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Aaron Sorkin might possible be one of the greatest screenwriters working in hollywood today, and now he's taking his first foray into the director's chair. Does he succeed? Well, the script is a little over written, and there were a few parts that could of easily been trimmed, but over all it was an engaging story with good performances. His directing style is nothing flashy or fancy, but it does get the job done, and over all I really enjoyed the film.
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Based on a simplistic, yet thrilling movie from the 1970's, that was so basic this remake actually adds character development. It's a fun action packed thrill ride and over all a pretty fun time.
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A pretty good throw back gangster film from the late 1980's to early 1990's that, along with Do The Right Thing & Boyz N The Hood, help kick open doors for African American film makers and actors. Still holds up.
Hugh Jackman delivers a fantastic performance as P.T. Barnum in this spectacularly colorful musical for the whole family. Motivated by a desire to provide a good life for his wife (Michelle Williams) and children, Barnum founds a destined-to-be-famous circus which proves to be, not only immensely popular and profitable, but also a place in which a group of talented misfits can call home. Zac Efron, Zendaya, Rebecca Ferguson co-star; songs include InchThe Greatest Show,Inch InchCome Alive,Inch InchRewrite the Stars,Inch and more. 105 min. Widescreen (Enhanced); Soundtracks English Dolby Atmos, DVS 5.1, DTS HD stereo Master Audio, Spanish Dolby Digital 5.1, French DTS 5.1; Subtitles English (SDH), Spanish, French; sing-along; audio commentary; featurettes. Two-disc set.
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This movie harkens back the old days when truth took the back seat to illusion. It was more important to tell a good story, than to tell the truth. You either got on board or you didn't. However, where this movie shines is in it's music, which for a musical is a much bigger deal. The actors all break into song and big dance numbers, who care if it's all true. I loved it.
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controversial when it was first released, one would assume that would soften over time, especially after it's far more over the top and violent sequels and quasi remakes. Yet, somehow this film still makes a very real impact. A real piece of seventies cinema.
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This is a really fun movie, along the same lines as "True Lies" the only real downside to the film is it basically doesn't have an ending. It's just sort of stops, and seeing as how the real life couple have called it splitzville, that and the 13 years since it's release doesn't make a sequel very likely. Still fun and worth a look if you haven't seen it already
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Lawrences Kasdan became quite the in-demand writer and director of the early 1980's thanks to a string of hits, which included Empire Strikes Back, Raiders Of The Lost Ark, Body Heat, & The Big Chill. However, this is where he started... sort of. The original script for this movie was his very first script, the one that got it all started, and the one that no one actually wanted to make, that is except a relatively unknown Kevin Costner. After almost 15 years both men where at a place where they could call the shots, and this is the movie we have. A film about guarded personalities trying to figure out how to save each other. Huston is a mega-pop-singer with a killer out to get her. Costner is a emotionally restrained bodyguard who's trying to protect her. Somewhere in the middle of all the chaos of her crazy life and his job they find each other's humanity.
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There has aways been a divide between critics and audiences. Sometimes this divide is small and almost unnoticeable, then others it's a chasm, in which no one can cross. However, on rare occasions time can close this gap. I wonder if that would be the case with Cocktail? When this movie came out Critics called it bland and vapid, and why wouldn't they? It came out hot on the heels of Wall Street. It seemed to be covering many of the same ideas, and yet in retrospect I think Cocktail is trying to cover a lot of those ideas from a much different place. Where Wall Street was about the corrupting nature of greed and lust for money and power, which causes Charlie Sheen's character to sell out his own father to obtain it. Cocktail seems to be more interested in the idea of money, power, and in some ways male friendship, as being shallow and unfulfilling. It creates these things as ideas that Tom Cruise character must over come in order to achieve a greater success as father and husband. It isn't so much the idea that money and power are the corrupting factors, at least not a lone. It's a vain pursuit of their shallowest aspects that can prove to ultimately be hollow. When Cruise's character begins to chase after love and family, he uncovers a greater wealth he had never even considered. There is something intreging about this film, even if I can't quite put my finger on it. There is also something wildly enjoyable about it too.
A thumping pop/rock soundtrack propels writer/director Edgar Wright's stylish blend of action and comedy. Baby (Ansel Elgort) is a skilled professional getaway driver who uses music to drown out the ringing in his ears caused by a car accident when he was a kid. After he falls for a beautiful waitress (Lily James), Baby wants to give up his dangerous vocation, a decision that does not sit well with the crime boss (Kevin Spacey) he works for. Jon Hamm, Jamie Foxx, Jon Bernthal also star. 113 min. Widescreen; Soundtrack English.
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Baby Driver is actually an homage to old 1970's car exploitation films. You wouldn't know it from the look of the film, or the design of the sets, but if you're a fan of those movies, like The Driver, Vanishing Point, Gone In 60 Seconds, or even Smokey And The Bandit, you'll understand exactly what I mean. The movie features all actions scenes synced to whatever song is playing on screen, like a music video, but with high speed auto action. I wouldn't say there's a lot of new ideas happening here, but that doesn't mean the over all film isn't a fun ride. While it felt familiar to me, not in a bad way, i can imagine for those that haven't seen those films i mentioned earlier, you might have a totally different experience with the film.
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This movie seems to be the inspiration for every hallmark movie ever made, or at least those post 1988. Sigourney Weaver plays the typical workaholic business woman who has her whole life figured out, when Melanie Griffith, working class want-to-be business woman becomes her assistant/secretary. When Griffith has a winner of an idea Weaver makes a very weak attempt to claim it as her own, but never actually doing it, just sort of has the intent to do it, until she's hospitalized after a skiing accident. The rest of the movie is about how Melanie Griffith, after discovering weaver's intent to steal her idea, pretends to a version of weaver. Then, without intent, slowly destroys her life, including having an affair with Weaver's boyfriend (Harrison Ford) only then does Sigourney actively try to take credit for Melanie's idea. Yet somehow, even with all the cliches, this movie is great. It has an honestly about it, that lesser movies don't have. Then on top of that are great performances by the entire cast.