouette in the sky could cause panic among its opponents.
Eventually the Stuka would meet its match when confronted with nimble and fast British fighters, but as illustrated in this informative documentary, the early course of World War II was influenced by the terror the Stuka spawned when it came screaming out of the sky.
This video, which makes use of archival footage as well as visits to a museum in England https://casinos-spin-money.site/1/821.html houses vintage tanks, follows the role of the battle tank in Europe from 1939 to the end of the war.
The early blitzkrieg, with its innovative integration of armor and air power, is explained here detail.
Later milestones of tank warfare are examined, such as when the Nazi tide in Africa was turned by English tanks led by Click Marshall Montgomery at El Alamein, and the colossal battle between more than 1,500 German and 史上最高のAndroidオンラインゲーム tanks at Kursk, which marked the beginning of the end for Hitler's plan to expand eastward.
This documentary provides lucid explanations of how the evolving design of tanks, as well as the refinement of tactics, played a crucial role in World War II.
Of particular interest are the profiles of noteworthy tanks, such as the massive German Tiger, the slow but sturdy British Matilda, and the brilliantly designed Russian T-34.
Each tank has its particular design assets and flaws illuminated both with diagrams and rare films of the tanks in action.
The difficulties faced by the crews manning the tanks are also portrayed vividly, with visits to the museum tanks providing a look under the hatches and behind the armor plate.
In desperation, she finally throws herself into traffic, and the car she stops belongs to detective Mike Hammer.
The pace never lets up—we're not even 15 minutes into the movie and there's already been a murder, a mysterious letter, an attempt to kill Hammer, and, of course, a warning to just stay out of it.
Hammer, tired of lowlife divorce cases, smells something big and can't let it go.
The film is exciting, about as dark as a noir can get, and full of skewed camera angles and mysterious whose-shoes-are-those shots.
At the center, of course, is Mike Hammer, a detective so cool he can win a fight with nothing more than a box of popcorn as a weapon.
Hammer knows his opera singers as well as his amateur prizefighters, and he makes the ladies swoon, but he's far from a conventional hero.
In fact, he's rather emphatically not a nice guy; Hammer happily whores out his secretary-girlfriend Velma to cinch up those divorce cases and has a penchant for slamming other people's fingers in drawers.
Even the bad guys know he's a sleazebag.
Kiss Me Deadly is just terrific.
Stop reading this review and watch it already.
In fact, it's nothing more than a manipulative, violent melodrama about one geek's meltdown.
Douglas, complete with pocket protector, nerd glasses, crewcut, and short-sleeved white shirt, gets stuck in traffic one day near downtown L.
Everyone he encounters rubs him the wrong way—and a fine lot of stereotypes they are, from threatening ghetto punks to rude convenience store owners to a creepy white supremacist—and he reacts violently in every case.
As he walks across L.
He also spends time on the phone with his frightened ex-wife Barbara Hershey.
Though Douglas and Duvall give stellar performances, they can't disguise the fact that, as usual, this is another film from director Joel Schumacher that is about surface and sensation, rather than actual substance.
Scripted by playwright Thornton Wilder and inspired by the actual case of a 1920's serial killer known as "The Merry Widow Murderer," the movie sets a tone of menace and fear by introducing a psychotic killer into the small-town comforts of Santa Rosa, California.
That's where young Charlie Teresa Wright lives with her parents and two younger siblings, and where murder is little more than a topic of morbid conversation for their mystery-buff neighbor Hume Cronyn.
Charlie was named after her favorite uncle, who has just arrived for an extended visit, and at first Uncle Charlie Joseph Cotten gets along famously with his admiring niece.
But the film's chilling prologue has already revealed Uncle Charlie's true identity as the notorious Merry Widow Murderer, and the suspense grows almost unbearable when young Charlie's trust gives way to gradual dread and suspicion.
Through narrow escapes and a climactic scene aboard a speeding train, this witty thriller strips away the façade of small-town tranquility to reveal evil where it's least expected.
And, of course, it's all done in pure Hitchcockian style.
Rising young executive Griffin Mill Tim Robbins is tormented by threats from an anonymous writer.
The pressure and paranoia build until Griffin loses control one night and semi-accidentally kills screenwriter David Kahane Vincent D'Onofriowho may or may not be the source of the threats.
From that point, Griffin's life and career begin to fall apart.
In keeping with the ironic spirit of the film itself, Altman's scathingly funny attack on the moral bankruptcy of Hollywood was embraced by many of the same people it was intended to savage, and restored the director to commercial and critical favor.
Michael Tolkin adapted the screenplay from his own novel, and the movie is studded with cameos by famous faces, many of whom appear as themselves.
The digital video disc includes a commentary track with Altman and Tolkin, some deleted scenes, a documentary about Altman, and a key to help identify more than 50 of the picture's big-name cameos.
Kiki Kirsten Dunst is still a little green and plenty headstrong, but also resourceful, imaginative, and determined.
With her trusty wisp of a https://casinos-spin-money.site/1/1639.html Jiji a gently subdued Phil Hartman by her side she's ready to take on the world, or at least the quaintly European seaside village she's chosen as her new home.
Miyazaki's gentle rhythm and meandering narrative capture the easy pulse of real life even if his subject is a girl flying high upon a broomstick and charts the everyday struggles and growing pains of his plucky heroine with sensitivity and understanding.
Beautifully detailed animation and the rich designs of the picture-postcard seaside town of red-tiled roofs and cobblestone streets only add to the sense of wonder.
This charming animated fantasy is a wholesome, life-affirming picture that doesn't speak down to kids or up to adults.
Led by IRA prisoner Bobby Sands, the hunger strike eventually lead to the deaths of 10 prisoners, who had refused to wear prison uniforms to emphasize their identity as political and not criminal prisoners.
But this fictionalized account is not about the hunger strikers as much as the moral dilemma faced by two of the strikers' mothers, played by Helen Mirren and Fionnula Flanagan in an emotional drama that gets right to the heart of the "Troubles" in Northern Ireland.
While Annie Flanagan understands her son's political motivations and supports his readiness to die, Kathleen Mirren is a pacifist who cannot comprehend how any mother could sacrifice her own son to a political principle.
The women become friends despite their opposing views, and desperately hope for a compromise in Irish-British negotiations while the hunger strikers continue to wither away.
By keeping the Northern Irish conflict on such a purely personal level, Some Mother's Son both clarifies and complicates the difficult issues involved, making clear arguments for both mothers' actions in the context of a milestone event in Northern Ireland's history.
The film doesn't pretend to hide its anti-British position, but the cause of death on both sides is deeply acknowledged.
Through Helen Mirren's richly layered performance, Some Mother's Son asks if any belief is truly worth dying for, and poses the question on powerfully personal terms.
Ernst, Peter Kirby, Ralph Bakshi 6302906652 Although it was ultimately overshadowed by Peter Jackson's live-action Lord of the Rings trilogy, Ralph Bakshi's animated adaptation of J.
Tolkien's fantasy classic is not without charms of its own.
A target of derision from intolerant fans, this ambitious production is nevertheless a respectably loyal attempt to animate the first half of Tolkien's trilogy, beginning with the hobbit Frodo's inheritance of "the One Ring" of power from Bilbo Baggins, and ending with the wizard Gandalf's triumph over the evil army of orcs.
While the dialogue is literate and superbly voiced by a prestigious cast including John Hurt as AragornLeonard Rosenman's accomplished score effectively matches the ominous atmosphere that Bakshi's animation creates and sustains.
Bakshi's lamentable decision to combine traditional cel animation with "rotoscoped" i.
As it turns out, this video works best as a performance, not as a how-to guide.
Dunne, handsome and animated, with flourishes to spare, is a lot of fun to watch—but only experienced dancers are likely to find this video truly instructional.
Dunne's method is to slowly walk through each set of steps just once, and then the music revs up and the feet, as the saying goes, start flying Dunne is accompanied by his accomplished Celtic Feet dancers.
True beginners will be bewildered, although frequent use of the remote to rewind can help.
And it is pretty dazzling to watch Dunne and his dancers when they really let loose—the compelling combination of still upper body and wildly flying legs and feet is irresistible.
But those who really want to learn the steps themselves might also want to check out Seamus Kerrigan's Irish Dancing Made Easy.
Adding to its promise was a source the venerable Ferenc Molnar play Liliom that had already been filmed three times.
Yet unlike the original Broadway production, and despite please click for source craft, Carousel proved a box-office disappointment.
Hindsight argues that '50s moviegoers may have been unprepared for its tragic narrative, the sometimes unsympathetic protagonist, and a spiritual subtext addressing life after death.
Whatever the obstacle, Carousel may well be a revelation to first-time viewers.
The score is among the composers' most affecting, from the glorious instrumental "Carousel Waltz" to a succession of exquisite love songs "If I Loved You"a heart-rending secular hymn "You'll Never Walk Alone"and the expectant father's poignant reverie, "Soliloquy.
It's Billy's impatience to support his new family that drives him to an ill-fated decision that transforms the fable into a ghost story.
Adding to the luster are the coastal Maine locations where 20th Century Source filmed principal photography.
Newly remastered by THX, Carousel looks and sounds better than ever.
Winters, George Sidney 6302363276 Cole Porter, Shakespeare, and 3-D: Not the usual recipe for an MGM musical, but hey—it works.
Although it runs hot and cold, this 1953 take on Porter's delightful Broadway smash lets a chewy cast gorge on some terrific songs and show-biz in-jokes.
