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102 Minutes | History, Drama | 2020-08-14
📥 Tesla 2020
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152 Minutes | Drama, Action, History | 2019-11-13
📥 Ford v Ferrari 2019
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A biography on American underdogs from a blue-collar industry with notable actors, an impressive production team, and an inspiring story; did someone say Oscars? Whatever its intent, ‘Ford v Ferrari’ is an impressive biopic that rarely strays from its path. A melding of entertainment and creativity, this should be considered both a commercial and critical success. Fire up your engine and race to the cinema to catch this film that everyone’s sure to be talking about.
- Charlie David Page
Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-ford-v-ferrari-a-racing-biopic-thats-right-on-track
_**I'd have preferred to see Michael Mann's version, but this is an impressive and heartfelt study of friendship and triumph**_
>_Next year, Ferrari's ass is mine._
- Carroll Shelby, after losing to Ferrari in the 1964 World Sports Car Championship
>_To take control of this materialised energy, to draw the reins over this monster with its steel muscles and fiery heart - there is something in the idea which appeals to an almost universal sense, the love of power._
- A.J. Baime; _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_ (2009)
In 2015, a long-gestating project was announced as entering pre-production – based on Brock Yates's 1991 book _Enzo Ferrari: The Man, the Cars, the Races_, the film was tentatively called _Enzo Ferrari_ and was to be written, produced, and directed by Michael Mann (_Heat_; _The Insider_; _Ali_). A long-time racing fan, Mann had been trying to bring Ferrari's story to the screen since the book was published (in 1992 it was reported that Robert De Niro was circling the role and Mann would begin shooting right after he completed work on _The Last of the Mohicans_), but in 2015, things seemed to finally be moving ahead. Christian Bale was cast as Ferrari and Noomi Rapace as his mistress, Lina Lardi. And then, nothing. Time passed and no more was heard until 2017, when it was announced that Bale had dropped out and been replaced by Hugh Jackman. And again, nothing. In the meantime, a different film was greenlighted – an adaptation of A.J. Baime's 2009 book, _Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans_. Set to star Tom Cruise and Brad Pitt, it was to be written by Jason Keller (_Machine Gun Preacher_; _Mirror Mirror_; _Escape Plan_) and directed by Joseph Kosinski (_Tron: Legacy_; _Oblivion_; _Only the Brave_). That version of the project never got off the ground, but in 2018, it was announced that James Mangold (_Cop Land_; _Girl, Interrupted_; _Logan_) had signed on as director, working from a new version of Keller's script, written by Jez Butterworth and John-Henry Butterworth (_Fair Game_; _Edge of Tomorrow_; _Get On Up_). Rather confusingly, none other than Christian Bale is in the cast, although not as Ferrari, whilst Mann himself is credited as an executive producer. Is this (at least in part) the remnants of his own film? Is his credit related to nothing more than rights, or was he actively involved in making the movie? Will we still see his _Enzo Ferrari_ at some point?
_Le Mans '66_ (released in North American with the equally generic title of _Ford v Ferrari_) is an excellently made but unadventurous movie. Mangold is a fine director, but he's no Mann, nowhere near, and the film did, to a certain extent, just leave me pondering what kind of kinetic brilliance Mann would have brought to bear on similar material. In contrast, to Mann's body of work, _Le Mans '66_ could never be accused of breaking any new ground or trying anything especially original – it hits all the beats, it hits them well, but it never strays from the formula. Much as Mann's _Ali_ (2001) was a boxing movie on the surface only, being far more interested in politics and institutional racism, Mangold's film isn't really about motor cars – it's about friendship, male pride, personal integrity, sticking it to the Man, art v commerce, individuals v corporations; it is, in essence, a thematically broad and aesthetically anonymous pre-_auteur_ theory audience-pleaser made with the technology and aesthetic sensibilities of modernity. And whilst the individual parts may be unsatisfactorily safe and familiar, the whole is unexpectedly accomplished and immensely enjoyable.