Think of the plot as His Girl Friday in greasepaint: vain star Howard Keel wants to lure ex-wife Kathryn Grayson back to the boards with a musical version of The Taming of the Shrew.
The movie's weakness is too much Shakespeare, not enough backstage backbiting and why are two of the best numbers, "So in Love" and Ann Miller's zippy "Too Darn Hot," confined to a prologue?
Then there's the tendency to throw things at the camera—3-D, what hath you wrought?
The candy-store color design is great fun, and Tommy Rall and future dance titan Bob Fosse are turned loose for some sensational leaps.
Winters, Stanley Donen 630197736X Well, bless my beautiful hide!
Director Stanley Donen invests this rollicking musical with a hearty exuberance.
Howard Keel, with his big-as-all-outdoors baritone, stars as a bold "mountain man" living in the Oregon woods who brings home a bride plucky songbird soprano Jane Powell to his six slovenly brothers.
Taming the rambunctious brood, Jane proceeds to make gentlemen of them so they can woo sweethearts of their own.
But old habits die hard: their flirting gives way to fighting in the film's celebrated barn-raising scene, a lively acrobatic dance number exuberantly choreographed by Michael Kidd.
Big brother chimes in with his own brand of advice—an old-fashioned kidnapping!
Donen manages to get away with such a politically incorrect plot by investing the boys with a innocent sweetness, most notably the youngest brother played with genial earnestness by Rusty Russ Tamblyn pre-West Side Story.
This modest production became a huge hit and remains one of MGM's ベトナム戦争の最高のゲーム musical comedies, an energetic, high-kicking classic.
It's not only a great song-and-dance piece starring Gene Kelly, Donald O'Connor, and a sprightly Debbie Reynolds; it's also an affectionately funny insider spoof about the film industry's uneasy transition from silent pictures to "talkies.
Among the musical highlights: O'Connor's knockout "Make 'Em Laugh"; the big "Broadway Melody" production number; and, best of all, that charming little title ditty in which Kelly makes movie magic on a drenched set with nothing but a few puddles, a lamppost, and an umbrella.
Takashi Shimura gives a flawless performance as a lonely civil servant who, upon learning that he will soon die of stomach cancer, realizes that he has never really lived.
His initial attempts to overcome his anguish lead only to heartbreak.
Then, inspired by an unselfish coworker, he turns his efforts to building a playground in a dreary slum neighborhood.
Only once the park is finished can he face death with peaceful acceptance.
A glowering Patrick Bergin is the third corner of the triangle.
Flamboyant sequences, like an amorous clinch on top of a billowing dirigible, and the heartfelt grandeur of the Arctic landscapes, are almost enough to compensate for the clunky transitions and the melodramatic excesses of the storytelling.
Ward's first film, The Navigator not to be confused with The Flight of.
Gong Li Raise the Red Lantern gives a colorful performance as a nightclub diva who is the mistress of a mob boss.
Told from the point of view of a boy Source Xiaoxiao sent by the gangster to wait on the arrogant singer, the story follows these characters over several days as they flee Shanghai to hide out in the countryside.
A supreme stylist, Zhang in his best work Ju Dou, The Story of Qui Ju is not dependent on conventional story structures or expensive sets.
But Shanghai Triad leans that フォーチュナカジノブカレスト right! on both, and while it is an interesting and enjoyable film—and not without subtle allusions to the political climate and culture in modern China—it is finally an unsatisfying experience.
The saving graces are the performances, most of all that of the masterful, chameleonlike Gong Li.
Through victory in the second World War and the beginning of the Cold War, through the birth of the United Nations and his decision to drop the first atomic bomb, Harry Truman lived by the premise that "the buck stops here.
Her impulsive embrace of a man who seduces her with whispered confessions and little love bites how better to flirt with a dentist?
But delicate Ormand is a beauty with a deer-in-the-headlights look, and Roth steals the film with his simmering and tragic eyes.
Convinced by a thriving rival Ian Holm that jazz great Louis Prima will be stopping by their eatery for a late dinner after a show, the brothers pull out all stops and spend their last dollar organizing a banquet that ought to make culinary history.
Expect to be very hungry after watching this delightful and touching film, but don't rush off to the kitchen until the full design of the characters and their relationships with lovers, suppliers, customers, and one another completes itself.
With a memorable performance by Ian Holm and a quirky cameo by Tucci's codirector, Campbell Scott.
He's never been one to march https://casinos-spin-money.site/1/1698.html the commercial beat, but chooses instead to follow his creative impulse wherever it leads him.
The Secret of Roan Inish led Sayles to the beautiful and moody West Coast of Ireland; it is a tale of a girl who discovers that her family has been touched by myth and magic throughout the years.
Following the death of her mother, young Fiona Jeni Courtney is sent to live with her grandparents on the Irish coast across from Roan Inish, the island where her family once lived.
She's told stories about the selkies—seals that can turn into humans—who have been connected with Fiona's family over the ages.
At first she's not sure if the selkies are real or mythological, but she later realizes that they hold the key to reclaiming her family heritage.
What's remarkable about this film which Sayles adapted from Rosalie Fry's novel Secret of the Ron Mor Skerry is that it's not told as a cute fantasy for children, but as a straightforward, unsentimental story of a young girl's family history.
That gives the film—which was beautifully photographed by master cinematographer Haskell Wexler—an understated charm that is completely absorbing in its atmosphere and subtle tone.
There's magic as well, to be sure—you could almost swear that the seals and seagulls in the film took direction from Sayles as well as any human actor!
A peasant village hires seven medieval mercenaries to defend it from marauding bandits.
When the samurais arrive, a spectacular series of battles begin in which a splendidly mobile camera seems to be everywhere: shooting through foliage, rainstorms, dust, and wind.
Toshiro Mifune's performance is ferocious as an overzealous and loudmouthed would-be samurai.
He is complemented by the wise, veteran warrior played masterfully by Takashi Shimura.
The inspiration for the Hollywood Western The Magnificent Seven, Kurosawa's classic explores the timeless themes of personal bravery and the resilience of the human spirit.
As the TV series was as yet unseen in the U.
The writing and performances are fine and the film is packed with some of their best bits: How to Avoid Being Seen, Hell's Grannies, Blackmail, The Lumberjack Song, and The Upper Class Twit of the Year, among others.
Many of the sketches have been shortened, however, and the loss of the overbright video sheen the film has a muddy, dull look to it and the invigorating presence of a live audience leaves the film sluggish at times.
They're still feeling out the possibilities of the feature-length, which they finally conquer with Monty Python and the Holy Grail, still their finest hour and a half.
But in this film adaptation, Hytner unfortunately yields to the old temptation to "open up" the piece with lots of arbitrary exteriors, rushed set pieces, choppy editing, and so on, robbing Hawthorne's acclaimed stage performance of coherency and power on the big screen.
Viewers are forced to fill in emotional gaps for themselves and try to imagine what Bennett's work must have looked and felt like originallyand the whole enterprise has a pseudo-cinematic, self-congratulatory air.
It's easy to see why Exhale struck a nerve: the movie boasts an attractive cast of African American actresses and personalities, including Whitney Houston, Angela Bassett, and Think, シンガポールのオンラインゲーム会社 are Rochon.
Unfortunately, though, Exhale sags under the weight of its soapy, crisis of the week plotting and relentlessly cheery "you go, girl!
And African American men, cast here as insensitive lovers and pigheaded materialists, get the very short end of the feminist stick.
The king offers to set Merivel up for life in exchange for one small favor: marry the royal mistress Polly Walker to provide his highness some cover for his philandering.
But Merivel blows it by falling in love with the woman, and he is cast out of his pampered paradise to reinvent himself as a serious man helping victims of the plague beyond the palace's walls.
It's a superb notion, and the film looks just terrific, particularly Charles's court, where scientific and artistic innovation flourishes.
But somehow the story completely falls apart once Merivel goes on his quest for salvation.
The scenes aren't there, the characters are underdeveloped, the drama is clunky.
The whole enterprise feels as if an editor tried to salvage a major failure and barely came up with something coherent.
In 1817 a young foreign drifter Phoebe Cates, never better sets a small portion of England buzzing that she is a royal princess from an uncharted land.
This feels like a magical movie with slightly overcooked characters, such as Kevin Kline's Greek butler.
The supporting cast is older than in most movies of this type—no cute actors, we have performers with chiseled features and gruff voices.
Director Michael Austin's decision to approach this as a true story keeps things firmly grounded so the eccentrics are not overplayed.
Beautifully filmed by the great Freddie ペチャンガスロットオッズ Glory and featuring a surprisingly rich cast Stephen Rea, Wendy Hughes, Jim Broadbent, and John Lithgowthis is simply the best family movie since The Secret Garden.
Dottie Perez Tomei comes to the U.
To work around the bureaucratic politics of the refugee camps, Dottie persuades Juan to pretend that they're married, and drafts a few other Perezes to create a family.
Meanwhile, Juan's wife Carmella believes that Juan never arrived and is finally letting go of his memory, helped by the attentions of a Miami police detective Chazz Palmintieri.
Tomei's sexy passion sometimes spills over into silliness and the story unfolds erratically, but the examination of how love grows and how love fades is sincere and affecting.
The actors are charismatic, the music's fantastic, and Tomei wears many skimpy outfits.
Directed by Mira Nair Monsoon Wedding.
Rena Owen plays the beleaguered mother of two boys—one of whom is already in prison while the other contemplates membership in a gang—and a daughter whose potential is being smothered at home.