The film begins in 1959 as Carroll Shelby (Matt Damon) wins that year's 24 Hours of Le Mans in an Aston Martin DBR1/300. However, shortly after the victory, he's told he has a heart condition and must stop racing. The film then jumps to 1963, as Ken Miles (Christian Bale), a brilliant but volatile and unpredictable driver, is running a sports car repair garage in LA, but the venture is failing (mainly because he continuously berates his customers for one thing or another). The British-born Miles has a reputation as one of the best drivers in the world, and is renowned for his almost supernatural ability to identify problems in test cars after only one or two laps. However, because of his personality, no one will hire him. Meanwhile, Ford Motor Company Vice President and General Manager Lee Iacocca (Jon Bernthal) suggests that Henry Ford II (a superb Tracy Letts, who steals every scene he's in) buy the cash-strapped Ferrari N.V., speculating that Ford's involvement in international racing may go some way to countering the company's reputation for making boring and unattractive family cars (in essence, he hopes the purchase will give the company more street cred). Enzo Ferrari (Remo Girone), however, turns down the deal in favour of a counter-offer by Fiat Automobiles, which is more lucrative and allows him to retain ownership of Scuderia Ferrari (Ferrari's racing division). He also calls Ford II fat. Enraged, Ford II determines to build a car capable of winning Le Mans, a race which has been dominated by Ferrari for years, winning in 1958, 1960, 1961, 1962, and 1963. Iacocca reaches out to Shelby, the last non-Ferrari driver to have won the event, and asks him to design a car which can beat any Ferrari. Shelby and his engineering partner Phil Remington (Ray McKinnon) get to work but soon Shelby explains to Iacocca and Ford II that they will need a great driver as well as a well-designed car. And so he reaches out to Miles, who comes on board, but immediately clashes with the Ford executives, particularly Senior Executive Vice President Leo Beebe (Josh Lucas). Nevertheless, Shelby, Remington, and Miles press on developing the GT40, a car capable of reaching speeds of 135 mph, if only it didn't keep breaking down.
_Le Mans '66_ is somewhat similar to Damien Chazelle's _First Man_ (2018), insofar as it uses the grandiose moments of history to tell an intimate story. Whereas Chazelle used the Apollo Program as the background against which to examine a failing marriage, Mangold uses the determination to win Le Mans '66 as the background against which to examine issues such as friendship and the clash between gifted individuals for whom success is its own reward and corporations who don't see value in anything unless it's monetarily successful. Indeed, the argument could be made that the film is actually a commentary on the Hollywood studio system, with Shelby and Miles representing independent filmmakers who love the craft and see the medium as an art-form, whilst the Ford executives represent the studio, always more concerned with the bottom dollar than artistic integrity, always getting in the way of the people who, if left alone to work, could produce something spectacular.
The film is also extremely funny in places, especially in a scene where Shelby shows up at Miles's house, and the two get into a fight on the street. Miles's wife Mollie (an underused Caitriona Balfe) emerges from the house, looks at the two men fighting, goes back inside, and remerges with a garden chair, a drink, and a copy of _Better Living_. She then sits down to watch the action. It's a hilarious moment, but it's one with great thematic importance Рthis is very much an androcentric world (Mollie is virtually the only female in the entire film), but for this brief moment, the audience is allowed to pull back and laugh at the utter ridiculousness of competitive maleness Рboys will be clich̩d boys, always trying to outdo each other, and getting all worked up over something as pointless as a fast car.
This thematic focus, however, is not to say the film ignores the intricacies of racing; on the contrary, there's a huge amount of techno-babble concerning vectors, aerodynamics, the mathematics of torque, the torsion of metal, and the ins and outs of physics. Additionally, although thematically, the focus isn't on the races themselves, there's no denying that the aesthetic design of these scenes is exemplary, albeit familiar. Mann would have done wonders here, but Mangold, cinematographer Phedon Papamichael (_The Ides of March_; _This Is 40_; _Nebraska_), and sound designers David Giammarco (_The Amazing Spider-Man 2_; _The Dark Tower_; _The Predator_) and Jay Wilkinson (_Furious 6_; _Man of Steel_; _Alpha_) have crafted some truly intense moments. For the most part, Mangold and Papamichael avoid any objective shots (for example, there are no overheads giving us a good vantage of the entire race), and there are very few shots showing us something that Miles is unable to see. The scenes aren't shot in the first-person, but our vision is anchored to his. This, of course, contributes to a subjective focalisation and creates the sense of being in the car with him, which brings a default level of intensity, as well as giving the viewer a perfect vantage point from which to see just how fast these guys are going and how difficult what they do actually is.