Temuera Morrison gives an outstanding and sometimes shocking performance as the violent head of the household, more adept at keeping up his social stature within his community of friends than holding down a job.
The film pulls no punches, literally and figuratively, but despite the rough going, Tamahori gives us a rare and important insight into a disenfranchised people digging down deep check this out find their pride.
Woody Harrelson and Juliette Lewis play traveling serial killers who become television celebrities when a Geraldo-like personality Robert Downey Jr.
Stone extensively rewrote an original script by Quentin Tarantino, and he employs a mosaic of different film stocks, video, and pop pastiches to create a sense of blurred lines between visual phenomena.
The background on Lewis's character's life as an abused child, for instance, is presented as a sitcom starring Rodney Dangerfield.
But the result of these experiments is a pompous, even amateurish effort at grasping the reins of a real-life national debate.
One almost wants to tell Stone to sit down and raise his hand next time if he thinks he has something to say.
The controversial director would like Natural Born Killers to be nothing less than a monumental achievement, but it's one of the emptier entries in his filmography.
The story finds Allen's sportswriter character becoming curious about the identity of his son's biological mom, and he strikes up a relationship with her without revealing why.
This 27th feature written and directed by Allen is a nice combination of smart comedy and some of the wackier energy of his earliest movies.
Between scenes, there's a running gag involving a Greek chorus—actually filmed among some real Greek ruins—who do song-and-dance interpretations of the script's events.
This isn't Allen at his best, but it is a fine minor work graced by Sorvino's spin on the cinema's archetypal dumb blonde.
The unit, composed of high IQ soldiers, is sent to scout ahead.
They discover a small platoon of Germans hiding in the forest, but these soldiers would rather fight with snowballs than guns and exchange Christmas presents instead of mortar fire.
The young, rather unsoldierly Americans are offered the opportunity to "capture" the Germans without a fight—until a fatal misunderstanding plunges their efforts into tragedy.
Director Keith Gordon, who also penned the screenplay, creates an unusually eloquent, offbeat platoon drama shot amidst the tranquil beauty of a snow-covered forest.
His excellent cast includes future stars Ethan Hawke and Gary Sinise, with Frank Whaley, Kevin Dillon, Arye Gross, and Peter Berg rounding out the platoon.
Though little seen upon its 1992 release, this moving drama received high praise for its vivid characters and delicately wrought imagery and remains one of the most powerful pacifist dramas of the post-war era.
Jones, Stanley Kramer B0000040E9 Stanley Kramer's sprawling 1963 comedy about a search for buried treasure by at least a dozen people—all played by well-known entertainers of their day—is the kind of mass comedy that Hollywood hasn't made in many years.
Another example from around the same time is Blake Edwards's The Great Race.
After a number of strangers including Milton Berle, Jonathan Winters, Sid Caesar, Phil Silvers, and others witness a dying stranger Jimmy Durante identify the location of hidden money, a conflict-ridden hunt begins, watched over carefully by a suspicious cop Spencer Tracy.
The ensuing two and a half hours of mayhem has its ups and downs—some bits and performers are certainly funnier than others.
But Kramer, who is better known for socially conscious, serious cinema Guess Who's Coming to Dinner?
Watch for lots of cameo appearances, including Jerry Lewis who had called Kramer and asked him why he hadn't been invited to participate.
Director Alfonso Arau A Walk in the Cloudsadapting a novel by his former wife, Laura Esquivel, tells the story of a young woman Lumi Cavazos who learns to suppress her passions under the eye of a stern mother, but channels them into her cooking.
The result is a steady stream of cuisine so delicious as to be an almost erotic experience for those lucky enough to have a bite.
The film's quotient of magic realism feels a little stock, but the story line is good and Arau's affinity for the sensuality of food and of nature is sublime.
You might want to rush off to a good Mexican restaurant afterward, but that's a good thing.
The cop is a romantic hiding under a hard-boiled exterior who falls in love with the beautiful victim through the portrait that hangs in her apartment.
Gene Tierney, whose heart-shaped face mixes the exotic with the girl next door, brings the poise and calm of a model to her role as the object of every man's gaze and the target of a killer.
Laura, handsomely shot in dreamy black and white, is the first and best of Otto Preminger's cool, controlled murder mysteries.
In the gritty world of film noir it remains the most refined and elegant example of the genre, but under the tasteful decor and high-society fashions lies a world seething in jealousy, passion, blackmail, and murder.
Vincent Price costars as a blithe gigolo and David Raksin's lush theme has become a wistful romantic standard.
The film wasn't released in the U.
Story one involves a bushman whose discovery of a Coke bottle causes consternation among his tribe, story two concerns an awkward romance between a clumsy scientist and a sweet schoolteacher, and the third plot involves a group of terrorists on the run.
Slapstick, satire, romance, violence—it's all here in a somewhat bumpy but entertaining movie.
Mankiewicz 6301586042 Joseph Mankiewicz's moody classic is less ghost story than romantic fantasy, a handsome 1947 drama of impossible love set on the picturesque turn-of-the-century New England coast.
Independent young widow Lucy Muir the luminous Gene Tierneydesperate ウィンスターカジノに近いラキンタイン escape her uptight in-laws, falls in love with a grand seaside house and moves in, only to discover the cantankerous ghost of the hot-tempered Captain Gregg a histrionically flamboyant performance by Rex Harrison.
Lucy refuses to let the bombastic captain frighten her away, earning his respect, his friendship, and later his love.
They team up to turn the captain's salty memoirs into a bestseller, but as his affection grows he fades away, leaving Lucy free to undertake a more worldly suitor, notably a charismatic children's author George Sanders at his smarmy smoothest with his own guarded secret.
Charles Lang's melancholy black-and-white photography and Bernard Herrmann's haunting score set the tone for this sublime adult drama, and Tierney delivers one of her most understated performances as the resolute Mrs.
Mankiewicz turns this ghost story into a refreshingly mature and down-to-earth romance.
Oliver Platt plays a would-be comedian, the son of a major comedy star Jerry Lewis ; Dad's reputation even overshadows his son's Las Vegas debut.
After that flop the son tries to go back to his roots and heads for his father's launch pad in Blackpool, England.
There, he meets his previously unknown half-brother Lee Evansa bizarre comedy savant who teaches him a thing or two about taking risks to get laughs, and discovers a secret about how his father got started.
Platt is likably lost and Lewis is perfectly overbearing, but the real find here is Evans, a rubber-faced, protean comic with always-surprising material.
Director John Boorman Deliverance masterfully handles the tale of the mythical sword Excalibur, and its passing from the wizard Merlin to the future king of England.
Arthur pulls the famed sword from a stone and is destined to be crowned king.
As the king embarks on a passionate love affair with Guenevere, an illegitimate son, and Merlin's designs on power, threaten Arthur's reign.
The film is visually stunning and unflinching in its scenes of combat and black magic.
Featuring an impressive supporting cast, including early work from the likes of Liam Neeson and Gabriel Byrne, Excalibur is an adaptation of the legend both faithful and bold.
One of the years funniest movies.
Smoothly adapted from the novel by Maeve Binchy and set in Ireland during the 1950s, the story focuses on Benny Drivera somewhat plump, plain-looking young woman attending university in Dublin who meets and quickly falls for Jack O'Donnella handsome star of the university's rugby team who surprisingly reciprocates her glowing admiration.
They're drawn together as soul mates, and their love is dramatically contrasted with a subplot involving Benny's more conventionally beautiful friend Nan Saffron Burrowswhose appetite for older men leads her into a misguided and ultimately tragic relationship.
A betrayal by Jack sets the stage for potential heartbreak, but director Pat O'Connor prevents these carefully drawn characters from resorting to sappy melodrama.
They have lessons to learn about life and love, and Circle of Friends teaches those lessons with grace, humor, and heartfelt sincerity.
Loeffler, Otto Preminger 6303102425 Few actresses have captivated the camera as powerfully as Dorothy コミック8カジノキングスパート2 in Carmen Jones.
Her polished beauty plays in irresistible contrast to her title character's leonine sexuality and fluid emotions; a man can't decide from moment to moment if he wants to save her from doom, build her a castle, or never let her out of bed.
Of course, that's the problem with the boys in this semi-experimental adaptation of Bizet's opera, Carmen.
Straight-arrow Joe a strapping Harry Belafontean obedient corporal on a Southern military base during World War II, is all set to go to flight school and marry his hometown sweetie, Cindy Lou Olga Jameswhen his troublemaking sergeant orders him to accompany Carmen to a civilian court.
In short order, Joe is swept up in Carmen's carnal anarchy and her craving for release from lousy options in life.
An impulsive act of violence ensures that Joe's future is gone forever, putting Carmen in the difficult position of destroying their relationship to save him.
Oscar Hammerstein II took Bizet's music in 1943 and rewrote the book and lyrics.
The result is largely a smashing success with a few missteps the bullfighter in Bizet's piece becomes a heavyweight boxer here, which breaks up a certain grace in the story and a couple of perfect stretches the long prelude to Carmen and Joe's first embrace, set on Carmen's hoodoo-ish home turf.
Despite the fact that both Dandridge and Belafonte were singers, their vocal performances were dubbed by LeVern Hutcherson and Marilyn Horne.
Yes, it is a little disconcerting to hear another voice come out of the more familiar Belafonte's mouth.
Otto Preminger directed with his usual eye on economy of action and production, as the numerous musical numbers tend to be shot in lengthy, single, carefully choreographed takes.