Is there a Mann influence on the racing scenes? Absolutely; if you're familiar with how Mann often shoots cars in motion (the camera affixed to the side of the car, with the screen virtually split in two – the side of the car taking up one half, the approaching road taking up the other), you simply can't help but notice the similar positioning of Papamichael's camera. Are they the best racing scenes ever put on film? No; you can find those in Lee H. Katzin's _Le Mans_ (1971), which intercuts footage shot during the real 1970 event with material staged for the film, lending the whole thing an unprecedented intensity that has yet to be topped. However, _Le Mans '66_ makes a hell of an effort, and that can only be commended.
In terms of problems, there are only two of any significance. The first concerns just how safe and rudimentary the film is. Aesthetically, although the race scenes are kinetic and exciting, there isn't anything new or inventive in them; thematically, the film doesn't say anything we haven't heard before; and structurally, it walks a very well-worn path – chances are that everything that you think might happen in _Le Mans '66_ does happen. This is your basic underdog story, and it adheres rigidly to that template. The character of Beebe is a good example of just how rigidly. In essence, he's a poorly written token villain because you can't have an underdog story without a token villain (usually in the form of bureaucratic interference). In this case, when Mangold feels the need to inject some conflict into proceedings, Beebe will pop up to throw a wrench into the works. His motivation? Apart from some brief references to how he doesn't think Miles is a "_Ford man_", his antipathy is never explained – the character is a Swiss army knife villain who can be used for multiple purposes, a one-size-fits-all token bad guy without an iota of nuance or interiority. The second problem concerns Shelby himself, who is disappointingly one-dimensional (at best), as we learn absolutely nothing about his personal life – for example, the film makes no reference to the fact that by 1963 he was on wife number three (of seven!). Who is the film's Carroll Shelby, and why should non-racing fans care about him? We never get an answer – he's Matt Damon wearing a Stetson and speaking with a Texas drawl. And that's about all the character development he gets.
Although these issues are significant in isolation, the thing about _Le Mans '66_ is that it's so well made, it rises above the clichéd and overly-familiar nature of many of the individual scenes, resulting in a whole that is very much more than the sum of its parts. A film about friendship and integrity rather than racing, it doesn't take any risks, nor does it bend any rules. Indeed it does nothing that could be labelled innovative. For all that, however, I couldn't help but enjoy it. It won't surprise you, it probably won't move you, it certainly won't change your life, but the storytelling is clear and refined, and the journey is one well worth taking.
I never expected a sports film, let alone one based on a true story, to impress me so damn much. James Mangold offers one of the best, if not the best sports movie ever. With award-worthy performances from both Christian Bale and Matt Damon, Ford v Ferrari (aka Le Mans ‘66) has characters so exceptionally-written and so emotionally compelling that I felt like crying by the end of the film. The races are riveting and entertaining, but it’s the beautiful screenplay that gets me. Definitely, one of the movies of the year!
Rating: A+
I think _Ford v Ferrari_ suffers from mismarketing. I don't mean that it was poorly marketed, and that the trailers made it look bad or anything. Just that it was marketed inaccurately. When I was keeping myself abreast of this project, it seemed very much that the insinuation was that the movie would be a battle between Bale's and Damon's respective characters. That this would essentially be the run-through of the whole film, and the climax would feature one emerging victorious over the other. In actual fact, the opposite is true. _Ford v Ferrari_ is largely about the friendship and partnership of those two characters. An occasionally rugged, and one occasion even violent friendship, but a friendship nonetheless. Even the title is misleading. I suppose Ford does v Ferrari at a couple of points over the movie's runtime, but it's not what _Ford v Ferrari_ is **about**. In fact, Ferrari barely features in the movie at all. Here's the kicker though: I actually liked what this thing ended up being, more than I think I would have enjoyed a movie that really did revolve around Bale actually versing Damon, or one about Ford actually versing Ferrari.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Well made sports-racing movie with excellent acting by Damon and Bale (no surprise there) and the racing sequences were great, not to mention the sound design. Kind of was concerned there wouldn't be enough story to fill the nearly 2.5 hour runtime, but this kept me engaged, though the ending was a bit anticlimactic. Still, good work from James Mangold. **4.5/5**
Click here for a video version of this review: https://youtu.be/IByQpyGV9Lg
Despite not being a big fan of track car racing - I’m more of a rally man - the chance to see Matt Damon and Christian Bale lead in a true life story attracted me to _Ford v Ferrari_. It’s a very good movie that tells the tale of the development of Ford’s race program to topple Ferrari as the champions of Le Mans.