The result can be a little visually static at times, but the passion behind the singing pulls everything through.
Stuck with limited technical means, Burns wisely puts his energies into a sophisticated story, knowing an audience couldn't care less about lighting problems if they're caught up in a terrific, character-driven movie with good actors.
The tale concerns three adult brothers Burns, Jack Mulcahy, Mike McGlone whose complications in love and problems with commitment are rooted in their common experiences in a violent, loveless family.
Burns has a hang- loose style that keeps the film from getting drunk on intense drama.
He sets up the emotional backdrop and lets the characters' lives speak for themselves.
Moreover, this is a filmmaker who enjoys life too much to spread any more misery; Burns delights as much in the things that aren't necessarily good for people—illicit lovers, castration anxiety, too much time with one's family, too much beer—as those things that are.
The results are frequently very funny.
Mankiewicz 6301797957 Showered with Oscars, this wonderfully bitchy and witty comedy written and directed by Joseph L.
Mankiewicz concerns an aging theater star Bette Davis whose life is being supplanted by a wolf-in-sheep's-clothing ingenue Anne Baxter whom she helped.
This is a film for a viewer to take in like a box of chocolates, packed with scene-for-scene delights that make the entire story even better than it really is.
The film also gives deviously talented actors such as George Sanders and Thelma Ritter a chance to speak dazzling lines; Davis bites into her role and never lets go.
A classic from Mankiewicz, a legendary screenwriter and the brilliant director of A Letter to Three Wives, The Barefoot Apologise, ブラックジャック無料ゲーム that's, and Sleuth.
In a nonchalant manner reminiscent of a Bogart hero, a wandering samurai-for-hire Mifune turns the war between two clans fighting for control of a small town to his own advantage.
One of the most popular Japanese films ever released in the U.
Using an innovative narrative style, this eloquent director reveals how the truth in any situation depends on your point of view.
Four different narrators describe the same brutal act—a woman's rape and her husband's consequent death—yet the facts elude us because each interprets the story to make himself appear in the best light.
Machiko Kyo and Toshiro Mifune turn in magnificent performances as the lady and her savage attacker.
In fact, costar Joan Fontaine—who plays the title character—has maintained that Welles methodically did just that every day on the set.
Not that the film's official director was apologise, 邪悪なゲームは彼を和音 apologise hack: Robert Stevenson, who later had a busy career at Disney making numerous live-action hits for the studio, such as Mary Poppins, gets the credit.
But there's no mistaking Welles's masterful hand in the film's bold and creative look, and there's no getting away from his enigmatic charisma as Rochester, the widower who takes in Jane as a governess to his daughter.
An engrossing, gorgeous film, there's even a small role for Elizabeth Taylor at the beginning as Jane's unlucky, doomed friend at a cruel boarding school.
Set during World War I, this brutally honest antiwar movie was cowritten by director Peter Weir.
Mark Lee and a チャンスのないカジノカジノ handsome Mel Gibson are young, idealistic best friends who put aside their hopes and dreams when they join the war effort.
This character study follows them as they enlist and are sent to Gallipoli to fight the Turks.
The first half of the film is devoted to their lives and their strong friendship.
The second half details the doomed war efforts of the Aussies, who are no match for the powerful and aggressive Turkish army.
Because the script pulls us into their lives and forces us to care for these young men, we are devastated by their fate.
He scored one of his biggest commercial hits that summer with the mega-hit Jurassic Park, but it was the artistic and critical triumph of Schindler's List that Spielberg called "the most satisfying experience of my career.
It's a film about heroism with an unlikely hero at its center—Catholic war profiteer Oskar Schindler Liam Neesonwho risked his life and went bankrupt to save more than 1,000 Jews from certain death in concentration ピンクのパンサーと仲間の絵画ゲーム />By employing Jews in his crockery factory manufacturing goods for the German army, Schindler ensures their survival 無料オンラインplayrixゲームダウンロードなし terrifying odds.
At the same time, he must remain solvent with the help of a Jewish accountant Ben Kingsley and negotiate business with a vicious, obstinate Nazi commandant Ralph Fiennes who enjoys shooting Jews as コミック8カジノキングスパート2 practice from the balcony of his villa overlooking a prison camp.
Schindler's List gains much of its power not by trying to explain Schindler's motivations, but by dramatizing the delicate diplomacy and determination with which he carried out his generous deeds.
As a drinker and womanizer who thought nothing of associating with Nazis, Schindler was hardly a model of decency; the film is largely about his transformation in response to the horror around him.
Spielberg doesn't flinch from that horror, and the result is a film that combines remarkable humanity with abhorrent inhumanity—a film that functions as a powerful history lesson and a testament to the resilience of the human spirit in the context of a living nightmare.
American judge Dan Haywood Spencer Tracy presides over the trial of four German jurists accused of "legalizing" Nazi atrocities.
But as graphic accounts of sterilization and murder unfold in the courtroom, mounting political pressure for leniency forces Haywood to make the most harrowing and difficult decision of his career.
Despite its apparently uncommercial storyline, it was a pet project of Fox honcho Darryl F.
Zanuck, who saw the spiritual journey of Larry Darrell Tyrone Power as an "adventure" movie.
Power, who was newly returned to Hollywood after his military service in World War I, does his most soul-searching work as the WWI vet who needs to find something in life deeper than money and conformity.
The search takes him away from fiancee Gene Tierney and her skeptical uncle Clifton Webb and into Parisian streets and Himalayan mountain ranges.
Herbert Marshall deftly plays the role of サッカーゲーム Maugham," the observing author, and Anne Baxter picked up the supporting actress Oscar for her brassy turn as a floozy.
The picture has the careful, glossy look of the studio system's peak years you can sense Zanuck "classing it up" and squeezing the life out of itand Edmund Goulding's tasteful approach is hardly the way to dig deep into the soul of man.
If it seems a little staid today, its square sincerity nevertheless holds up well—and it just looks so fabulous.
The really amazing thing about the movie is that it was made at all.
A 1984 remake, with Bill Murray, is an extremely weird variation on the material.
Oldman is a little more unhinged than he should be, but there is something genuinely irresistible about the story line and the relationship between Reno and Portman.
Rather than cave in to the cookie-cutter look and feel of American action pictures, Besson brings a bit of his glossy style from French hits La Femme Nikita and Subway to the production, and the results are refreshing even if the bullets and explosions are awfully familiar.
This isn't an action film, but a harrowing, tense drama in which sudden death hangs over every drug deal and the so-called rules no longer exist.
Patric and Leigh give riveting performances as the compromised cops trying to survive the self-destructive spiral into addiction, and Gregg Allman is memorable in an almost wordless performance as a shady bar owner.
Eric Clapton's bluesy score and a soundtrack of well-chosen roadhouse tunes perfectly set the time and the tone.
Pakula 6302816629 Rich with ambiguity, this smooth adaptation of Scott Turow's bestselling mystery novel stars Harrison Ford as Rusty Sabich, the prosecuting attorney assigned to a case involving the murder of a beautiful, seductive lawyer Greta Scacchi with whom he'd been having a secret affair.
After the investigation gets off to a slow start, damning evidence points to Rusty as the prime suspect.
His career is visit web page when his superior and secondary suspect Raymond Horgan Brian Dennehy sets him up for the fall.
Bonnie Bedelia plays Rusty's wife Barbara, who is not above suspicion herself.
While Ford's performance rides a fine line between presumed innocence and possible guilt, director Alan J.
Pakula All the President's Men maintains a consistent tone of uncertainty that keeps the viewer guessing.
Watching this at home is pretty much an excuse to order pizza and kick back, as the familiar rhythms of maverick-cop-versus-international-criminal take over and nothing new or fresh in the formula emerges.
The supporting cast includes Elizabeth Hurley Austin Powers: International Man of Mystery as a gun-wielding, junior terrorist, which is fun simply for being unexpected.
Others hailed it as a breakthrough movie that depicted drug dealers as ruthless, corrupt, and evil, leading dead-end lives that no rational youth would want to emulate.
However you interpret it, New Jack City is still one of the first and best films of the 1990s to crack open the underworld of cocaine and peer inside with its eyes wide open.
It's also the film that established Wesley Snipes as an actor to watch, with enough charisma to bring an insidious quality of seduction to his role as coke-lord Nino Brown, and enough intelligence to portray a character deluded by his own sense of indestructible power.
Director Mario Van Peebles stretched his otherwise-limited talent to bring vivid authenticity and urgency to this crime story, and subplots involving a pair of tenacious cops Ice-T, Judd Nelson and a recovering coke addict Chris Rock provide additional dramatic tension.
Although some critics may hesitate to admit it, New Jack City deserves mention in any serious discussion about African American filmmakers and influential films.
Patrick McGoohan plays a spy who suddenly resigns his post, only to be followed home and knocked unconscious.
He wakes to find himself in a quaint yet surreal place known as the Village, where everyone is referred to only by number.
There, using a variety of psychological methods, his captors, led by Number Two, attempt to extract information about why he resigned.
Every attempt to escape is rebuffed by the Village's bizarre but comprehensive security system.
Episode 2, "The Chimes of Big Ben," finds McGoohan pitted against a new Number Two, played this time by Leo McKern.
A new "prisoner," a spy from Estonia, is brought to the Village, and Number Two urges Number Six to be her guide.
Warily, he agrees, though he remains cold to her until he feels sure she can be trusted.
Together, they hatch an escape plan rooted in her supposed knowledge of the Village's secret location.