Here’s the official description:
_American car designer Carroll Shelby and the British-born driver Ken Miles work together to battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966._
I’ll say up front that even though Ferrari is mentioned in the title, they don’t really play a huge part in the movie. I was expecting things to bounce between each camp as they tried to one up each other in the race for glory. While Ferrari are here and there throughout, the main battle of the movie is Shelby and Miles trying to get their work done amidst the interference from factions within Ford’s management.
It still makes for a great story though, and it’s a movie that takes you on a ride of many highs and lows. From technological failures and success, to corporate shenanigans, to father-son moments, this hits so many beats that it kept us entertained the whole way through. Not only does it hit them, it does them very very well. There were some moments where I was genuinely holding my breath. It’s great stuff.
Even from a technical point of view there is a lot to love about this. The cinematography was a stand out for me - some of the sunset shots were stunning, as were the very intense race sequences. I’m sure there’s CGI all through this but it was of such a good quality that it was barely noticeable.
Damon and Bale are outstanding and lead from the front, with Bale in particular seeming to inhabit the role and transform, as he so often does. Even all the side characters bring their A game and the end result is a pleasure to watch.
This is an excellent film, it’s the whole package and feels like a real film as opposed to much of the cookie cutter movies we get a lot of these days.
I thoroughly enjoyed this and highly recommend it.
Exactly what you'd expect from a movie featuring Led Zeplin in its trailer (+1 star for Christian Bale's compelling performance).
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179 Minutes | Drama, History | 1961-12-01
📥 Judgment at Nuremberg 1961
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161 Minutes | Drama, History, War | 1957-10-02
📥 The Bridge on the River Kwai 1957
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Colonel Bogey's Barmy Army.
OK! Lets get it out there right away, for historical facts of the real Bridge on the River Kwai story, one should research elsewhere, this film is a fictionalised account of the said events. Sadly there are those out there who simply refuse to judge this purely as a piece of cinematic art - and cinematic art it is.
A squad of British soldiers are held in a Japanese POW camp in the Burmese jungle. The respective Japanese and British leaders clash but an understanding is finally reached to build a bridge across the River Kwai. The importance of which could prove crucial in more ways than one...
It won 7 Academy Awards and 4 BAFTAS, and it was the film that saw the great David Lean enter his epic period. And what a start it is. Kwai is a masterful piece of cinema, it has a magnificently intelligent and complex screenplay - with tough edged dialogue in the script, is bursting at the seams with high quality performances, and beautifully photographed (filmed in Ceylon). Thematically it's about the folly and psychological madness of war, which in turn is ensconced in sub - plots of genuine worth. It all builds to a tremendous finale, where everything we have witnessed is realised with a deftness of talent from across the board. 10/10
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108 Minutes | Drama, History | 1957-01-15
📥 Throne of Blood 1957
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One of a number of films that Akira Kurosawa made in the 1950s and which have become classics, Throne of Blood is the director's adaptation of Shakespeare's Macbeth, set in feudal Japan but showing that lust for power is a perennial feature of human society. Washizu (the Macbeth character, Toshiro Mifune) is a soldier serving the lord of Spiders-Web Castle. While riding through a forest with his comrade and childhood friend Miki (the Banquo character, Minoru Chiaki), they come upon a forest spirit that foretells an elevation in rank for the two, and eventually Washizu's reign over Spiders-Web Castle. While Washizu denies that he has any desire to seize the throne, the forest spirit could see into his heart, as can his wife Asaji (the Lady Macbeth character, Isuzu Yamada) who spurs him on to murder any potential rivals. Thus Mifune moves inextricably towards his own elevation, but also his own fall.
Although the film is an adaptation of Shakespeare, the way the actors move before the camera owes much to the Japanese theatre called Noh. So much of the film is carried by the powerful facial expressions of the main actors: the over-the-top snarls and gasps of Mifune; the sad mien of Chiaki, as if his character is already aware of his fate; and the chilling calm of Yamada, a coldblooded killer even if she doesn’t personally murder anyone but has others do it. Kurosawa's set design is elaborate, one really feels back in Edo Japan. Furthermore, by shooting the film in a bleak part of Japan with abundant fog, the landscape powerfully mirrors the predicament in which the characters find themselves.
This is one of those films that any Westerners with a solid liberal arts education (by which I mean at least some general knowledge of Macbeth) should see and will probably enjoy. Because it is based on a universal theme that just happened to be so well packaged by Shakespeare, the plot is straightforward and engaging in spite of the exotic setting. But because viewers can so easily follow that plot, the feudal Japan dressing with its distinct mores will prove a fascinating touch, and Kurosawa has depicted this world in rich detail. I don't know if postwar scarcity was still a thing in 1956 when Kurosawa shot Throne of Blood, but it seems like no expense was spared here.