McKern, famous later for his title role in Rumpole of the Bailey, is a joy to watch as Number Two and a perfect foil for McGoohan; their scenes, full of sharp, witty dialogue, are priceless.
In typical fashion, McGoohan smirks and glowers his way through the part of Number Six, but his terse body language is perfect for a character trapped in the sunny, scenic prison that is the Village.
Shot entirely on film and at lavish expense for the period, The Prisoner remains a timeless reminder of television's true potential.
Universal Pictures' spectacularly gorgeous 1996 restoration and rerelease of this 1958 Paramount production was a tremendous success with the public, too.
James Stewart plays a retired police detective who is hired by go here old friend to follow his wife a superb Kim Novak, in what becomes a double rolewhom he suspects of being possessed by the spirit of a dead madwoman.
The detective and the disturbed woman fall "fall" is indeed the operative word in love and.
Shot around San Francisco the Golden Gate Go here and the Palace of the Legion of Honor are significant locations and elsewhere in Northern California the redwoods, Mission San Juan Batista in rapturous Technicolor, Vertigo is as lovely as it is haunting.
The guy may not consistently pen the most scintillating dialogue in the world and, especially in this movie, he doesn't seem to have a particularly high regard for womenbut as a director of kinetic, push-the-envelope action sequences, he is in a class by himself.
In True Lies, the highlight is a breathtaking third-act jet and car chase through the Florida Keys.
Arnold Schwarzenegger plays a covert intelligence agent whose wife of 15 years Jamie Lee Curtis finally finds out that he's not really a computer salesman and who becomes mixed up in a case involving nuclear arms smuggling.
Tom Arnold is surprisingly funny and engaging as Schwarzenegger's longtime spy partner, and Bill Paxton is a smarmy used-car salesman is that redundant?
Purely in terms of spectacular action and high-tech hardware, True Lies is a blast.
A beautiful and deeply affecting adaptation of the Pulitzer Prize-winning novel by Harper Lee, the film retains a timeless quality that transcends its historically dated subject matter racism in the Depression-era South and remains powerfully resonant in present-day America with its advocacy of tolerance, justice, integrity, and loving, responsible parenthood.
It's tempting to call this an important "message" movie that should be required viewing for children and adults alike, but this riveting courtroom drama is anything but stodgy or pedantic.
As Atticus Finch, the small-town Alabama lawyer and widower father of two, Gregory Peck gives one of his finest performances with his impassioned defense of a black man Brock Peters wrongfully accused of the rape and assault of a young white woman.
While his children, Scout Mary Badham and Jem Philip Alfordlearn the realities of racial prejudice and irrational hatred, they also learn to overcome their fear of the unknown as personified by their mysterious, mostly unseen https://casinos-spin-money.site/1/1609.html Boo Radley Robert Duvall, in his brilliant, almost completely nonverbal screen debut.
What emerges from this evocative, exquisitely filmed drama is a pure distillation of the themes of Harper Lee's enduring novel, a showcase for some of the finest American acting ever assembled in one film, and a rare quality of humanitarian artistry including Horton Foote's splendid screenplay and Elmer Bernstein's outstanding score that seems all but lost in the chaotic morass of modern cinema.
Redford plays a reader for U.
Faye Dunaway does solid work as the frightened and mystified woman whom he forces to conceal him, and Max von Sydow is appropriately cool as a professional assassin.
That same, sustained tone of danger and expectation that made Pollack's The Firm so much fun can be found in this 1975 thriller, albeit with an appropriate dose of post-Watergate paranoia.
Wells to produce and direct this science-fiction classic from 1960.
Wells's imaginative tale of time travel was published in 1895 and the movie is set in approximately the same period with Rod Taylor as a scientist whose magnificent time machine allows him to leap backward and forward in the annals of history.
His adventures take him far into the future, where a meek and ineffectual race known as the Eloi have been forced to hide from the brutally monstrous Morlocks.
As Taylor tests his daring invention, Oscar-winning special effects show us what the scientist sees: a cavalcade of sights and sounds as he races through time at varying speeds, from lava flows of ancient earth to the rise and fall of a towering future metropolis.
The movie's charm lies in its Victorian setting and the awe and wonder that carries over from Wells's classic story.
The pioneering spirit of the movie is still enthralling, but it gets a bit silly when Taylor turns into a stock hero, rescuing a beautiful blonde Eloi Yvette Mimieux and battling with the chubby green Morlocks whose light-bulb eyes blink out when they die.
Although it's quaint when compared to the special-effects marvels of the digital age, the movie's still highly entertaining and filled with a timeless sense of wonder.
Set in 1936, the movie's about a pair of Chicago con artists Newman and Redford who find themselves in a high-stakes game against the master of all cheating mobsters Robert Shaw when they set out to avenge the murder of a mutual friend and partner.
Using a bogus bookie joint as a front for their con of all cons, the two feel the heat from the Https://casinos-spin-money.site/1/808.html Mob on one side and encroaching police on the other.
But in a plot that contains more twists than a treacherous mountain road, the ultimate scam is pulled off with consummate style and panache.
It's an added bonus that Newman and Redford were box-office kings at the top of their game, and while Shaw broods intensely as the Runyonesque villain, The Sting is further blessed by a host of great supporting players including Dana Elcar, Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould.
Thanks to the flavorful music https://casinos-spin-money.site/1/1498.html by Marvin Hamlisch, this was also the movie that sparked a nationwide revival of Scott Joplin's ragtime jazz, which is featured prominently on the soundtrack.
One of the most entertaining movies of the early 1970s, The Sting is a welcome throwback to Hollywood's golden age of the '30s that hasn't lost any of its popular charm.
When the oldest daughter of a riotous, close-knit family announces her unexpected pregnancy, everyone wants to know who fathered the "snapper" she's carrying.
But the young woman's refusal to reveal anything about her predicament sends the entire town into a tizzy!
Critics coast-to-coast praised THE SNAPPER as one of the year's finest and funniest films — read more sure to deliver nonstop laughs to you!
Bergman combines symbolic imagery, realistic details, and wry humor for the moving medieval tale of a knight searching for God in a world ravaged by plague.
As the honorable knight, his cynical squire, a troupe of carefree actors, and black-robed Death, a superb cast of Bergman regulars portray the cruelty and charity that coexisted during this dark era.
Fowler, Billy Wilder 6302484405 It's a steamy summer in New York City and this scandalous, sexy comedy heats things up even more!
A married man Tom Ewellwhose wife and son are away for the summer, has his fidelity put to the test when a seductive starlet Marilyn Monroe moves in upstairs.
Keeping his marriage vows in the face of her flirtations proves tough when challenged by the notorious "seven year itch.
But this 1982 television version, starring Anthony Andrews Under the Volcano as the Pimpernel and Jane Seymour as his beloved but estranged wife, is quite a treat.
Andrews and Seymour expertly capture the essence of a relationship suffering from misunderstandings and elusive passion, and there is plenty of crackle to the action sequences.
Clive Donner What's New, Pussycat?
Hinging on a apologise, スモールスロットマシンを購入する think plot premise, which in turn unleashes a joyously insane onstage spoof, The Producers is powered by a clutch of over-the-top performances, capped by the odd couple pairing of the late Zero Mostel and Gene Wilder, making his screen debut.
Mostel is Max Bialystock, a gone-to-seed Broadway producer who spends his days wheedling checks from his "investors," elderly women for whom Bialystock is only too willing to provide company.
When wide-eyed auditor Leo Bloom Wilder comes to check the books, he unwittingly inspires the wild-eyed Max to hatch a sure-fire plan: sell 25,000 percent of his next show, produce a deliberate flop, then abscond with the proceeds.
Unfortunately for the producers but fortunately for ustheir candidate for failure is Springtime for Hitler, a Brooksian conceit that envisions what Goebbels might have accomplished with a little help from Busby Berkeley.
Truly startling during its original 1968 release, The Producers does show signs of age in some peripheral scenes that make merry at the expense of gays and women.
But the show's nifty cast notably including the late Dick Shawn as LSD, the space cadet that snags the musical's title role, and Kenneth Mars as the helmeted playwright clicks throughout, and the sight of Mostel fleecing his marks is irresistibly funny.
Add Wilder's literally hysterical Bloom, and it's easy to understand the film's exalted status among late-'60s comedies.
They don't make 'em like that anymore!
It was a few decades before Huston was able to finally realize his dream movie—and with an unimprovable cast.
Sean Connery and Michael Caine are, respectively, Daniel Dravot and Peachy Carnahan, a pair of lovably roguish British soldiers who set out to make their fortunes by conning the priests of remote Kafiristan into making them kings.
It's a rollicking tale, an epic satire of imperialism, and the good-natured repartee shared by Caine and Connery is pure gold.
In today's screen adventures, humor is usually imposed on the material by a writer or director trying to make some kind of cleverly self-aware comment "Hey, we know it's a movie!
Huston lets the humor emerge naturally from the characters, for whom 失われた都市zゲームのチュートリアル wind up caring more deeply than we ever expected.
Director Tony Richardson Tom Jones tells the story of a rebellious social misfit and petty thief played by Tom Courtenay The Dresser who is picked to run on the track team at a reform school for boys.
He finds he must balance his spirit and desire to win with his anger and frustration at the life he has led.
At times a wrenching character study with no easy answers, Courtenay's performance is a touching portrait of a young man and the journey he takes as he tries to run not only for an unclear future, but from a past he cannot forget.
A film indicative of the working class expressionism that came out of England in the early 1960s, Richardson's films stands alone as a downbeat, but insightful story of one man's struggle to determine who he is.
When Marcus's grand plan to pull off a train heist leads learn more here to a strategically situated house occupied by the genteel Mrs.
Wilberforce Katie Johnsonthe ensuing masquerade triggers a mordant, even macabre comedy of manners.
With Marcus and his rough-hewn cronies Herbert Lom, Peter Sellers, and Danny Green posing as a string quartet, and the dear lady's demise seen as the means to their larcenous end, the gang's sinister machinations click consistently, if unwittingly, foiled by the good-hearted, resourceful widow.
Based on Liam O'Flaherty's novel set during the Sinn Fein rebellion in 1922, Dudley Nichols's script offers an intimate portrait of Gypo Nolan, a violent, alcoholic Dubliner who betrays a friend Wallace Ford for £20, setting in motion a downward spiral of fear, anger, and drunken oblivion.
The Imposter captures Ford and filmmaking at an evolutionary balance point between the purer visual storytelling of silent film and the emerging literary possibilities of sound: on the one hand, Ford paints a nocturnal Dublin of deep shadows and billowing fog in which his characters are placed in pointed tableaux, and project their actions and attitudes with stylized, theatrical gestures that seem naive alongside later, more naturalistic films; on the other, the director pushes his star, Victor McLaglen, past traditional stagecraft toward a truly harrowing, authentic performance.
Pauline Kael has noted the Hollywood legend that Ford induced McLaglen's Oscar-winning turn by keeping him too drunk to embellish his work.
Whatever the cause, the actor achieves a lumbering, out-of-control power that traces the rage, confusion, and ultimate despair that Nolan's descent describes.
That gripping performance is the film's most modern aspect and riveting dramatic hook and more than justifies watching.
The star power alone Jeremy Irons, Meryl Streep, Glenn Close, Winona Ryder, Antonio Banderas, Vanessa Redgrave, and Armin Mueller-Stahl should have cranked it up a few notches, but that's not the case.
Irons is appropriately cruel as the ambitious man who achieves wealth and makes everyone around him miserable and Streep is luminous, but it's slow and ponderous all the way.
Robert De Niro plays Vito as a young Sicilian immigrant in sorry, 言語オンラインイタリア語ゲーム New York City's Little Italy.
Coppola weaves in and out of the story of Vito's transformation into a powerful crime figure, contrasting that evolution against efforts by son Michael Corleone to spread the family's business into pre-Castro Cuba.
As memorable as the first film is, The Godfather II is an amazingly intricate, symmetrical tragedy that touches upon several chapters of 20th-century history and makes a strong case that our destinies are written long before we're born.
This was De Niro's first introduction to a lot of filmgoers, and he makes an enormous impression.
But even with him and a number of truly brilliant actors including maestro Lee Strasbergthis is ultimately Pacino's film and a masterful performance.
Cain's classic tale of murder, betrayal, and erotic obsession; it's also the first masterpiece of Italian neorealism and a key historical precursor of film noir.
A handsome drifter Massimo Girotti fetches up at an isolated roadhouse, gets mutually besotted with the proprietor's sultry wife Clara Calamaiand has soon carried out a plot to murder the older man in an apparent off-road accident.
That's only the beginning, of course.
In his directorial debut, Luchino Visconti weaves a sensuous, tragic spell, born equally of the stark, sun-struck settings—especially those utterly realistic yet somehow otherworldly highways, elevated above the surrounding marshland—and a dynamic camera style that lifts the storytelling to operatic heights.
Yet another layer of erotic complication is added by the presence of "La Spagnolo" Elio Marcuzzoa philosopher-king of vagabonds who—like the director—is at least as infatuated with Girotti's studly beauty as the heroine is.
Griffith 6302075726 A pivotal moment in film history.
After The Birth of a Nation, nothing was the same: not the way audiences watched movies, not the way filmmakers created them.
Griffith's jumbo-size saga of the Civil War expanded the boundaries of storytelling on the screen, conveying a richer, more complicated and certainly longer tale than anyone had seen in a movie before.
The delicate relationships, the sad passage of time, the spectacular battle scenes all look as fresh and innovative today as they did in 1915.
So do Griffith's brilliant actors, most of them—including favorite leading lady Lillian Gish—drawn from his regular stock company.
What has become increasingly problematic about The Birth of a Nation is Griffith's condescending attitude toward black slaves, and the ringing excitement surrounding the founding of the Ku Klux Klan.
Griffith, whose political ideas were naive at best, seemed genuinely surprised by the criticism of his masterwork, and for his next project he turned to the humanist preaching of the massive Intolerance.
Despite protests, Go here sold more tickets than any other movie, a record that stood for decades, and President Woodrow Wilson famously compared it to "history written in lightning.
Eisenstein 6302054273 Sergei Eisenstein's revolutionary sophomore feature has so long stood as a textbook example of montage editing that many have forgotten what an invigoratingly cinematic experience he created.
A 20th-anniversary tribute to the 1905 revolution, Eisenstein portrays the revolt in microcosm with a dramatization of the real-life mutiny aboard the battleship Potemkin.
The story tells a familiar party-line message of the oppressed working class in this case the enlisted sailors banding together to overthrow their oppressors the ship's officersled by proto-revolutionary Vakulinchuk.
When he dies in the shipboard struggle the crew lays his body to rest on the pier, a moody, moving scene where the citizens of Odessa slowly emerge from the fog to pay their respects.
As the crowd grows Eisenstein turns the tenor from mourning a fallen comrade to celebrating the collective achievement.
The government responds by sending soldiers and ships to deal with the mutinous crew and the supportive townspeople, which climaxes in the justly famous and often imitated and parodied Odessa Steps massacre.
Eisenstein edits carefully orchestrated motions within the frame to create broad swaths of movement, shots of varying length to build the rhythm, close-ups for perspective and shock effect, and symbolic imagery for commentary, all to create one of the most cinematically exciting sequences in film history.
Eisenstein's film is Marxist propaganda to be sure, but the power of this masterpiece lies not in its preaching but its poetry.
If you are a Bogey fan, then you want this movie for your collection.
Critical reaction was decidedly mixed, but there's plenty to admire in this silky, visually seductive film about a drug dealer Mel Gibson whose best friend from high-school Kurt Russell is now working for the Los Angeles sheriff's drug detail.
Their personal and professional conflicts are intensified by their love for the same woman, a waitress Michelle Pfeiffer at the Italian restaurant they both frequent.
There's a big deal going down with a drug lord the late Raul Juliabut as it twists and turns, Towne's story is really more about personal loyalties and individual honor.
And even if it doesn't quite hold together, the movie's got a fantastic look to it courtesy of the great cinematographer Conrad Halland the three stars bring depth and dimension to their well-written roles.
This is the sort juegos A10無料ゲームオンライン movie that becomes a prototype for a thousand lesser films including De Bont's lousy sequel, Speed 2: Cruise Controlbut Speed really is a one-of-a-kind experience almost anyone can enjoy.
At a country estate in turn-of-the-century Sweden, eight characters become four couples during a long, languorous summer night.
Under the spell of a mysterious elixir, the mismatched couples switch partners in an intricate roundelay that is both lyrical and erotic.
One of the greatest tragicomedies of all time, Bergman's perceptive send-up of social rites and sexual mores was the inspiration for the Sondheim musical A Little Night Music and Woody Allen's A Midsummer Night's Sex Comedy.
The theatrical ironies and sexual chases have their roots in Shakespeare and boudoir farce, but the sudden dark glimpses of despair are pure Bergman.
She's single in New York, he lives in Seattle with a young son, but the cross-country attraction proves irresistible, and pretty soon Meg's on a westbound flight.
What happens from there is.
There's little complexity or depth to writer-director Nora Ephron's cheesy tale of a romantic fait accompli, and more than a little contrivance to the subplots that threaten to keep Hanks and Ryan from actually meeting.
But the purity of star chemistry here is hard to deny, and this may be the first film to indicate the more serious and sympathetic side of Hanks that is revealed in later roles.
With its clever jokes about "chick movies" and repeated homage to the classic weeper An Affair to Remember, this may not be everybody's brand of amorous entertainment, but it's got an this web page charm that appeals to many a movie fan.
A buckskin knight, Shane Alan Ladd rides into the middle of a range war between farmers and cattlemen, quickly siding with the "sod-busters.
Though the showdowns are exciting, and the story simple but involving, what most people will remember about this movie is the friendship between the stoical Shane and the young son of the farmers.
The kid is played by Brandon De Wilde, who gives one of the most amazing child performances in the movies; his parting scene with Shane is guaranteed to draw tears from even the most stonyhearted moviegoer.
And speaking of stony hearts, Jack Palance made a sensational impression as the evil gunslinger sent to clean house—he has fewer lines of dialogue than he has lines in his magnificently craggy face, but he makes them count.
The photography, highlighting the landscape near Jackson Hole, Wyoming, won an Oscar.
Lewis and a divorced American poet named Joy Gresham.
Best known for writing The Lion, The Witch, and The Wardrobe, Lewis Anthony Hopkins is living comfortably as a respected Oxford don, his academic lifestyle a kind of shell protecting him from the emotional risk of love.
Joy Gresham Debra Winger arrives at Oxford as an avid admirer of Lewis's writing, and the safety of his collegiate routine is quickly disrupted when Lewis realizes that he's fallen deeply and unexpectedly in love.