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148 Minutes | Drama, History | 2019-10-31
📥 The Endless Trench 2019
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122 Minutes | Drama, History, War | 2004-03-04
📥 Hotel Rwanda 2004
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129 Minutes | Drama, Thriller, History | 2015-11-06
📥 Spotlight 2015
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> Uncovering the sins committed by whom the millions of people believe in.
A documentary film would show the real faces of those offenders to shame them. That's the reason I desperately wanted it to be a documentary, then I would have definitely given a maximum mark. There's no complaint about this movie, but adaptation means fakes acting, fake settings and awards goes to non real achievers. Anyway, this movie kind looked a semi documentary and liked the way it was made.
The movie exposed a very important scandal. If something is open for a debate in the US means, the rest of the world would follow the same route. That's where this theme was inspired by. It all begins with a group of journalists from the Boston Globe with their new editor instruct them to research on sexual abuse of children by priests. So their lead only gets bigger and puts them to recover more evidence in order to publish. How they come up with the story that shake up not only the nation, but the entire world is the remaining.
A collection of bunch fine performances. There's no lead actors in this. Everyone is in the supporting roles. Out of 6, it got nominated both male and female in the category of supporting role for the Academy Awards. I am very disappointed, Mark Ruffalo's performance in 'Infinitely Polar Bear' deserved another nominee. Anyway, this 15 year old story still looks a hot topic. It was a great comeback for the director after critics assaulted him with their words for his previous film 'The Cobbler' only to show their rage on Sandler. It is a must-must see. Beware, is is not your weekend entertainer, but based on the real.
8/10
Spotlight story is interesting and has a good cast which performs very well, but the feeling of the story is flat.
First, they are talking about abuses to children but you feel almost the whole time that they are following the lead of any other story almost as bureaucrats. There is not much of sensitivity put into the matter.
Second, they are exposing a huge case of system "missbehavior" (to say the least) in the Catholic Church hierarchy and you see how the whole city of Boston is treating this institution with great care. Then, this movie is about showing to the world how the exposition was done and the treatment to the Catholic Church is almost as exquisite as the one that has enabled this institution to hide all this cases.
For gods sake! These people are criminals covering the crimes of even bigger criminals and it seems like we still cannot face them and tell them clearly and to their faces the horrible things they have tolerated and hidden.
This was a very shocking and well made film. It is about the scandal involving a cover-up of Catholic priests molesting children in the Boston area. I was surprised with the delicate nature of the film's script and how well it was handled. It had a very solid ensemble cast which helped make the film moving and horrific in parts.
I am glad that a film like this won Best Picture at the Academy Awards as it had a very important message (even if I was rooting for 'The Revenant').
★★★★
A true account of the Boston Globe's investigative reporting on the vatican's approval of sexual predator priests over many decades. Disturbing to say the least. Excellent performances from Mark Ruffalo and Michael Keaton. It's easy for movies like this to get bogged down in the details but the pacing here is remarkably fluid, just a bit over 2 hours very well spent.
A friend recommended this film to me. I was reluctant because I am no big fan of Micheal Keaton. But I watched it anyway purely because of the disturbing subject matter.
Clearly this cover-up resonates throughout the US a great deal, but living in England for most of my life I don't think the shocking revelations ever rang out much other than for a random story-line that probably got buried after the immediate events of 9/11.
I won't repeat the story here because other reviewers have already covered that; but what I really admired about the film was how very underplayed it felt throughout. The pacing, the somber soundtrack, the unhurried editing, even the narration all helped capture the suffocating mood of the story as it unraveled in shocking detail.
There was no histrionics that you sometimes get with films that are about to expose something deeply shocking. I am reminded of films such as "The Insider" and "All the President's Men" where the the lives of the investigators/victims/whistle-blowers are put into immediate danger by a "dark force" should they expose their findings to the public.
But with Spotlight, such things were avoided. Instead everything was kept at a "civil" level between The Boston Globe and The Church, even though you could feel an underlying dread or threat simmering throughout.
I particularly liked the ending because even though the story was published and the victims finally came forward before the credits rolled, there was no big fanfare declaring how wonderful the Spotlight team were in exposing this evil. Instead it left us with a reminder that the abuse of children by the RC church was (and probably still is) a world-wide problem; not helped when you learn that Cardinal Law was never arrested, but was later reassigned to a high ranking position in the Vatican, even though both he and the Vatican itself was perfectly aware of the crimes committed by the Church against innocent boys and girls.