Their courtship is uniquely engaging; he's shy and uncertain, she's outspoken and bold.
But when Joy is diagnosed with cancer, Lewis's Christian faith is put to the test—he cannot fathom why their happiness together would be so drastically challenged.
Together, they find a way to accept and honor the time they have shared together, and under the sensitive direction of Richard Attenborough, Shadowlands arrives at a conclusion that is both heartbreaking and uplifting at the same time.
Hopkins and Winger are equally superb in this absorbing story of personal and spiritual transformation—a story previously filmed for British television in 1985, with Joss Ackland and Claire Bloom.
デルティンカジノゴア連絡先 seven Oscar nominations for his outstanding work in films such as The Godfather, Serpico, and Dog Day Afternoon it's ironic that Al Pacino finally won the Oscar for his grandstanding lead performance in this 1992 crowd pleaser.
As the blind, blunt, and ultimately benevolent retired Lieutenant Colonel Frank Slade, Pacino コミック8カジノキングスパート2 both hammy and compelling, simultaneously subtle and grandly over-the-top when defending his new assistant and prep school student Charlie Chris O'Donnell at a disciplinary hearing.
While the subplot involving Charlie's prep-school crisis plays like a sequel to Dead Poets Society, Pacino's adventurous escapades in New York City provide comic relief, rich character development, オカドクリスマススロット a memorable supporting role for Gabrielle Anwar as the young woman who accepts the colonel's invitation to dance the tango.
Scent of a Woman is a remake of the 1972 Italian film Profumo di donna.
In addition to Pacino's award, the picture garnered Oscar nominations for director Martin Brest and for screenwriter Bo Goldman.
Splendidly adapted from the novel by E.
Forster, it's a comedy of the heart, a passionate romance and a study of repression within the British class system of manners and mores.
It's that system of rigid behavior that prevents young Lucy Honeychurch Helena Bonham Carter from accepting the loving advances of a free-spirited suitor Julian Sandswho fears that she will follow through with her engagement to a priggish intellectual Daniel Day-Lewis whose capacity for passion is virtually nonexistent.
During and after a trip to Italy with her protective companion Maggie SmithLucy gradually gets in touch with her true emotions.
The fun of watching A Room with a View comes from seeing how Lucy's thoughts and feelings finally arrive at the same romantic conclusion.
Through an abundance of humor both subtle and overt, this crowd-pleasing "art movie" rose to an unexpected level of popular appeal.
The Merchant-Ivory team received eight Academy Award nominations for their efforts, and won the Oscar for Best Adapted Screenplay, Art Direction, and Costume Design.
About the only thing they all have in common is that they all star John Wayne.
But while The Searchers is an epic quest for revenge and Red River is a sweeping cattle-drive drama "Take 'em to Missouri!
Basically, it comes down to Sheriff John T.
Chance Waynehis sobering-up alcoholic friend Dude Dean Martinthe hotshot new kid Colorado Ricky Nelsonand deputy-sidekick Stumpy Walter Brennansittin' around in the town jail, drinkin' black cofee, shootin' the breeze, and occasionally, singin' a song.
Hawks—who, like his pal Ernest Hemingway, lived by the code of "grace under pressure"—said he made Rio Bravo as a rebuke to High Noon, in which sheriff Gary Cooper begged for townspeople to help him.
So, Hawks made Wayne's Sheriff Chance a consummate professional—he may be getting old and fat, but he knows how to do his job, and he doesn't want amateurs getting mixed up in his business; they could get hurt.
This most entertaining of movies also achieved some notoriety in the '90s when Quentin Tarantino director of Pulp Fiction, Reservoir Dogs, and Jackie Brown revealed that he uses it as a litmus test for prospective girlfriends.
Oh, and if the configuration of characters sounds familiar, it should: Hawks remade Rio Bravo two more times—as El Dorado in 1967, with Wayne, Robert Mitchum, and James Caan; and as Rio Lobo in 1970, with Wayne, Jack Elam, and Christopher Mitchum.
Leonard 6301977688 Jane Austen's wonderful novel has been adapted to the screen many times, with this 1940 version representing the golden age of the Hollywood studio era.
Greer Garson, then just on the cusp of her stardom, plays the headstrong Elizabeth Bennet, smartest of five daughters who must be married off.
Laurence Olivier is that difficult fellow Mr.
Darcy, whose mulishness about the Bennet girls begins to thaw when he gets a dose of Elizabeth's sense and sensibility.
The film is done up in the glamorous MGM house style, which means we're stuck with the less-than-inspired direction of Robert Z.
Leonard The Great Ziegfeldredeemed somewhat by a collection of handsome sets Cedric Gibbons and Paul Groesse won the Oscar for Interior Decoration and the dandy photography by Karl Freund, one of the greats.
Anyone accustomed to the 1995 miniseries version of Pride and Prejudice will need to adjust to the swifter demands of a two-hour movie, and to be sure this version, like the 2005 Keira Knightley remake, simplifies some of Austen's scenes.
It's one of the few films, by the way, with Aldous Huxley as a credited screenwriter.
Edmund Gwenn is lovely as Mr.
Bennet, and Mary Boland brash as Mrs.
Bennet; Garson, although MGM liked to corset her in fine-lady roles, manages to let Elizabeth's sauciness come through.
Actually, the movie's weak spot is Laurence Olivier's elaborate performance as Darcy, which feels too theatrical.
Not that it matters; Austen's story is so good, the film sails through to its delicious finish with all flags flying.
Applying her impossibly high ideals to everyone but herself, Tracy is about to marry a stuffy executive when her congenial ex-husband Cary Grantarrives to protect his former father-in-law from a potentially scandalous tabloid exposé.
In an Oscar-winning role, James Stewart is the scandal reporter who falls for Tracy as her wedding day arrives, throwing her into a dizzying state of premarital jitters.
Who will join Tracy at the altar?
Snappy dialogue flows like sparkling wine under the sophisticated direction of George Cukor in this film that turned the tide of Hepburn's career from "box-office poison" to glamorous Hollywood star.
In that sense, Philadelphia is a historically important film.
As such, it's worth remembering that director Jonathan Demme Melvin and Howard, Something Wild, The Silence of the Lambs wasn't interested in preaching to the converted; he set out to make a film that would connect with a mainstream audience.
Philadelphia was not only a hit, it also won Oscars for Bruce Springsteen's haunting "The Streets of Philadelphia," and for Tom Hanks as the gay lawyer Andrew Beckett who is unjustly fired by his firm because he has AIDS.
Denzel Washington is another lawyer functioning as the mainstream-audience surrogate who reluctantly takes Beckett's case and learns to overcome his misconceptions about the disease, about those who contract it, and about gay people in general.
The combined warmth and humanism of Hanks and Demme were absolutely essential to making this picture a success.
The cast also features Jason Robards, Antonio Banderas as Beckett's loverJoanne Woodward, and Robert Ridgely, and, of course, those Demme regulars Charles Napier, Tracey Walter, and Roger Corman.
And many of those who have seen it may have forgotten how flat-out thrilling it is.
For all its great dramatic and cinematic qualities, and its fiery social criticism, Elia Kazan's On the Waterfront is also one of the most gripping melodramas of political corruption and individual heroism ever made in the United States, a five-star gut-grabber.
Shot on location around the docks of Hoboken, New Jersey, in the mid-1950s, it tells the fact-based story of a longshoreman Brando's Terry Malloy who is blackballed and savagely beaten for informing against the mobsters who have taken over his union and sold it out to the bosses.
Karl Malden has a more conventional stalwart-hero role, as an idealistic priest who nurtures Terry's pangs of conscience.
Cobb, who created the role of Willy Loman in Death of Salesman under Kazan's direction on Broadway, makes a formidable foe as a greedy union leader.
Positioned between the much heavier and more profoundly disturbing Vertigo 1958 and the stark horror of Psycho 1960North by Northwest 1959 is Alfred Hitchcock at his most effervescent in a romantic comedy-thriller that also features one of the definitive Cary Grant performances.
Which is not to say that this is just "Hitchcock Lite"; seminal Hitchcock critic Robin Wood in his book Hitchcock's Films Revisited makes an airtight case for this glossy MGM production as one of The Master's "unbroken series of masterpieces from Vertigo to Marnie.
Thornhill initials ROTan advertising executive who is mistaken by enemy spies for a U.
Convinced these sinister fellows James Mason as the boss, and Martin Landau as his henchman are trying to kill him, Roger flees and meets a sexy Stranger on a Train Eva Marie Saintwith whom he engages in one of the longest, most convolutedly choreographed kisses in screen history.
And, of course, there are the famous set pieces: the stabbing at the United Nations, the crop-duster plane attack in the cornfield where a pedestrian has no place to hideand the cliffhanger finale atop the stone faces of Mount Rushmore.
Plus a sparkling Ernest Lehman script and that pulse-quickening Bernard Herrmann score.
What more could a moviegoer possibly desire?
After rejoicing over the birth of their daughter Melody, マフィンナイトフルゲーム無料ダウンロード and Eric must face a new threat from Ursula's revengeful sibling Morgana — a threat that forces them to hide Melody's true mermaid heritage.
Melody, a young princess curious about her roots, ultimately ventures into the sea against her parents' wishes.
There, she meets new friends, and in her dream to be a mermaid becomes a pawn in Morgana's plot to gain control of the Seven Seas.
Ariel must reunite with her childhood friends Sebastian, Flounder, and Scuttle to rescue her daughter and restore harmony to her family.
An all-star cast returns, including Jodi Benson Ariel and Samuel E.
Wright Sebastianfor a remarkable adventure teeming with surprises and four phenomenal new songs.
Critic Pauline Kael called it "One of the most likeable movies of all time.
At the last minute, Velvet herself has to ride Pie in the tournament and cuts her hair to pass for a jockey.
Anne Revere theme gta 3チェックゲーム4u congratulate an Oscar as Velvet's mother, as did editor Robert J.
Kern, who cut together a terrifically exciting horse race.
Donald Crisp and Angela Lansbury are also featured as members of the Brown family.
Cline 6300181294 When Columbia Pictures sought to pair Mae West and W.
Fields in a film, neither was thrilled, but since both stars' careers were on the skids, they agreed to the project.
They fought about everything: script, billing, casting, philosophy, work habits, style.
Onscreen, Fields is always the butt of his own jokes.
He's all broad slapstick, she, all sly innuendo.
In the film West hangs onto her precious image—that inimitable combo of sexiness and wit—as Fields systematically subverts it.
It's the clash of the screen-legend titans.
In the Wild West town of Greasewood, West, as Flower Belle Lee her usual seductive saloon singeris kidnapped by the Masked Bandit Joseph Calleia, in a role Bogart turned down.
After refusing to turn him in, she's run out of town and can only return when she's "married and respectable.
Twillie Fields on a train.
He's instantly smitten: "My heart is a bargain today, will you take me?
Many plot twists later, Twillie's on the gallows.
Hangman: "Have you any last requests?
The film's funniest scenes involve Field's futile attempts to get West into a compromising position: "I have some very definite pear-shaped ideas I'd like to discuss with thee.
Ziegler, George Cukor B00000FZE5 Https://casinos-spin-money.site/1/974.html legendary "woman's director," George Cukor The Women, The Philadelphia Storytransformed Audrey Hepburn into street-urchin-turned-proper-lady Eliza Doolittle in this film version of the Lerner and Loewe musical.
Based on George Bernard Shaw's play Pygmalion, My Fair Lady stars Rex Harrison as linguist Henry Higgins Harrison also played the role, opposite Julie Andrews, on stagewho draws Eliza into a social experiment that works almost too well.
The letterbox edition of this film on video certainly pays tribute to the pageantry of Cukor's set, but it also underscores a certain visual stiffness that can slow viewer enthusiasm just a tad.
But it's really star wattage that keeps this film exciting, that and such great songs as "On the Street Where You Live" and "I Could Have Danced All Night.
Devastated by a court order limiting his time with the children, Williams's character disguises himself as a warm, old British nanny who becomes the kids' best friend.
As with Dustin Hoffman's performance in Tootsie, Williams's drag act—buried under layers of latex and padding—is the show, and everything and everyone else on screen serves his sometimes frantic role.
Since that's the case, it's fortunate that Williams is Williams, and his performance is terribly funny at times and exceptionally believable in those scenes where his character misses his children.
Playing Williams's brother, a professional makeup artist, Harvey Fierstein has a good support role in a bright sequence where he tries a number of feminine looks on Williams before settling on Mrs.
Smith Goes to Washington B0000048Q5 Political heavyweights decide that Jefferson Smith James Stewartan obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant U.
Surely this naive bumpkin can be easily controlled by the senior senator Claude Rains from his state, a respectable and corrupted career politician.
Director Frank Capra fills the movie with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary Jean Arthurwho doesn't believe for a minute this rube could be for real.
Capra was repeating the formula of a previous film, Mr.
Deeds Goes to Town, but this one is even sharper; Stewart and Arthur are brilliant, and the former cowboy star Harry Carey lends a warm presence to the role of the vice president.
Bright, funny, and beautifully paced, Mr.
Smith Goes to Washington is Capra's ode to the power of innocence—an idea so potent that present-day audiences may find themselves wishing for a new Mr.
The 1939 Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever.
Louis family is shaken to their roots by the prospect of moving to New York, where the father has a better job pending.
Judy Garland heads the cast in what amounts to a splendid, end-of-an-era story that nicely rhymes with the onset of the 20th century.
The film is extraordinarily alive, the characters strong, and the musical numbers are so splendidly part of the storytelling that you don't feel the film has stopped for an interlude.
Sure, Kierkegaard, Wittgenstein, and their ilk have tried their hands at this puzzler, but only Python has attempted to do so within the commercial motion picture medium.
Happily for us all, Monty Python's the Meaning of Life truly explains everything one conceivably needs to know about the perplexities of human existence, from the mysteries of Catholic doctrine to the miracle of reproduction to why one should avoid the salmon mousse to the critical importance of the machine that goes ping!
Using fish as a linking device and what marvelous links those aquatic creatures makeThe Meaning of Life is presented as a series of sketches: a musical production number about why seed is sacred; a look at dining in the afterlife; the quest for a missing fish there they are again ; a visit from Mr.
Death; the cautionary tale of Mr.
Creosote and his rather gluttonous appetite; an unflinching examination of the harsh realities of organ donation, and so on.
Sadly, this was the last original Python film, but it's a beaut.
You'll cry probably because you're laughing so hard.
You may even learn something about the Meaning of Life.
Or at least about how fish fit into the grand scheme of things.
Flaherty 6302784999 While it stretches the definition of documentary, Robert Flaherty's Man of Aran remains a triumph of poetic imagery, and one of the greatest nonfiction films ever made.
Critic Pauline Kael hailed it as "the greatest film tribute to man's struggle against hostile nature," referring to conditions faced by bold residents of the Aran Islands, 30 miles offshore from Galway, Ireland, amidst see more harshest seas of the Atlantic.
Flaherty and his tiny crew spent over two years on the islands, chronicling the rugged lives of the Araners on a landscape so rocky that seaweed is used as improvised soil.
Flaherty cast the film with assorted locals and recreated anachronistic events such as the harpooning of a basking shark from Aran's past, inviting controversy over the film's authenticity.
That debate continues on this DVD's exceptional bonus features for retrospective insight, "How the Myth Was Made" is every bit as good as Flaherty's filmbut Man of Aran is, and always will be, a timeless record of extraordinary people, miraculously surviving in a most extraordinary place.
In Arthur Penn's adaptation of Thomas Berger's novel, Dustin Hoffman plays Jack from teen years into old age in a bravura performance.
And Jack's story is a fantastic one: captured by Indians as a boy, reared as an Indian, shuttling back and forth between the white and Indian worlds.
In the process, he befriends everyone from Wild Bill Hickock to George Armstrong Custer and is a gunslinger, a snake-oil salesman, and an Army scout.
This is a solid blend of comedy and tragedy, with a strong statement to make about America's treatment of Native Americans without sermonizing.
A terrific cast includes Faye Dunaway, Martin Balsam, and Richard Mulligan.
But this show is all Hoffman's.
A beautiful travelogue and history lesson unfolds in the two parts of this film: a historical text of Siddhartha Keanu Reeves continue reading the contemporary quest of Lama Norbu Ying Ruochengwho believes he has found the reincarnation of his former teacher in a Seattle child.
The ancient, magical tales sweep away the blasé contemporary action.
Ruocheng's presence drives the story of discovery as the child learns about the teachings of Buddhism.
A visual feast that will dazzle both young and old.
In fact, were it not a religious icon, the youngsters might want Siddhartha dolls after viewing his magical on-screen adventures.
Beautiful cinematography by Vittorio Storaro.
But the point is Monty Python's Life of Brian is a religious satire that does not target specific religions or religious leaders like, say, Jesus of Nazareth.
Instead, it pokes fun at the mindless and fanatical among their followers—it's an attack on religious zealotry and hypocrisy—things that that fellow from Nazareth didn't particularly care for either.
Nevertheless, at the time of its release in 1979, those who hadn't seen it considered it to be quite "controversial.
Brian is mistaken for the messiah and therefore manipulated, abused, and exploited by various religious and political factions.
And it's really, really funny.
Blessed are the Pythons.
These talents are shown to their best in this bewitchingly black-hearted 1949 comedy of a poor cousin murdering his way up the inheritance ladder of a titled, old-money family.
Guinness, in only his third film, becomes practically the entire family tree, starring in no less than eight hilarious roles.
Handsome Dennis Price is the scheming relative, the progeny of an unfortunate marriage that turned his mother into a family pariah.
Determined to earn the title he believes is rightfully his, he ingratiates himself back into the family and plots his ascension through a succession of Guinness-created social dinosaurs, joyfully killing off his kin in a series of inventive assassinations.
It's class warfare in action, and Price is winning the war.
The delectable Joan Greenwood costars as the married object of Price's affections, whose own venomous nature becomes apparent when Price falls for Valerie Hobson, the cultured widow of one of his victims.
Robert Hamer directs with a light touch and dry wit, marrying the understated Ealing Studios comic style with the dark, satirical edge of John Dighton's sharp screenplay.
The wiliest of all Ealing comedies, right down to its splendidly sardonic conclusion.
Of course, that would probably be true whenever this movie was shown, wouldn't it?
Directed by Philippe de Broca and set during World War I, King of Hearts stars Alan Bates as a Scottish soldier separated from his unit in France.
He wanders into a small French village that has been abandoned by its residents in the face of oncoming combat.
Instead, the town is populated by the residents of a nearby insane asylum, whose keepers more info fled—a fact that escapes the innocent soldier, who assumes these are the regular folks.
A film that celebrates the innocence and wisdom of the insane, even as it questions who the real madmen are.
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