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134 Minutes | Drama, History | 2013-10-18
📥 12 Years a Slave 2013
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Sometimes, I just have to stop my brain in the middle of a film and just admire its exceptional craftsmanship. I found myself doing that time and time again during this film. Perhaps I was more open to admiring the shot compositions and acting choices because, as I cynically told myself before the film, it's not like I needed much convincing that slavery was bad. Or perhaps it was because I was shielding myself from the honest brutalities the film convincingly portrayed. Nonetheless, I was reminded of the film "Children of Men," because when I watched that, I was struck by how easily I could imagine a less engaging, more dumbed-down version of the same film. I haven't seen enough films about slavery to know this for certain, but I suspect that because many of this film's principals are British, telling a story about a free man who was forced into slavery, as opposed to one born into it, they were able to be gain some valuable distance from the subject and craft something that's both beautiful and feels true to life. And even though I thought I could not have been made to feel worse than I already did about slavery, the post-scripts on the lack of justice Solomon received for his kidnapping and the unknown causes of his death, helped keep the film from lapsing into a kind of "triumph of the spirit" happy ending others might have imposed.
This movie is very, very well done. Well, edited and with the proper long shots at the proper moments bringing you to the life of Solomon without remedy.
All the cast performs exceptionally well and Ejiofor is to be remembered for this film.
A must to be seen.
Not in a long time have I seen a movie that brings out real emotions from my cold hearted soul. This movie brought them out in floods of tears.
the acting was superb, especially from the lead Chiwetel Ejiofor, he acted from his little toe right up to his eyes.
The style was also filmed beautifully with some (extremely) painful long shots which pulled you into Solomons nightmare.
Im not sure if its a film I could watch again, purely for the emotion but I would recommend this film to everyone.
**Dreaded at the thought that human kind ACTUALLY had this kind of livelihood at some point of time..**
Could not gather my thoughts to write this review at the end of the movie.Feeling really bogged down by some heaviness on my chest. Thinking about the times in history when we actually used to do these atrocities on other human beings makes me cringe.To imagine waking up one day and find me in chains just because I'm a colored man and living my life like an unwanted child of god makes me question humanity altogether. Just sitting through a little over than 2 hours and watching this movie made my heart bleed, I can't even begin to think of the people who lived their entire lives as SLAVES... 12 years a slave heart breakingly makes you feel the pain and suffering of almost the entire human kind at one point of time or other. Direction by Steve McQueen is brilliant.Chiwetel Ejiofor plays a helpless slave in Solomon Northup to the hilt and also the small but impactive role played by Brad Pitt as a man with conscience is superb.Lupita Nyong'o's Patsey too was depicted heart warmingly. You can't help but question yourself that how could MAN stoop such low and do these cruel acts and that too over such a prolonged period of time without even a single ounce of doubt in his mind for what he would have to pay for his actions.. All in all a GEM of a movie showing one of the lowest point in human history !
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134 Minutes | Drama, History | 2013-10-18
📥 12 Years a Slave 2013
📥 DOWNLOAD HERE
Sometimes, I just have to stop my brain in the middle of a film and just admire its exceptional craftsmanship. I found myself doing that time and time again during this film. Perhaps I was more open to admiring the shot compositions and acting choices because, as I cynically told myself before the film, it's not like I needed much convincing that slavery was bad. Or perhaps it was because I was shielding myself from the honest brutalities the film convincingly portrayed. Nonetheless, I was reminded of the film "Children of Men," because when I watched that, I was struck by how easily I could imagine a less engaging, more dumbed-down version of the same film. I haven't seen enough films about slavery to know this for certain, but I suspect that because many of this film's principals are British, telling a story about a free man who was forced into slavery, as opposed to one born into it, they were able to be gain some valuable distance from the subject and craft something that's both beautiful and feels true to life. And even though I thought I could not have been made to feel worse than I already did about slavery, the post-scripts on the lack of justice Solomon received for his kidnapping and the unknown causes of his death, helped keep the film from lapsing into a kind of "triumph of the spirit" happy ending others might have imposed.
This movie is very, very well done. Well, edited and with the proper long shots at the proper moments bringing you to the life of Solomon without remedy.
All the cast performs exceptionally well and Ejiofor is to be remembered for this film.
A must to be seen.
Not in a long time have I seen a movie that brings out real emotions from my cold hearted soul. This movie brought them out in floods of tears.
the acting was superb, especially from the lead Chiwetel Ejiofor, he acted from his little toe right up to his eyes.
The style was also filmed beautifully with some (extremely) painful long shots which pulled you into Solomons nightmare.
Im not sure if its a film I could watch again, purely for the emotion but I would recommend this film to everyone.
**Dreaded at the thought that human kind ACTUALLY had this kind of livelihood at some point of time..**
Could not gather my thoughts to write this review at the end of the movie.Feeling really bogged down by some heaviness on my chest. Thinking about the times in history when we actually used to do these atrocities on other human beings makes me cringe.To imagine waking up one day and find me in chains just because I'm a colored man and living my life like an unwanted child of god makes me question humanity altogether. Just sitting through a little over than 2 hours and watching this movie made my heart bleed, I can't even begin to think of the people who lived their entire lives as SLAVES... 12 years a slave heart breakingly makes you feel the pain and suffering of almost the entire human kind at one point of time or other. Direction by Steve McQueen is brilliant.Chiwetel Ejiofor plays a helpless slave in Solomon Northup to the hilt and also the small but impactive role played by Brad Pitt as a man with conscience is superb.Lupita Nyong'o's Patsey too was depicted heart warmingly. You can't help but question yourself that how could MAN stoop such low and do these cruel acts and that too over such a prolonged period of time without even a single ounce of doubt in his mind for what he would have to pay for his actions.. All in all a GEM of a movie showing one of the lowest point in human history !
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100 Minutes | History, Music, Documentary | 2020-02-21
📥 Once Were Brothers: Robbie Robertson and The Band 2020
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142 Minutes | Drama, War, History | 1985-09-03
📥 Come and See 1985
📥 DOWNLOAD HERE
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123 Minutes | War, Drama, History, Action | 2020-06-24
📥 The Outpost 2020
📥 DOWNLOAD HERE
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150 Minutes | Drama, History, War | 1981-09-16
📥 Das Boot 1981
📥 DOWNLOAD HERE
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135 Minutes | Action, Drama, History | 1962-09-15
📥 Harakiri 1962
📥 DOWNLOAD HERE
This is an amazing Japanese classic written and filmed without flaw. The action unfolds in story-telling within story-telling. This is a film about truth. Whose truth? That is the unfoldment. In a perverted way, this amazing piece of work has become predictive of Western corporate banking. Perhaps you'll see what I mean at the end of the film.
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129 Minutes | Drama, Thriller, History | 2015-11-06
📥 Spotlight 2015
📥 DOWNLOAD HERE
> Uncovering the sins committed by whom the millions of people believe in.
A documentary film would show the real faces of those offenders to shame them. That's the reason I desperately wanted it to be a documentary, then I would have definitely given a maximum mark. There's no complaint about this movie, but adaptation means fakes acting, fake settings and awards goes to non real achievers. Anyway, this movie kind looked a semi documentary and liked the way it was made.
The movie exposed a very important scandal. If something is open for a debate in the US means, the rest of the world would follow the same route. That's where this theme was inspired by. It all begins with a group of journalists from the Boston Globe with their new editor instruct them to research on sexual abuse of children by priests. So their lead only gets bigger and puts them to recover more evidence in order to publish. How they come up with the story that shake up not only the nation, but the entire world is the remaining.
A collection of bunch fine performances. There's no lead actors in this. Everyone is in the supporting roles. Out of 6, it got nominated both male and female in the category of supporting role for the Academy Awards. I am very disappointed, Mark Ruffalo's performance in 'Infinitely Polar Bear' deserved another nominee. Anyway, this 15 year old story still looks a hot topic. It was a great comeback for the director after critics assaulted him with their words for his previous film 'The Cobbler' only to show their rage on Sandler. It is a must-must see. Beware, is is not your weekend entertainer, but based on the real.
8/10
Spotlight story is interesting and has a good cast which performs very well, but the feeling of the story is flat.
First, they are talking about abuses to children but you feel almost the whole time that they are following the lead of any other story almost as bureaucrats. There is not much of sensitivity put into the matter.
Second, they are exposing a huge case of system "missbehavior" (to say the least) in the Catholic Church hierarchy and you see how the whole city of Boston is treating this institution with great care. Then, this movie is about showing to the world how the exposition was done and the treatment to the Catholic Church is almost as exquisite as the one that has enabled this institution to hide all this cases.
For gods sake! These people are criminals covering the crimes of even bigger criminals and it seems like we still cannot face them and tell them clearly and to their faces the horrible things they have tolerated and hidden.
This was a very shocking and well made film. It is about the scandal involving a cover-up of Catholic priests molesting children in the Boston area. I was surprised with the delicate nature of the film's script and how well it was handled. It had a very solid ensemble cast which helped make the film moving and horrific in parts.
I am glad that a film like this won Best Picture at the Academy Awards as it had a very important message (even if I was rooting for 'The Revenant').
★★★★
A true account of the Boston Globe's investigative reporting on the vatican's approval of sexual predator priests over many decades. Disturbing to say the least. Excellent performances from Mark Ruffalo and Michael Keaton. It's easy for movies like this to get bogged down in the details but the pacing here is remarkably fluid, just a bit over 2 hours very well spent.
A friend recommended this film to me. I was reluctant because I am no big fan of Micheal Keaton. But I watched it anyway purely because of the disturbing subject matter.
Clearly this cover-up resonates throughout the US a great deal, but living in England for most of my life I don't think the shocking revelations ever rang out much other than for a random story-line that probably got buried after the immediate events of 9/11.
I won't repeat the story here because other reviewers have already covered that; but what I really admired about the film was how very underplayed it felt throughout. The pacing, the somber soundtrack, the unhurried editing, even the narration all helped capture the suffocating mood of the story as it unraveled in shocking detail.
There was no histrionics that you sometimes get with films that are about to expose something deeply shocking. I am reminded of films such as "The Insider" and "All the President's Men" where the the lives of the investigators/victims/whistle-blowers are put into immediate danger by a "dark force" should they expose their findings to the public.
But with Spotlight, such things were avoided. Instead everything was kept at a "civil" level between The Boston Globe and The Church, even though you could feel an underlying dread or threat simmering throughout.
I particularly liked the ending because even though the story was published and the victims finally came forward before the credits rolled, there was no big fanfare declaring how wonderful the Spotlight team were in exposing this evil. Instead it left us with a reminder that the abuse of children by the RC church was (and probably still is) a world-wide problem; not helped when you learn that Cardinal Law was never arrested, but was later reassigned to a high ranking position in the Vatican, even though both he and the Vatican itself was perfectly aware of the crimes committed by the Church against innocent boys and girls.
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124 Minutes | Drama, History | 1980-10-02
📥 The Elephant Man 1980
📥 DOWNLOAD HERE
_**The ultimate outcast**_
In 1884 London, a doctor (Anthony Hopkins) meets Joseph Merrick, aka The Elephant Man (wrongly called John Merrick in the film) who was being exploited as a freak show attraction. Treves (Hopkins) tries to help Merrick (John Hurt) for the last six years of the latter’s life wherein he becomes cultured, but he inevitably remains an object of curiosity, to high society as well as low society. Anne Bancroft plays a winsome entertainer who is warm toward Merrick.
Directed by David Lynch and shot in B&W, “The Elephant Man” (1980) is a melancholic biographical movie, and understandably so, but Merrick’s story is worth checking out despite the fact that it inspires pity. It calls into question the concept of beauty: Natural beauty is something one is born with and did nothing to acquire, but so is physical unattractiveness. Then there’s inner beauty. The charismatic actress (Bancroft) displays both. Of course there’s also inner ugliness, like the carnival huckster.
A myth developed about Merrick’s disfigurement that his mother was raped by an elephant, probably started by sideshow hawkers. The opening conveys this in an artistic manner, but it’s not to be taken literally, which is why it’s surreal. Meanwhile the factory scenes with the pipes and corresponding dangers exhibit the reality for workers in Victorian times.
The score by John Morris is noteworthy with one piece being ripped-off for the moving parts of “Platoon” (1986), e.g. Elias’ melodramatic death scene.
The film runs 2 hours, 4 minutes, and was shot entirely in London and nearby Shepperton Studios, just west of the city.
GRADE: B
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156 Minutes | Drama, History, War | 2004-09-08
📥 Downfall 2004
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179 Minutes | Drama, History | 1961-12-01
📥 Judgment at Nuremberg 1961
📥 DOWNLOAD HERE
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142 Minutes | Drama, War, History | 1985-09-03
📥 Come and See 1985
📥 DOWNLOAD HERE